# Portrait of a Man with Red Hair

   Portrait of a Man with Red Hair (1925) depicts the malign influence of a manipulative, insane father on his family and others. Walpole described it to his fellow author Frank Swinnerton as "a simple shocker which it has amused me like anything to write, and won't bore you to read." In contrast he continued a series of stories for children, begun in 1919 with Jeremy ... Warning: template has been deprecated.
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Portrait of a Man With Red Hair
HUGH WALPOLE
Books by HUGH WALPOLE
NOVELS
THE WOODEN HORSE
THE GODS AND MR. FERRIN
THE DARK FOREST
THE SECRET CITY
The London Novels
THE WOODEN HORSE
FORTITUDE
THE DUCHESS OF WREXX
THE GREEK MIRROR
THE CAPTIVES|THE CAPTIVES
THE YOUNG ENCHANTED
THE THIRTEEN TRAVELLERS
Scenes from Provincial Life
THE WOODEN HORSE
THE CATHEDRAL
THE OLD LADIES
Phantasies
THE WOODEN HORSE
MARADICK AT FORTY
THE PRELUDE TO ADVENTURE
PORTRAIT OF A MAN WITH RED HAIR
BOOKS ABOUT CHILDREN
THE WOODEN HORSE
THE GOLDEN SCARECROW
JEREMY
JEREMY AND HAMLET
BELLES-LETTRES
THE WOODEN HORSE
JOSEPH CONRAD: A CRITICAL STUDY
THE CRYSTAL BOX: FRAGMENTS OF AUTOBIOGRAPHY
SOME NOTES ON THE EVOLUTION OF THE ENGLISH NOVEL.
Portrait of a Man With Red Hair A ROMANTIC MACABRE
By HUGH WALPOLE
NEW YORK GEORGE H. DORAN COMPANY
COPYRIGHT, 1925,
BY GEORGE H. DORAN COMPANY
COPYRIGHT, 1925, BY INTERNATIONAL MAGAZINE COMPANY, INC. (HARPER'S BAZAAR)
PORTRAIT OF A MAN WITH RED HAIR
— A —
PRINTED IN THE UNITED STATES OP AMERICA
TO MY FRIENDS
ETHEL AND ARTHUR FOWLER
DEDICATORY LETTER.
Brackenburn,
April 1925.
Dear Ethel and Arthur—
It is appropriate, in a way, that I should give you this book when so much of it was written under your roof. It is a romance, and this has not been, during the last twenty years, a favourable time for romances. But I like to give it to you because you know how it was written, in a. very happy summer after a long and arduous lecture tour during which, more than ever before, I learned to love your country.
I wrote it as a rest and a refreshment, and I will tell you frankly that I have enjoyed writing it very much. But I do not know whether, in these stern days, stories are intended to be enjoyed either by the writer of them or the reader.
I have noticed sometimes that people speak rather scornfully of a story as "readable." But if it be not first of all "readable" what afterwards can it be? Surely dead before it is born.
I hope then, and I believe, that this tale is "read​able" at least. I know no more than that what it is—fancy, story allegory, what you will. I might invoke the great names of Hoffmann and Hawthorne for its Godfathers, I might recall a story much beloved by me, Sintram and His Companions^ did I not, most justly, fear the comparison I
But the word allegory is, in these days, a dangerous one, and some one will soon be showing me that we have, each one of us, his Sea-Fog, his White Tower, and that it is the fault of his own weakness if he does not fling out of the window his Red-Haired man.
No, no, God forbid. This is a tale and nothing but a tale, and all I ask is that once beginning it you will find it hard to lay down unfinished—
and that you will think of me always as
Your affectionate friend
Hugh.
... Within these few restrictions, I think, every writer may be permitted to deal as much in the wonderful as he pleases; nay, if he then keeps within the rules of credibility, the more he can surprise the reader the more he will engage his attention, and the more he will charm him.
As a genius of the highest rank observes in his fifth chapter of the Bathos, "The great art of all poetry is to mix truth with fiction, in order to join the credible with the surprising."
For though every good author will confine himself within the bounds of probability, it is by no means necessary that his characters or his incidents should be trite, common, or vulgar; such as happen in every street, or in every house, or which may be met with in the home articles of a newspaper. Nor must he be inhibited from showing many persons and things which may possibly never have fallen within the knowledge of great part of his readers.
Henry Fielding.
| CONTENTS | |
| PART I | PAGE |
| The Sea Like Bronze | 15 |
| PART II | |
| The Dance Round the Town | 89 |
| PART III | |
| Sea-fog | 177 |
| PART IV | |
| The Tower | 255 |
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1941, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 82 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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