Throughout the eighties at least, and probably for some years before, the British Museum reading room was used daily by a gentleman of such astonishing and crushing ugliness that no one who had once seen him could ever thereafter forget him. He was of fair complexion, rather golden red than sandy; aged between forty-five and sixty; and dressed in frock coat and tall hat of presentable but never new appearance.
His figure was rectangular, waistless, neckless, ankleless, of middle height, looking shortish because, though he was not particularly stout, there was nothing slender about him. His ugliness was not unamiable; it was accidental, external, excrescential. Attached to his face from the left ear to the point of his chin was a monstrous goitre, which hung down to his collar bone, and was very inadequately balanced by a smaller one on his right eyelid. Nature's malice was so overdone in his case that it somehow failed to produce the effect of repulsion it seemed to have aimed at. When you first met Thomas Tyler you could think of nothing else but whether surgery could really do nothing for him. But after a very brief acquaintance you never thought of his disfigurements at all, and talked to him as you might to Romeo or Lovelace; only, so many people, especially women, would not risk the preliminary ordeal, that he remained a man apart and a bachelor all his days. I am not to be frightened or prejudiced by a tumor; and I struck up a cordial acquaintance with him, in the course of which he kept me pretty closely on the track of his work at the Museum, in which I was then, like himself, a daily reader.
He was by profession a man of letters of an uncommercial kind. He was a specialist in pessimism; had made a translation of Ecclesiastes of which eight copies a year were sold; and followed up the pessimism of Shakespear and Swift with keen interest. He delighted in a hideous conception which he called the theory of the cycles, according to which the history of mankind and the universe keeps eternally repeating itself without the slightest variation throughout all eternity; so that he had lived and died and had his goitre before and would live and die and have it again and again and again. He liked to believe that nothing that happened to him was completely novel: he was persuaded that he often had some recollection of its previous occurrence in the last cycle. He hunted out allusions to this favorite theory in his three favorite pessimists. He tried his hand occasionally at deciphering ancient inscriptions, reading them as people seem to read the stars, by discovering bears and bulls and swords and goats where, as it seems to me, no sane human being can see anything but stars higgledy-piggledy. Next to the translation of Ecclesiastes, his _magnum opus_ was his work on Shakespear's Sonnets, in which he accepted a previous identification of Mr W. H., the "onlie begetter" of the sonnets, with the Earl of Pembroke (William Herbert), and promulgated his own identification of Mistress Mary Fitton with the Dark Lady. Whether he was right or wrong about the Dark Lady did not matter urgently to me: she might have been Maria Tompkins for all I cared. But Tyler would have it that she was Mary Fitton; and he tracked Mary down from the first of her marriages in her teens to her tomb in Cheshire, whither he made a pilgrimage and whence returned in triumph with a picture of her statue, and the news that he was convinced she was a dark lady by traces of paint still discernible.
In due course he published his edition of the Sonnets, with the evidence he had collected. He lent me a copy of the book, which Inever returned. But I reviewed it in the Pall Mall Gazette on the 7th of January 1886, and thereby let loose the Fitton theory in a wider circle of readers than the book could reach. Then Tyler died, sinking unnoted like a stone in the sea. I observed that Mr Acheson, Mrs Davenant's champion, calls him Reverend. It may very well be that he got his knowledge of Hebrew in reading for the Church; and there was always something of the clergyman or the schoolmaster in his dress and air. Possibly he may actually have been ordained. But he never told me that or anything else about his affairs; and his black pessimism would have shot him violently out of any church at present established in the West. We never talked about affairs: we talked about Shakespear, and the Dark Lady, and Swift, and Koheleth, and the cycles, and the mysterious moments when a feeling came over us that this had happened to us before, and about the forgeries of the Pentateuch which were offered for sale to the British Museum, and about literature and things of the spirit generally. He always came to my desk at the Museum and spoke to me about something or other, no doubt finding that people who were keen on this sort of conversation were rather scarce. He remains a vivid spot of memory in the void of my forgetfulness, a quite considerable and dignified soul in a grotesquely disfigured body.
