I have been alluding, I had succeeded in inducing your mother to send you out of England, I collected again the torn and ravelled web of my imagination, got my life back into my own hands, and not merely finished the three remaining acts of the Ideal Husband, but conceived and had almost completed two other plays of a completely different type, the Florentine Tragedy and La Sainte Courtesane, when suddenly, unbidden, unwelcome, and under circumstances fatal to my happiness, you returned.  The two works left then imperfect I was unable to take up again.  The mood that created them I could never recover.  You now, having yourself published a volume of verse, will be able to recognise the truth of everything I have said here.  Whether you can or not it remains as a hideous truth in the very heart of our friendship.  While you were with me you were the absolute ruin of my art, and in allowing you to stand persistently between Art and myself, I give to myself shame and blame in the fullest degree.  You couldn’t appreciate, you couldn’t know, you couldn’t understand.  I had no right to expect it of you at all.  Your interests were merely in your meals and moods.  Your desires were simply for amusements, for ordinary or less ordinary pleasures.  They were what your temperament needed, or thought it needed for the moment.  I should have forbidden you my house and my chambers except when I specially invited you.  I blame myself without reserve for my weakness.  It was merely weakness.  One half-hour with Art was always more to me than a cycle with you.  Nothing really at any period of my life was ever of the smallest importance[44] to me compared with Art.  But in the case of an artist, weakness is nothing less than a crime when it is a weakness that paralyses the imagination.

I blame myself for having allowed you to bring me to utter and discreditable financial ruin.  I remember one morning in the early October of ’92, sitting in the yellowing woods at Bracknell with your mother.  At that time I knew very little of your real nature.  I had stayed from a Saturday to Monday with you at Oxford.  You had stayed with me at Cromer for ten days and played golf.  The conversation turned on you, and your mother began to speak to me about your character.  She told me of your two chief faults, your vanity, and your being, as she termed it, “all wrong about money.”  I have a distinct recollection of how I laughed.  I had no idea that the first would bring me to prison and the second to bankruptcy.  I thought vanity a sort of graceful flower for a young man to wear, as for extravagance—­the virtues of prudence and thrift were not in my own nature or my own race.  But before our friendship was one month older I began to see what your mother really meant.  Your insistence on a life of reckless profusion:  your incessant demands for money:  your claim that all your pleasures should be paid for by me, whether I was with you or not, brought me, after some time, into serious monetary