The Wheels of Chance: A Bicycling Idyll/Chapter 10
THE IMAGININGS OF MR. HOOPDRIVER'S HEART
You must not think that there was any telling of these stories of this life-long series by Mr. Hoopdriver. He never dreamt that they were known to a soul. If it were not for the trouble, I would, I think, go back and rewrite this section from the beginning, expunging the statements that Hoopdriver was a poet and a romancer, and saying instead that he was a playwright and acted his own plays. He was not only the sole performer, but the entire audience, and the entertainment kept him almost continuously happy. Yet even that playwright comparison scarcely expresses all the facts of the case. After all, very many of his dreams never got acted at all, possibly indeed, most of them, the dreams of a solitary walk for instance, or of a tramcar ride, the dreams dreamt behind the counter while trade was slack and mechanical foldings and rollings occupied his muscles. Most of them were little dramatic situations, crucial dialogues, the return of Mr. Hoopdriver to his native village, for instance, in a well-cut holiday suit and natty gloves, the unheard asides of the rival neighbours, the delight of the old 'mater,' the intelligence—"A ten-pound rise all at once from Antrobus, mater. Whad d'yer think of that?" or again, the first whispering of love, dainty and witty and tender, to the girl he served a few days ago with sateen, or a gallant rescue of generalised beauty in distress from truculent insult or ravening dog.
So many people do this—and you never suspect it. You see a tattered lad selling matches in the street, and you think there is nothing between him and the bleakness of immensity, between him and utter abasement, but a few tattered rags and a feeble musculature. And all unseen by you a host of heaven-sent fatuities swathes him about, even, maybe, as they swathe you about. Many men have never seen their own profiles or the backs of their heads, and for the back of your own mind no mirror has been invented. They swathe him about so thickly that the pricks of fate scarce penetrate to him, or become but a pleasant titillation. And so, indeed, it is with all of us who go on living. Self-deception is the anæsthetic of life, while God is carving out our beings.
But to return from this general vivisection to Mr. Hoopdriver's imaginings. You see now how external our view has been; we have had but the slightest transitory glimpses of the drama within, of how the things looked in the magic mirror of Mr. Hoopdriver's mind. On the road to Guildford and during his encounters with his haunting fellow-cyclists the drama had presented chiefly the quiet gentleman to whom we have alluded, but at Guildford, under more varied stimuli, he burgeoned out more variously. There was the house agent's window, for instance, set him upon a charming little comedy. He would go in, make inquires about that thirty-pound house, get the key possibly and go over it—the thing would stimulate the clerk's curiosity immensely. He searched his mind for a reason for this proceeding and discovered that he was a dynamiter needing privacy. Upon that theory he procured the key, explored the house carefully, said darkly that it might suit his special needs, but that there were others to consult. The clerk, however, did not understand the allusion, and merely pitied him as one who had married young and paired himself to a stronger mind than his own.
This proceeding in some occult way led to the purchase of a note-book and pencil, and that started the conception of an artist taking notes. That was a little game Mr. Hoopdriver had, in congenial company, played in his still younger days—to the infinite annoyance of quite a number of respectable excursionists at Hastings. In early days Mr. Hoopdriver had been, as his mother proudly boasted, a 'bit of a drawer,' but a conscientious and normally stupid schoolmaster perceived the incipient talent and had nipped it in the bud by a series of lessons in art. However, our principal character figured about quite happily in old corners of Guildford, and once the other man in brown, looking out of the bay window of the Earl of Kent, saw him standing in a corner by a gateway, note-book in hand, busily sketching the Earl's imposing features. At which sight the other man in brown started back from the centre of the window, so as to be hidden from him, and crouching slightly, watched him intently through the interstices of the lace curtains.