YOU must excuse me the gaucherie of a compliment,” I said to Bevan in the smoking-room, after a very pleasant dinner, “but you have never been more brilliant. Five stories, and each a success, is surely a record even in your experience.”

“It is very good of you to appreciate my poor efforts so highly. I felt it a distinct risk to attempt five in one evening—six is the farthest limit sanctioned by any raconteur of standing. You can always distinguish an artist from a mere amateur by his severe reserve. He knows that an anecdote is a liqueur, and he offers it seldom; but the other pours out his stuff like vin ordinaire, which it is, as a rule, the mere dregs of the vine. Did you ever notice how a man will come back from Scotland in autumn, and bore companies of unoffending people with a flood of what he considers humorous Scottish stories? It is one of the brutalities of conversation. What irritates me is not that the material is Scottish, for there are many northern stories with a fine flavour; it is the fellow's utter ignorance of the two great principles of our art.”

“Which are?”

“Selection and preparation,” said Bevan, with decision. “One must first get good stuff, and then work it into shape. It is amazing how much is offered and how little is of any use. People are constantly bringing me situations that they think excellent, and are quite disappointed when I tell them they are impossible for the purposes of art. Nothing can be done with them, although of course another artist in a different line might use them. Now I have passed several 'bits' on to Brown-Johnes, who delivers popular lectures. The platform story is scene-painting, the after-dinner miniature.”

“May I ask whether you are ever taken in, as it were, with your material, and find it 'give' after it has been manufactured, like rotten yarn or unseasoned wood?”

“Rarely; one's eye gets to be trained so that you know a promising subject at sight, but then comes the labour. I've heard a man bore a dinner-table to the yawning point with a story that had some excellent points in it, but he had taken no trouble, perhaps had no insight.”

“And you succeeded with it...?”

“It is, in my humble judgment, as good a story of its kind now as you would wish to hear, and it bears improvement, which is a good sign. A really high-class story will take years to perfect, just as I am told by clergymen that a sermon only begins to go after it has been preached twenty times.”

“You have been working on that Shakespeare bit, by the way; I noticed at least one new touch this evening which was excellent.”

“Now that is very gratifying,” and Bevan was evidently pleased; “it is a great satisfaction to have one's work appreciated in an intelligent manner; perhaps you are the only one present who saw any difference.

“What I think I like best”—and he tapped his snuff-box in a meditative way—“is to get an old, decayed, hopeless story, and restore it. Breaking out a window here, adding a porch there, opening up a room, and touching up the walls—it is marvellous what can be done. Besides new drains,” he added, with significance, “the sanitary state of some of those old stories is awful. You feel the atmosphere at the door—quite intolerable, and indeed dangerous.”

“Then you do not think that indecency...?”

“No, nor profanity. Both are bad art; they are cheap expedients, like strong sauces to cover bad cooking. It sounds like boasting, but I have redeemed one or two very unpleasant tales, which otherwise had been uninhabitable, if I may trifle again with my little figure, and now are charming.”

“You rather lean, one would gather, to old tales, while some of the younger men are terrified of telling a 'chestnut,' always prefacing, 'This must be well known, but it is new to me; say at once if you have heard it.'”

“Most humiliating, and quite unworthy of an artist. Heard it before!” and the old gentleman was full of scorn. “Imagine a painter apologizing for having taken a bend of the Thames or a Highland glen some man had used before. Of course, if one makes a copy of a picture and exhibits it as his own, that is fraud, and the work is certain to be poor. One must respect another artist's labour, which is the ground of his copyright. But if one makes a 'bit' of life as old as Aristophanes or Horace his own, by passing it through his own fancy and turning it out in his own style, then it is ever new. Then there is the telling! There are musicians who can compose, but who cannot play, and vice versÂ. So with our art, there are story-tellers and story-makers. The former can suffer no wrong, for they are self-protected, but the latter have never been protected as they deserve in the fruit of their brains. You will see at once that, if I am right, the ownership of an anecdote is quite beyond dispute. The original material is really for the most part common property, and usually very poor property—prairie land, in fact. Personal rights come in when one has put capital into the land, has cleared and ploughed and sown it; then it's his own, and he is entitled to fence it, and he cannot be dispossessed except on fair terms.”

“Which would be?”

“Well, that depends. He might sell to an editor, or he might give the use of it to a friend. Personally, as an artist of now thirty years' standing, I do not part with my work; it may be an old-fashioned prejudice, but I don't like to let it go to the public.”

“But to a friend?”

“Of course that is different; still, how few can be trusted. Now I once gave Higginbotham a very nice little thing of French extraction, but not too subtle, with just enough body to suit our palate. He beard me tell it three times in exactly the same form, and I pledged him to make no changes, for his hand is heavy. Would you believe me?”—and my friend sat up in his indignation—“he gave it in my presence—but that did not matter—and left out the best point, which I now think he had never seen. Life has various trials in store for us as times go on,” and Bevan leant back again. “Some are greater, some are less, but among our minor vexations I know none like sitting at one end of a table and making talk with your partner, while a rank amateur at the other end mangles one of your pet anecdotes.”

“Torture, I should think; but isn't it rather trying when people miss the point altogether or ask stupid questions?”

“Artists must take their chance of that, and one is careful; besides, I've distinctly enjoyed such remarks,” and he looked quite genial. “It's like a painter hearing the people criticize the pictures on a free day. Once or twice I've got a very happy addition to a story in that way. After all, the main end of a raconteur must be to give pleasure. Yes”—and he began to glow—“no art is wholesome which lives for itself or for a professional class. Art must be a criticism of life and an aid to better living. No one can tell how much story-telling has contributed to the brightness and elevation of life. How? By correcting foibles, by explaining human nature, by destroying cant, by infusing good humour, by diminishing scandal, by—but I remind myself that a raconteur ought never to be excited or eloquent. He may, however, be a philanthropist, as it would appear. Do you know,” with a tone of great delight, “that I was once asked by a physician to call upon one of his patients, a mutual friend, and spend an hour with him, as a... tonic, in fact. It was after influenza, and the convalescent began by asking me whether I would distribute a sum of money among the poor. 'I'm not sure what I'm dying of; either peritonitis or pneumonia, but I'm glad to see you, Bevan, and you will do this little kindness for me'—those were his affecting words. 'Certainly,' I said, and that led me to give him a trifle from Devonshire—excellent place for stories—which seemed to interest him. I only told four stories—for he was rather weak, having had a slight touch of bronchitis—and he is pleased still to thank me,” and Bevan nodded with much satisfaction.

As I looked at him, so filled with the pride of his art, the time seemed to have come for a question that had long been in my mind. But it was necessary to be careful.

“What, may I ask, Mr. Bevan, do you feel about the matter of... well, you won't misunderstand me... of accuracy?”

“You mean whether is there any difference between giving evidence in a witness-box and relating an anecdote. Everything. The one is a land surveyor's plan, and must be correct to an inch. The other is a picture, and must interpret nature. The one is a matter of fact, the other a work of art. Imagine the folly”—and the good man rose to his feet—“if one should demand to know whether the figures in a historical painting stood exactly so and were dressed in those particular colours; we should think the man mad. A story is a miniature novel, shot through with humour, a morsel of the irony of things, a tiny comedy, and for it there is but one rule of judgment—does it represent the spirit of life?”

“What then do you think of one who should certify an anecdote as a fact?”

“That he did not know his craft, for if the tale has no merit, then it is little compensation to tell us it happened; if it has merit, we are sure it ought to have happened.”

“And if one should interrupt a raconteur as he approached his point, and should inquire whether the thing be true?”

“I am a merciful man,” said the venerable artist, “but my conviction is that he ought to be shot.”