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I could see that this necessity grew upon her during the years she spent abroad, when I had glimpses of her in the shifting sojourns that lay in the path of my annual ramble. She betook herself from Germany to Switzerland and from Switzerland to Italy; she favoured cheap places and set up her desk in the smaller capitals. I took a look at her whenever I could, and I always asked how Leolin was getting on. She gave me beautiful accounts of him, and whenever it was possible the boy was produced for my edification. I had entered from the first into the joke of his career–I pretended to regard him as a consecrated child. It had been a joke for Mrs. Stormer at first, but the boy himself had been shrewd enough to make the matter serious. If his mother accepted the principle that the intending novelist cannot begin too early to see life, Leolin was not interested in hanging back from the application of it. He was eager to qualify himself, and took to cigarettes at ten, on the highest literary grounds. His poor mother gazed at him with extravagant envy and, like Desdemona, wished heaven had made HER such a man. She explained to me more than once that in her profession she had found her sex a dreadful drawback. She loved the story of Madame George Sand’s early rebellion against this hindrance, and believed that if she had worn trousers she could have written as well as that lady. Leolin had for the career at least the qualification of trousers, and as he grew older he recognised its importance by laying in an immense assortment. He grew up in gorgeous apparel, which was his way of interpreting his mother’s system. Whenever I met her I found her still under the impression that she was carrying this system out and that Leolin’s training was bearing fruit. She was giving him experience, she was giving him impressions, she was putting a gagnepain into his hand. It was another name for spoiling him with the best conscience in the world. The queerest pictures come back to me of this period of the good lady’s life and of the extraordinarily virtuous, muddled, bewildering tenor of it. She had an idea that she was seeing foreign manners as well as her petticoats would allow; but, in reality she was not seeing anything, least of all fortunately how much she was laughed at. She drove her whimsical pen at Dresden and at Florence, and produced in all places and at all times the same romantic and ridiculous fictions. She carried about her box of properties and fished out promptly the familiar, tarnished old puppets. She believed in them when others couldn’t, and as they were like nothing that was to be seen under the sun it was impossible to prove by comparison that they were wrong. You can’t compare birds and fishes; you could only feel that, as Greville Fane’s characters had the fine plumage of the former species, human beings must be of the latter.

It would have been droll if it had not been so exemplary to see her tracing the loves of the duchesses beside the innocent cribs of her children. The immoral and the maternal lived together in her diligent days on the most comfortable terms, and she stopped curling the mustaches of her Guardsmen to pat the heads of her babes. She was haunted by solemn spinsters who came to tea from continental pensions, and by unsophisticated Americans who told her she was just loved in THEIR country. “I had rather be just paid there,” she usually replied; for this tribute of transatlantic opinion was the only thing that galled her. The Americans went away thinking her coarse; though as the author of so many beautiful love-stories she was disappointing to most of these pilgrims, who had not expected to find a shy, stout, ruddy lady in a cap like a crumbled pyramid. She wrote about the affections and the impossibility of controlling them, but she talked of the price of pension and the convenience of an English chemist. She devoted much thought and many thousands of francs to the education of her daughter, who spent three years at a very superior school at Dresden, receiving wonderful instruction in sciences, arts and tongues, and who, taking a different line from Leolin, was to be brought up wholly as a femme du monde. The girl was musical and philological; she made a specialty of languages and learned enough about them to be inspired with a great contempt for her mother’s artless accents. Greville Fane’s French and Italian were droll; the imitative faculty had been denied her, and she had an unequalled gift, especially pen in hand, of squeezing big mistakes into small opportunities. She knew it, but she didn’t care; correctness was the virtue in the world that, like her heroes and heroines, she valued least. Ethel, who had perceived in her pages some remarkable lapses, undertook at one time to revise her proofs; but I remember her telling me a year after the girl had left school that this function had been very briefly exercised. “She can’t read me,” said Mrs. Stormer; “I offend her taste. She tells me that at Dresden–at school–I was never allowed.” The good lady seemed surprised at this, having the best conscience in the world about her lucubrations. She had never meant to fly in the face of anything, and considered that she grovelled before the Rhadamanthus of the English literary tribunal, the celebrated and awful Young Person. I assured her, as a joke, that she was frightfully indecent (she hadn’t in fact that reality any more than any other) my purpose being solely to prevent her from guessing that her daughter had dropped her not because she was immoral but because she was vulgar. I used to figure her children closeted together and asking each other while they exchanged a gaze of dismay: “Why should she BE so–and so FEARFULLY so–when she has the advantage of our society? Shouldn’t WE have taught her better?” Then I imagined their recognising with a blush and a shrug that she was unteachable, irreformable. Indeed she was, poor lady; but it is never fair to read by the light of taste things that were not written by it. Greville Fane had, in the topsy-turvy, a serene good faith that ought to have been safe from allusion, like a stutter or a faux pas.