LIBfWf?Y UNIVERSITY OF CALIFORNIA RIVERSIDE THE HOUSE OF COBWEBS IN THE SAME SERIES THE OLD DOMINION. THE PROFESSIONAL AUNT. IN THE QUARTER. BY ORDER OF THE COMPANY. THE CORNER OF HARLEY STREET. QUEED. SIR MORTIMER. THE PRIVATE PAPERS OF HENRY RYECROFT, AUDREY. SELECTED POEMS. GHOSTS OF PICCADILLY. LEWIS RAND. AN UNSOCIAL SOCIALIST. BACHELOR HETTY. THE IRRATIONAL KNOT. LITTLE SHEPHERD OF KINGDOM COME. LOVE AMONG THE ARTISTS. THE HOUSE OF COBWEBS. CASHEL BYRON'S PROFESSION. NEW WORLDS FOR OLD. Mary Johnston. Mrs. Gborge Wbmvss, R. W. Chamrsks. Mary Johnston. Pbter Harding, M.D. Henky Sydnor Harrison. Mary Johnston. George Gissing. Mary Johnston. George Meredith. G. S. Street. Mary Johnston. Bernard Shaw. Winifred Jambs. Bernard Shaw. John Fox, Jun. Bernard Shaw. George Gissing. Bernard Shaw. H. G. Whlls THE HOUSE OF COBWEBS BY george"^ gissing AUTHOR OF 'the PRIVATE PAPERS OF HENRY RYECROFT,' ETC. LONDON CONSTABLE & COMPANY LTD. Published May jgo6 Reprinted June igo6, December /god Reprinted i

reface dated October 1895). AN INTRODUCTORY SURVEY xiii before me.' He ate his meals in places that would have offered a way-wearied tramp occasion for criticism. ' His breakfast consisted often of a slice of bread and a drink of water. Four and sixpence a week paid for his lodging. A meal that cost more than sixpence was a feast.' Once he tells us with a thrill of reminiscent ecstasy how he found sixpence in the street ! The ordinary comforts of modern life were unattainable luxuries. Once when a newly posted notice in the lavatory at the British Museum warned readers that the basins were to be used (in official phrase) ' for casual ablutions only,' he was abashed at the thought of his own complete dependence upon the facilities of the place. Justly might the author call this a ti*agi-comical incident. Often in happier times he had brooding memories of the familiar old horrors — the foggy and gas-lit labyrinth of Soho — shop windows containing puddings and pies kept hot by steam rising through perforated metal — a young novelist of ' two- and-twenty or thereabouts ' standing before the display, raging with hunger, unable to purchase even one pennyworth of food. And this is no fancy picture,^ but a true story of what Gissing had sufficient elasticity of humour to call 'a pretty stern apprenticeship.' The sense of it enables us to under stand to the full that semi-ironical and bitter, yet not wholly unamused passage, in Ryecroft : — 'Is there at this moment any boy of twenty, fairly educated, but without means, without help, with nothing but the glow in his brain and steadfast courage in his heart, who sits in a London garret and writes for dear life } There must be, I suppose ; yet all that I have read and heard of late years about young writers, shows them in a very different aspect. No garretteers, these novelists and journalists awaiting their promotion. They eat — and entertain their critics — at fashionable restaurants, they are seen in expensive seats at the theatre ; they inhabit handsome 1 Who but Gissing could describe a heroine as exhibiting in her counte- nance ' habitual nourishment on good and plenteous food' ? xiv THE WORK OF GEORGE GISSING flats— pliotographed for an illustrated paper on the first excuse. At the worst, they belong to a reputable club, and have garments which permit them to attend a garden party or an evening "at home" without attracting unpleasant notice. Many biographical sketches have I read during the last decade, making personal introduction of young Mr. This or young Miss That, whose book was— as the sweet language of the day will have it — "booming" ; but never one in which there was a hint of stern struggles, of the pinched stomach and frozen fingers.' In his later years it was customary for him to inquire of a new author ' Has he starved ' .^ He need have been under no apprehension. There is still a God's plenty of attics in Grub Street, tenanted by genuine artists, idealists and poets, amply sufficient to justify the lamentable conclusion of old Anthony a Wood in his life of George Peele. ' For so it is and always hath been, that most poets die poor, and consequently obscurely, and a hard matter it is to trace them to their graves.' Amid all these miseries, Gissing u))held his ideal. During 1886-7 he began really to write and the first great advance is shown in Isabel Clarendon.'^ No book, perhai)s, that he ever wrote is so rich as this in autobiographical indices. In the melancholy Kingcote we get more than a passing phase or a momentary glimpse at one side of the young author. A long succession of Kingcote's traits are obvious self-revelations. At the beginning he symbolically prefers the old road with the crumljling sign-post, to the new. Kingcote is a literary sensitive. The most ordinary transaction with uneducated ('that is uncivilised') people made him uncomfortable. Mean and hateful people by their suggestions made life hidfons. He lacks the courage of the ordinary man Though under thirty he is abaslied by youth. He is stnti. > /ioAri Clarendon. By George Gissing. In two volumes, 1886 (Chap- man and Hall). In reviewing this work the Academy expressed astonishment at the mature style of the writer— of whom it admitted it had not vet come across the name. AN INTRODUCTORY SURVEY xv mental and liungry for feminine sympathy, yet he realises that the woman who may with safety be taken in marriage by a poor man, given to intellectual pursuits, is extremely difficult of discovery. Consequently he lives in solitude ; he is tyrannised by moods, dominated by temperament. His intellect is in abeyance. He shuns the present — the historical past seems alone to concern him. Yet he abjures his own past. The ghost of his former self affected him with horror. Identity even he denies. ' How can one be responsible for the thoughts and acts of the being who bore his name years ago ? ' He has no consciousness of his youth — no sympathy with children. In him is to be discerned Hiis father's intellectual and emotional qualities, together with a certain stiffness of moral attitude derived from his mother.' He reveals already a wonderful palate for pure literary flavour. His prejudices are intense, their character being determined by the refinement and idealism of his nature. All this is profoundly significant, knowing as we do that this was px'oduced when Gissing's worldly prosperity was at its nadir. He was living at the time, like his own Harold BifFen, in absolute solitude, a frequenter of pawn- broker's shops and a stern connoisseur of pure dripping, pease pudding (' magnificent pennyworths at a shop in Cleveland Street, of a very rich quality indeed '), faggots and saveloys. The stamp of affluence in those days was the possession of a basin. The rich man thus secured the gravy which the poor man, who relied on a paper wrapper for his pease pudding, had to give away. The image recurred to his mind when, in later days, he discussed champagne vintages with his publisher, or was consulted as to the management of butlers by the wife of a popular prelate. With what a sincere recollection of this time he enjoins his readers (after Dr. Johnson) to abstain from Poverty. ' Poverty is the great secluder.' ' London is a wilderness abounding in anchorites.' Gissing was sustained xvi THE WORK OF GEORGE GISSING amid all these miseries by two passionate idealisms, one of the intellect, the other of the emotions. The first was ancient Greece and Rome — and he incarnated this passion in the picturesque figure of Julian Casti (in The Unclassed), toiling hard to purchase a Gibbon, savouring its grand epic roll, converting its driest detail into poetry by means of his enthusiasm, and selecting Stilicho as a hero of drama or romance (a premonition here of Veranildci). The second or heart's idol was Charles Dickens — Dickens as writer, Dickens as the hero of a past England, Dickens as humorist, Dickens as leader of men, above all, Dickens as friend of the poor, the outcast, the pale little sempstress and the downtrodden Smike. In the summer of 1870, Gissing remembered with a pious fidelity of detail the famous drawing of the 'Empty Chair' being framed and hung up 'in the school-room, at home ' ^ (Wakefield). 'Not without awe did I see the picture of the room which was now tenantless : I remember too, a curiosity which led me to look closely at the writing-table and the objects upon it, at the comfort- able round-backed chair, at the book-shelves behind. I began to 1 Of Gissing's early impresaions, the best connected account, I think, is to be gleaned from the concluding chapters of I'he Whirlpool ; but this may be reinforced (and to some extent corrected, or, here and there cancelled) by passages in Bon\ in Exile (vol. i.) and in Ryecroft. The material there supplied is confirmatory in the best sense of the detail contributed by Mr Wells to the cancelled preface of Vcninilda, touching the 'schoolboy, obsessed by a consuming passion for lear.ung, at the Quaker's boarding- school at Aklerley. He had come thither from "Wakefield at the age of thirteen — after the death of his father, who was, in a double sense, the cardinal form.itive influence in his life. The tones of his father's voice, his father's gestures, never departed from him ; when he read aloud, particularly if it was poetry he read, hi.H father returned in him. He could draw in those days with great skill and vigour — it will seem significant to many that he was particularly fascinated by Hogarth's work, and that he copied and imitated it ; and his f.-ither's well-stocked library, and his father's encourage- ment, had quickened his imagination and given it its enduring bias for literary activity.' Like Defoe, Smollett, Sterne, Borrow, Dickens, Eliot, 'G. G.' is, half involuntarily, almost unconsciously autobiogra[)hic. AN INTRODUCTORY SURVEY xvii ask myself how books were written and how the men lived who wrote them. It is my last glimpse of childhood. Six months later there was an empty chair in my own home, and the tenor of my life was broken. ' Seven years after this I found myself amid the streets of London and had to find the means of keeping myself alive. What I chiefly thought of was that now at length I could go hither or thither in London's immensity seeking for the places which had been made known to me by Dickens. ' One day in the city I found myself at the entrance to Bevis Marks! I had just been making an application in reply to some advertisement — of course, fruitlessly; but what was that disappoint- ment compared with the discovery of Bevis Marks ! Here dwelt Mr. Brass and Sally and the Marchioness. Up and down the little street, this side and that, I went gazing and dreaming. No press of busy folk disturbed me ; the place was quiet ; it looked no doubt much the same as when Dickens knew it. I am not sure that I had any dinner that day ; but, if not, I daresay I did not mind it very much.' The broad flood under Thames bridges spoke to him in the very tones of ' the master.' He breathed Guppy's London particular, the wind was the black easter that pierced the diaphragm of Scrooge's clerk. ' We bookish people have our connotations for the life we do not live. In time I came to see London with my own eyes, but how much better when I saw it with those of Dickens ! ' Tired and discouraged, badly nourished, badly housed — working under conditions little favourable to play of the fancy or intentness of the mind — ^then was the time, Gissing found, to take down Forster and i*ead — read about Charles Dickens. ' Merely as the narrative of a wonderfully active, zealous, and successful life, this book scarce has its equal ; almost any reader must find it exhilarating ; but to me it yielded such special sustenance as in those days I could not have found elsewhere, and lacking which I should, perhaps, have failed by the way. I am xviii THE WORK OF GEORGE GISSING not referrina: to Dickens's swift triumph, to his resoundinjf fame aiiil hi^^h prosperity ; these thini^s are cheery to read about, especially when shown in a light so human, with the accompani- ment of so much geniality and mirth. Xo ; the pages which invigorated me are those where we see Dickens at work, alone at his writing-table, absorbed in the task of the story-teller. Constantly he makes known to Forster how his story is getting on, speaks in detail of difficulties, rejoices over spells of happy labour ; and what splendid sincerity in it all ! If this work of his was not worth doing, why, nothing was. A troublesome letter has arrived by the morning's post and threatens to spoil the day ; but he takes a few turns up and down the room, shakes off the worry, and sits down to write for hours and hours. He is at the sea-side, his desk at a sunny bay window overlooking the shore, and there all the morning he writes with gusto, ever and again bursting into laughter at his own thoughts.' ^ The influence of Dickens clearly predominated when Gissing wi'ote his next novel and first really notable and artistic book, Thi/r.za.'^ The figure which irradiates this story is evidently designed in the school of Dickens : it might almost be a pastel after some more highly finished work by Daudet. liut Dandet is a more relentless observer than Gissing, and to find a parallel to this particular effect 1 think we must go back a little farther to the heroic age of the griscUe and the tearful Mnuchon de Francine of Menri Murger. T/iyrsa, at any rate, is a most exquisite ' See a deeply interesting paper on Dickens by 'G. G.' in the New York Critic, Jan. l'Ji)-i. Much of this is avowed autobiograpliy. > Thyrza: A Novel (3 vols., 1887). In later life we are told that GisBing aflFecte