hard, isn't it, Sir, to make sense of it?' If you were shown this line and asked what poet had written it, I think you would be inclined to say, Robert Browning. You would be wrong. It was written by Aleister Crowley.

At the time I knew him he was dabbling in Satanism, magic and the occult. There was just then something of a vogue in Paris for that sort of thing, occasioned, I surmise, by the interest that was still taken in a book of Huysmans's, Là Bas. Crowley told fantastic stories of his experiences, but it was hard to say whether he was telling the truth or merely pulling your leg. During that winter I saw him several times, but never after I left Paris to return to London. Once, long afterwards, I received a telegram from him which ran as follows: 'Please send twenty-five pounds at once. Mother of God and I starving. Aleister Crowley.' I did not do so, and he lived on for many disgraceful years.

I was glad to get back to London. My old friend had by then rooms in Pall Mall, and I was able to take a bedroom in the same building and use his sitting-room to work in. The Magician was published in 1908, so I suppose it was written during the first six months of 1907. I do not remember how I came to think that Aleister Crowley might serve as the model for the character whom I called Oliver Haddo; nor, indeed, how I came to think of writing that particular novel at all. When, a little while ago, my publisher expressed a wish to reissue it, I felt that, before consenting to this, I really should read it again. Nearly fifty years had passed since I had done so, and I had completely forgotten it. Some authors enjoy reading their old works; some cannot bear to. Of these I am. When I have corrected the proofs of a book, I have finished with it for good and all. I am impatient when people insist on talking to me about it; I am glad if they like it, but do not much care if they don't. I am no more interested in it than in a worn-out suit of clothes that I have given away. It was thus with disinclination that I began to read The Magician. It held my interest, as two of my early novels, which for the same reason I have been obliged to read, did not. One, indeed, I simply could not get through. Another had to my mind some good dramatic scenes, but the humour filled me with mortification, and I should have been ashamed to see it republished. As I read The Magician, I wondered how on earth I could have come by all the material concerning the black arts which I wrote of. I must have spent days and days reading in the library of the British Museum. The style is lush and turgid, not at all the sort of style I approve of now, but perhaps not unsuited to the subject; and there are a great many more adverbs and adjectives than I should use today. I fancy I must have been impressed by the écriture artiste which the French writers of the time had not yet entirely abandoned, and unwisely sought to imitate them.

Though Aleister Crowley served, as I have said, as the model for Oliver Haddo, it is by no means a portrait of him. I made my character more striking in appearance, more sinister and more ruthless than Crowley ever was. I gave him magical powers that Crowley, though he claimed them, certainly never possessed. Crowley, however, recognized himself in the creature of my invention, for such it was, and wrote a full-page review of the novel in Vanity Fair, which he signed 'Oliver Haddo'. I did not read it, and wish now that I had. I daresay it was a pretty piece of vituperation, but probably, like his poems, intolerably verbose.

I do not remember what success, if any, my novel had when it was published, and I did not bother about it much, for by then a great change had come into my life. The manager of the Court Theatre, one Otho Stuart, had brought out a play which failed to please, and he could not immediately get the cast he wanted for the next play he had in mind to produce. He had read one of mine, and formed a very poor opinion of it; but he was in a quandary, and it occurred to him that it might just serve to keep his theatre open for a few weeks, by the end of which the actors he wanted for the play he had been obliged to postpone would be at liberty. He put mine on. It was an immediate success. The result of this was that in a very little while other managers accepted the plays they had consistently refused, and I had four running in London at the same time. I, who for ten years had earned an average of one hundred pounds a year, found myself earning several hundred pounds a week. I made up my mind to abandon the writing of novels for the rest of my life. I did not know that this was something out of my control and that when the urge to write a novel seized me, I should be able to do nothing but submit. Five years later, the urge came and, refusing to write any more plays for the time, I started upon the longest of all my novels. I called it Of Human Bondage.

The Magician

I

Arthur Burdon and Dr Porhoët walked in silence. They had lunched at a restaurant in the Boulevard Saint Michel, and were sauntering now in the gardens of the Luxembourg. Dr Porhoët walked with stooping shoulders, his hands behind him. He beheld the scene with the eyes of the many painters who have sought by means of the most charming garden in Paris to express their sense of beauty. The grass was scattered with the fallen leaves, but their wan decay little served to give a touch of nature to the artifice of all besides. The trees were neatly surrounded by bushes, and the bushes by trim beds of flowers. But the trees grew without abandonment, as though conscious of the decorative scheme they helped to form. It was autumn, and some were leafless already. Many of the flowers were withered. The formal garden reminded one of a light woman, no longer young, who sought, with faded finery, with powder and paint, to make a brave show of despair. It had those false, difficult smiles of uneasy gaiety, and the pitiful graces which attempt a fascination that the hurrying years have rendered vain.

Dr Porhoët drew more closely round his fragile body the heavy cloak which even in summer he could not persuade himself to discard. The best part of his life had been spent in Egypt, in the practice of medicine, and the frigid summers of Europe scarcely warmed his blood. His memory flashed for an instant upon those multi-coloured streets of Alexandria; and then, like a homing bird, it flew to the green woods and the storm-beaten coasts of his native Brittany. His brown eyes were veiled with sudden melancholy.

'Let us wait here for a moment,' he said.

They took two straw-bottomed chairs and sat near the octagonal water which completes with its fountain of Cupids the enchanting artificiality of the Luxembourg. The sun shone more kindly now, and the trees which framed the scene were golden and lovely. A balustrade of stone gracefully enclosed the space, and the flowers, freshly bedded, were very gay. In one corner they could see the squat, quaint towers of Saint Sulpice, and on the other side the uneven roofs of the Boulevard Saint Michel.

The palace was grey and solid. Nurses, some in the white caps of their native province, others with the satin streamers of the nounou, marched sedately two by two, wheeling perambulators and talking. Brightly dressed children trundled hoops or whipped a stubborn top. As he watched them, Dr Porhoët's lips broke into a smile, and it was so tender that his thin face, sallow from long exposure to subtropical suns, was transfigured. He no longer struck you merely as an insignificant little man with hollow cheeks and a thin grey beard; for the weariness of expression which was habitual to him vanished before the charming sympathy of his smile. His sunken eyes glittered with a kindly but ironic good-humour.