Actors -- Fiction; England -- Fiction; Theater -- Fiction
Lack of concentration and cohesion are among the chief snares lying in
wait for him who chronicles character rather than plot. One might, of
course, hazard, by way of excuse, that the recently recounted
reminiscence was of greater interest than a detailed account of a roast
leg of lamb followed by black-currant tart would prove. But
justifications are always dull. To Eliphalet Cardomay the London episode
was a grief unspeakable, whereas the homely repast, consumed in such
familiar and well-loved surroundings, was the very reverse.
He finished that black-currant tart unto the final morsel, till naught
but the permanganate-coloured stains upon the plate remained in token of
its recent being. There was something almost boyish in the liberality of
his appetite. In using the term boyish the period of his own youth is
not implied, for Eliphalet displayed no youthful traits until his hair
was silvered, his brow furrowed, and his eyes deep-set.
There are certain men whose mental condition bears little or no relation
to their years, and he was one of them. They are born with grown-up
minds, sage and mature convictions, unsuited to youth and only really
serviceable when they have reached that time of life with which such
gravity accords.
Eliphalet Cardomay, even when a boy, was oppressed with a middle-aged
manner and a professional mien. It might truthfully be said that his
brain and body did not synchronise until he had passed the forty-year
high-water mark. His body, or, to put it more gracefully, his externals,
were prepossessing. His broad forehead, swept-back hair, bold eyebrows
and dilated nostrils, gave suggestion of virility and power. To a maiden
they were productive of second glances, an added colour and a quickening
of heart-beats against the ramparts of her corsets. In this well-knit
yet æsthetic youth she might be pardoned for presuming there lurked
wells of high romance, tempered with humour and a knavish disposition.
It was said of him in the company, where he played juvenile leads at two
pounds two shillings a week, that he was “deep.” Furthermore, since it
was never his custom to boast about deeds of love, the young men with
whom his lot was cast credited him with the proclivities of a Lothario
and laid to his account many charming indiscretions in the glades of
Eros. The older members of the company were wiser, or deemed themselves
to be, and decided, not without a certain rough justice, that he was a
bit of a prig. For this reason, Harrington May, who specialised in
villains of the heavier kind, gave him the title of “Mother’s Boy” and
named him as such to his face.
Eliphalet was very grave (he had accomplished the forty-five manner
twenty years before he was entitled to it), and replied:
Public-domain text, read in full here on John Shaqi.
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