Corky was one of the artists. A portrait-painter, he called himself, but he hadn’t painted any portraits. He was sitting on the side-lines with a blanket over his shoulders, waiting for a chance to get into the game. You see, the catch about portrait-painting—I’ve looked into the thing a bit—is that you can’t start painting portraits till people come along and ask you to, and they won’t come and ask you to until you’ve painted a lot first. This makes it kind of difficult for a chappie. Corky managed to get along by drawing an occasional picture for the comic papers—he had rather a gift for funny stuff when he got a good idea—and doing bedsteads and chairs and things for the advertisements. His principal source of income, however, was derived from biting the ear of a rich uncle—one Alexander Worple, who was in the jute business. I’m a bit foggy as to what jute is, but it’s apparently something the populace is pretty keen on, for Mr. Worple had made quite an indecently large stack out of it.
Now, a great many fellows think that having a rich uncle is a pretty soft snap: but, according to Corky, such is not the case. Corky’s uncle was a robust sort of cove, who looked like living for ever. He was fifty-one, and it seemed as if he might go to par. It was not this, however, that distressed poor old Corky, for he was not bigoted and had no objection to the man going on living. What Corky kicked at was the way the above Worple used to harry him.
Corky’s uncle, you see, didn’t want him to be an artist. He didn’t think he had any talent in that direction. He was always urging him to chuck Art and go into the jute business and start at the bottom and work his way up. Jute had apparently become a sort of obsession with him. He seemed to attach almost a spiritual importance to it. And what Corky said was that, while he didn’t know what they did at the bottom of the jute business, instinct told him that it was something too beastly for words. Corky, moreover, believed in his future as an artist. Some day, he said, he was going to make a hit. Meanwhile, by using the utmost tact and persuasiveness, he was inducing his uncle to cough up very grudgingly a small quarterly allowance.
He wouldn’t have got this if his uncle hadn’t had a hobby. Mr. Worple was peculiar in this respect. As a rule, from what I’ve observed, the American captain of industry doesn’t do anything out of business hours. When he has put the cat out and locked up the office for the night, he just relapses into a state of coma from which he emerges only to start being a captain of industry again. But Mr. Worple in his spare time was what is known as an ornithologist. He had written a book called American Birds, and was writing another, to be called More American Birds. When he had finished that, the presumption was that he would begin a third, and keep on till the supply of American birds gave out. Corky used to go to him about once every three months and let him talk about American birds. Apparently you could do what you liked with old Worple if you gave him his head first on his pet subject, so these little chats used to make Corky’s allowance all right for the time being. But it was pretty rotten for the poor chap. There was the frightful suspense, you see, and, apart from that, birds, except when broiled and in the society of a cold bottle, bored him stiff.
To complete the character-study of Mr. Worple, he was a man of extremely uncertain temper, and his general tendency was to think that Corky was a poor chump and that whatever step he took in any direction on his own account, was just another proof of his innate idiocy. I should imagine Jeeves feels very much the same about me.
So when Corky trickled into my apartment one afternoon, shooing a girl in front of him, and said, “Bertie, I want you to meet my fiancee, Miss Singer,” the aspect of the matter which hit me first was precisely the one which he had come to consult me about. The very first words I spoke were, “Corky, how about your uncle?”