The evening closing in early was the dawn of the intellectual labours of the day. _The Saturday Magazine_ made frequent appearances, burgeoning like Aaron’s rod into miraculous blossom of prose and poetry: between-whiles Arthur composed voluntaries to be played on the organ in the chapel at prayers, Nellie studied the violin, Hugh produced a marionette theatre, and wrote a highly original play for it, called _The Sandy Desert; or, Where is the Archbishop?_ and Maggie made oil pictures of her family of Persian cats. Once at least during Christmas holidays we all jointly wrote a play: it was _The Spiritualist_ one year, in which there was a slashing exposure of mediums; another year we dramatized _The Rose and the Ring_ in operatic form with original lyrics set to popular tunes. With the exception of Nellie, our voices were singularly inefficient and completely untrained, which was part of the fun of it. To these plays the neighbourhood was invited, and all the servants and lodge-keepers formed a solid mass at the back. At one of them, Arthur for some reason, must be disguised as a young woman, six feet two high, with a yard or so of trousers showing below the skirt. This impersonation made a kitchen-maid laugh so hysterically, that the play had to pause while she was taken out by two housemaids, and her yells died away as she retreated down the back-stairs.
Life in those holidays was an orgy, celebrated in an atmosphere of absolutely ceaseless argument and discussion. Every question rose to boiling-point: for while we regarded each other with strong and quite unsentimental affection we were violently critical of each other. We drew biting caricatures of my father going to sleep after tea, of my mother keenly observant above and not through her spectacles, of Hugh falling off Ajax, of any ludicrous and humorous posture. But above all it was writing that most enthralled us, and innumerable were the quires of sermon-paper that yielded up their fair white lives to our scribblings. These were now beginning to enter a more professional arena than the _Saturday Magazine_; Nellie, then at Lady Margaret’s Hall in Oxford, had, before she was twenty, published an article on Crabbe in _Temple Bar_; Arthur, a year or two older, had written his first book, _Arthur Hamilton_, in the form of an imaginary memoir, and Maggie and I were in the throes of a joint story, in which I can perceive the infancy of a novel called _Dodo_. This was abandoned before completion, but in a moraine of forgotten dustinesses, I came across some few pages of it the other day and really felt that there was some notion in it, some conscious attempt anyhow, to convey character by means of conversation rather than by analysis, an achievement in the direction of which, in spite of dispiriting results, I am still grubbing away. There certainly, in that heap of ancient manuscript fortuitously preserved, was the conscious striving after psychical dialogue, in which the interlocutors revealed themselves. Trivial as might be the personalities revealed, the idea of the excited authors was to avoid narrated analysis, and to convict and justify their characters out of their own mouths. There was a crisis of creativeness in the writing of it, for we firmly and designedly intended that a certain middle-aged lady, at whose feet everybody else fell flat in adoration of her tact and her sympathy and her comprehension, should “be” my mother. But, such is the waywardness of idealistic portraiture, we found, about Chapter VI, that though she was already supposedly installed on the throne of tact and comprehension, before which everybody else bowed the knee, she had not justified the part which we had cast for her, for she really had said little more than “I feel so deeply for you,” or “Pass the mustard.” We were determined that she should reveal her incomparable humanity by the sympathetic dialogues in which we engaged her, but she was so tactful that she never said anything at all that bore on the problems which were submitted to her. In the book to which I have alluded, she certainly appears as “Mrs. Vivian,” who, as may faintly be remembered, is supposed to be possessed of super-human tact and insight, taking painful situations with calming and yet exhilarating effect. For the satisfaction of the curious, it may be stated that Mrs. Vivian was the one live model in the book and was completely unrecognisable. When first we enthusiastically scribbled at its earlier incarnation, my sister and I were at the ages of nineteen and seventeen, and for the very reason, namely, that we thought of my mother in our adoring limning of her, the presentment is not only unlike her, but unlike anybody at all.