Peter Pan & Other Magical Adventures For Children - 10 Classic Fantasy Books in One Volume (Illustrated Edition). J. M. Barrie

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СКАЧАТЬ by the pretty public; but this play of Peter,no. Even my beginning as an amateur playwright, that noble mouthful, Bandelero the Bandit, I remember every detail of its composition in my school days at Dumfries. Not less vivid is my first little piece, produced by Mr. Toole. It was calledIbsen's Ghost, and was a parody of the mightiest craftsman that ever wrote for our kind friends in front. To save the management the cost of typing I wrote out the 'parts,' after being told what parts were, and I can still recall my first words, spoken so plaintively by a now famous actress,—'To run away from my second husband just as I ran away from my first, it feels quite like old times.' On the first night a man in the pit foundIbsen's Ghost so diverting that he had to be removed in hysterics. After that no one seems to have thought of it at all. But what a man to carry about with one! How odd, too, that these trifles should adhere to the mind that cannot remember the long job of writing Peter. It does seem almost suspicious, especially as I have not the original MS. of Peter Pan (except a few stray pages) with which to support my claim. I have indeed another MS., lately made, but that 'proves nothing.' I know not whether I lost that original MS. or destroyed it or happily gave it away. I talk of dedicating the play to you,but how can I prove it is mine? How ought I to act if someother hand, who could also have made a copy, thinks it worthwhile to contest the cold rights? Cold they are to me now as that laughter of yours in which Peter came into being long before he was caught and written down. There is Peter still, but to me he lies sunk in the gay Black Lake.

      Any one of you five brothers has a better claim to the authorship than most, and I would not fight you for it, but you should have launched your case long ago in the days when you most admired me, which were in the first year of the play, owing to a rumour's reaching you that my spoils were one-and-sixpence a night. This was untrue, but it did give me a standing among you. You watched for my next play with peeled eyes, not for entertainment but lest it contained some chance witticism of yours that could be challenged as collaboration; indeed I believe there still exists a legal document, full of the Aforesaid and Henceforward to be called Part-Author, in which for some such snatching I was tied down to pay No. 2 one halfpenny daily throughout the run of the piece.

      During the rehearsals of Peter (and it is evidence in my favour that I was admitted to them) a depressed man in overalls, carrying a mug of tea or a paint-pot, used often to appear by my side in the shadowy stalls and say to me, 'The gallery boys won't stand it.' He then mysteriously faded away as if he were the theatre ghost. This hopelessness of his is what all dramatists are said to feel at such times, so perhaps he was the author. Again, a large number of children whom I have seen playing Peter in their homes with careless mastership, constantly putting in better words, could have thrown it off with ease. It was for such as they that after the first production I had to add something to the play at the request of parents (who thus showed that they thought me the responsible person) about no one being able to fly until the fairy dust had been blown on him; so many children having gone home and tried it from their beds and needed surgical attention.

      Notwithstanding other possibilities, I think I wrote Peter,and if so it must have been in the usual inky way. Some of it, I like to think, was done in that native place which is the dearest spot on earth to me, though my last heart-beats shall be with my beloved solitary London that was so hard to reach. I must have sat at a table with that great dog waiting for me to stop, not complaining, for he knew it was thus we made our living,but giving me a look when he found he was to be in the play, with his sex changed. In after years when the actor who was Nana had to go to the wars he first taught his wife how to take his place as the dog till he came back, and I am glad that I see nothing funny in this; it seems to me to belong to the play. I offer this obtuseness on my part as my first proof that I am the author.

      Some say that we are different people at different periods of our lives, changing not through effort of will, which is a brave affair, but in the easy course of nature every ten years or so. I suppose this theory might explain my present trouble, but I don't hold with it; I think one remains the same person throughout, merely passing, as it were, in these lapses of time from one room to another, but all in the same house. If we unlock the rooms of the far past we can peer in and see ourselves, busily occupied in beginning to become you and me. Thus, if I am the author in question the way he is to go should already be showing in the occupant of my first compartment, at whom I now take the liberty to peep. Here he is at the age of seven or so with his fellow-conspirator Robb, both in glengarry bonnets. They are giving an entertainment in a tiny old washing-house that still stands. The charge for admission is preens, a bool, or a peerie (I taught you a good deal of Scotch, so possibly you can follow that), and apparently the culminating Act consists in our trying to put each other into the boiler, though some say that I also addressed the spell-bound audience. This washing-house is not only the theatre of my first play, but has a still closer connection with Peter. It is the original of the little house the Lost Boys built in the NeverLand for Wendy, the chief difference being that it neverwore John's tall hat as a chimney. If Robb had owned a lumhat I have no doubt that it would have been placed on the washing-house.

      Here is that boy again some four years older, and the reading he is munching feverishly is about desert islands; he calls them wrecked islands. He buys his sanguinary tales surreptitiously in penny numbers. I see a change coming over him; he is blanching as he reads in the high-class magazine, Chatterbox, a fulmination against such literature, and sees that unless his greed for islands is quenched he is for ever lost. With gloaming he steals out of the house, his library bulging beneath his palpitating waistcoat. I follow like his shadow, as indeed I am, and watch him dig a hole in a field at Pathhead farm and bury his islands in it; it was ages ago, but I could walk straight to that hole in the field now and delve for the remains. I peep into the next compartment. There he is again, ten years older,an undergraduate now and craving to be a real explorer, one of those who do things instead of prating of them, but otherwise unaltered; he might be painted at twenty on top of a mast, in his hand a spy-glass through which he rakes the horizon for an elusive strand. I go from room to room, and he is now a man, real exploration abandoned (though only because no one would have him). Soon he is even concocting other plays, and quaking \a little lest some low person counts how many islands there are in them. I note that with the years the islands grow more sinister, but it is only because he has now to write with the left hand, the right having given out; evidently one thinks more darkly down the left arm. Go to the keyhole of the compartment where he and I join up, and you may see us wondering whether they would stand one more island. This journey through the house may not convince any one that I wrote Peter, but it does suggest me as a likely person. I pauseto ask myself whether I read Chatterbox again, suffered the old agony, and buried that MS. of the play in a hole in a field.

      Of course this is over-charged. Perhaps we do change; except a little something in us which is no larger than a mote inthe eye, and that, like it, dances in front of us beguiling us all our days. I cannot cut the hair by which it hangs.

      The strongest evidence that I am the author is to be found,I think, in a now melancholy volume, the aforementioned The Boy Castaways; so you must excuse me for parading that work here. Officer of the Court, call The Boy Castaways. The witness steps forward and proves to be a book you remember well though you have not glanced at it these many years. I pulled it out of a bookcase just now not without difficulty, for its recent occupation has been to support the shelf above. I suppose, though I am uncertain, that it was I and not you who hammered it into that place of utility. It is a little battered and bent after the manner of those who shoulder burdens, andought (to our shame) to remind us of the witnesses who sometimes get an hour off from the cells to give evidence before his Lordship. I have said that it is the rarest of my printed works,as it must be, for the only edition was limited to two copies, of which one (there was always some devilry in any matter connected with Peter) instantly lost itself in a railway carriage.This is the survivor. The idlers in court may have assumed that it is a handwritten screed, and are impressed by its bulk.It is printed by Constable's (how handsomely you did us, dear Blaikie), it contains thirty-five illustrations and is bound in cloth with a picture stamped on the cover of the three eldest of you 'setting out to be wrecked.' This record is supposed to be edited by the youngest of the three, and I must have granted him that honour to make up for his being so often lifted bodily out of our adventures by his СКАЧАТЬ