THE MAN WHO WAS GOOD

BY

LEONARD MERRICK

WITH AN INTRODUCTION BY

J.K. PROTHERO

HODDER & STOUGHTON

LONDON—NEW YORK—TORONTO

1921

"That is the doctrine, simple, ancient, true; Such is life's trial, as old earth smiles and knows. If you loved only what were worth your love, Love were clear gain, and wholly well for you."

James Lee's Wife.

INTRODUCTION

There is a rare refreshment in the works of Leonard Merrick; gracious yet distinctive, his style has a polished leisure seldom enjoyed these days when perfection of literary form is at a discount. His art is impossible of label; almost alone amongst the writers of to-day he has the insight and the courage at once to admit the pitiless facts of life and to affirm despite them—through hunger and loneliness, injustice and disappointment—the spirit can and does remain unbroken; that if there be no assurance of success, neither is there certainty of failure.

There is no sentimental weakness in the method he employs. A rare genius for humour tempers all his work; he can record the progressive starvation of an actor out of work in an economy of phrase that leaves no room for gratuitous appeal, trace the long-drawn efforts to outpace persistent poverty of pence with a simplicity that enforces conviction. His pen is never so poignant or restrained as when he shows us a woman sharpened and coarsened by cheap toil. But throughout the tale of struggle and triumph, defeat and attainment, there persists that sense of eternal quest which shortens the hardest road. Do you starve to-day? Opportunity of plenty may wait at the street corner, the chance of a lifetime alight from the next bus; for Leonard Merrick is not concerned with people of large incomes and small problems; the men and women of whom he writes earn their own living.

His most marked successes deal with stage life, indeed he is one of the very few authors who convince one of the actuality of theatrical folk. He shows us the chorus girl in her lodgings, in the Strand bars, at the dramatic agency; we understand her ambitions, become familiar with her unconquerable pluck and capacity for comradeship, even acquire a liking for the smell of grease-paint. We meet the same girl out of an engagement, follow her pilgrimage from Bloomsbury to Brixton seeking an ever cheaper lodging; we watch the mud and wet of the streets soak her inadequate boots, endure with her the pangs of hunger ill-allayed by a fugitive bun. We accompany her to the pawnbroker's, and experience the joys of combat with a recalcitrant "uncle" who refuses to lend more than eighteenpence on a silk blouse. And still the sense of adventure persists, the reality of romance endures, the joy of laughter remains. We realise the compensation of precarious tenure on sufficiency, appreciate the great truth that the adversity of to-day is lightened by the uncertainty of to-morrow, that no matter how grim the struggle, how sharp the hardship—and the hunger—the sense of adventure companions and consoles. Authors who concern themselves only with men and women of assured position and regular incomes have forgotten the truth which Leonard Merrick so triumphantly affirms. Romance is no respecter of persons. The freedom of the open road, its promise, its pitfalls, sudden ecstasies and fugitive glamours is not a preserve of the rich but the heritage of the people.

His psychological methods allure one by their seeming simplicity; quietly, with a delicate deliberation, he emphasises the outline of his characters until with sudden swift decision, in the utterance of a phrase, the doing of some one of those small things that are life's real revelations, he shows you the soul of the man or woman whose externals he has so carefully portrayed. Half-forgotten words and acts crowd in on the memory, as in The Man who was Good when Carew appeals to Mary to save his child—and her rival's. It needed the genius of Merrick to make one realise that the high-water mark of betrayal was reached not by the man's desertion of the woman who loved him, but by his pitiful exploitation of that love.

I know of no author with a more subtle understanding of woman, her generosity and meanness, her strange reticence, amazing candours. Mary Brett an, that tragedy of invincible fidelity, could only have been portrayed by a man able to sense feminine capacity for dumb fortitude. One feels that had she made even a gesture of revolt, Mary would have been freed of the paralysis of sterile constancy; and one knows that women of her type can never make the ultimate defiance.

Leonard Merrick has the inimitable gift of inducing his readers to experience the emotions he portrays. The zest of adventure grips you, as it grips the hero of Conrad in Quest of his Youth, perhaps the greatest of his triumphs. We share with that perfect lover his mellow regrets and his anticipatory ardours; we wait in tremulous expectancy outside the little restaurant in Soho for his delightful Lady Parlington, falling, with him-from light-hearted confidence to sickening uncertainty as time wears on and still she does not come. The same emotional buoyancy stirs in all his work; his incomparable humour endears to us the least of his creations. His adorable landladies become our friends, his "walking gentlemen" our close acquaintance. I do not know to this day whether I have met certain of these heavenly creatures in life or in Mr. Merrick's novels, and it is difficult to enter a theatrical lodging without feeling that you are living the last story in The Man who Understood Women, or revisiting the first beginnings of Peggy Harper.

London has many lovers, none so intimate with her allurements as Leonard Merrick. He knows the glamour of her midnight pavements, the hunger of her clamant streets, and the enchantments of her grey river have drawn him. He has felt the deciduous charm of her luxury, the abiding pleasure of her leafy spaces, and the intriguing alleys of Fleet Street are to him familiar and dear. For the suburbs he has an infinite kindness, and has companioned adventure on many a questing tram.

It has long been a matter of insuperable difficulty to obtain Mr. Merrick's novels; for years I have essayed to find a copy of Conrad, and from every bookseller have been sent empty away. In a moment of folly I lent my own copy to a neighbour—I cannot call him friend—who forthwith adopted the volume as his most invaluable possession, and, undeterred by savagery or threats, refused to give it up. And now after long waiting, I am made glad by a reissue of these incomparable works, and the knowledge that an ever-increasing public, too long denied the opportunity of their acquaintance, will share my delight. Far removed from the nightmare of the problem novel, his books centre on simple human things savoured with the rare salt of his humour; and whether in the suburbs or the slums, in Soho or the Strand, whether prosperous or starving, the men and women of whom he writes are touched with that high courage, that fine comradeship, which is the very essence of romance.

J.K. PROTHERO.

CHAPTER I

There were three women in the dressing-room. Little Miss Macy, who played a subaltern, was pulling off her uniform; and the "Duchess," divested of velvet, stood brushing the powder out of her hair. The third woman was doing nothing. In a chair by the theatrical hamper labelled "Miss Olive Westland's Tour: 'The Foibles of Fashion' Co.," she sat regarding the others, her hands idle in her lap. She was scarcely what is called "beautiful," much less was she what ought to be called "pretty"; perhaps "womanly" came nearer to suggesting her than either. Her eyes were not large, but they were so pensive; her mouth was not small, but it curved so tenderly; the face was not regular, but it looked so deliciously soft. Somebody had once said that it "made him admire God"; in watching her, it seemed such a perfect thing that there should be a low white brow, and hair to shade it; it seemed such an exquisite and consummate thing that there should be lips where the Maker put lips, and a chin where the chin is modelled. Her age might have been twenty-seven, also it might have been thirty. The wise man does not question the nice woman's age—he just thanks Heaven she lives; and she in the chair by the hamper was decidedly nice. Other women said so.

"Have you been in front, Mrs. Carew?" asked the "Duchess."

She answered that she had. "I came round at the end. It was a very good house; the business is improving."

"I should think," remarked the "subaltern," reaching for her skirt, "you must know every line of the piece, the times you've seen it! But, of course, you've nothing else to do."

"No, it isn't lively sitting alone all the evening in lodgings; and it's more comfortable in the circle than behind. How you people manage to get dressed in some of the theatres puzzles me; I look at you from the front, remembering where your things were put on, and marvel. If I were in the profession, my salary wouldn't keep me in the frocks I ruined."

"I wonder Carew has never wanted you to go into it."

The nice woman laughed.

"Go into the profession!" she exclaimed—"I? Good gracious, what an idea! No; Tony has a very flattering opinion of his wife's abilities, but I don't think even he goes the length of fancying I could act."

"You'd be as good as a certain leading lady we know of, at any rate. Nobody could be much worse than our respected manageress, I'll take my oath!"