Trilby Part 26

Then Mr. Vice asks, "What shall we 'ave the pleasure of saying, sir, after that very nice 'armony?"

[Ill.u.s.tration: THE CHAIRMAN]

And the blus.h.i.+ng vocalist, if he knows the ropes, replies, "A roast leg o' mutton in Newgate, and n.o.body to eat it!" Or else, "May 'im as is going up the 'ill o' prosperity never meet a friend coming down!" Or else, "'Ere's to 'er as shares our sorrers and doubles our joys!" Or else, "'Ere's to 'er as shares our joys and doubles our expenses!" and so forth.

More drink, more applause, and many 'ear, 'ears. And Mr. Vice says to the singer: "You call, sir. Will you be so good as to call on some other gen'l'man for a 'armony?" And so the evening goes on.

And n.o.body was more quickly popular at such gatherings, or sang better songs, or proposed more touching sentiments, or filled either chair or vice-chair with more grace and dignity than Little Billee. Not even Dodor or l'Zouzou could have beaten him at that.

And he was as happy, as genial, and polite, as much at his ease, in these humble gatherings as in the gilded saloons of the great, where grand-pianos are, and hired accompanists, and highly-paid singers, and a good deal of talk while they sing.

So his powers of quick, wide, universal sympathy grew and grew, and made up to him a little for his lost power of being specially fond of special individuals. For he made no close friends among men, and ruthlessly snubbed all attempts at intimacy--all advances towards an affection which he felt he could not return; and more than one enthusiastic admirer of his talent and his charm was forced to acknowledge that, with all his gifts, he seemed heartless and capricious; as ready to drop you as he had been to take you up.

He loved to be wherever he could meet his kind, high or low; and felt as happy on a penny steamer as on the yacht of a millionaire--on the crowded knife-board of an omnibus as on the box-seat of a n.o.bleman's drag--happier; he liked to feel the warm contact of his fellow-man at either shoulder and at his back, and didn't object to a little honest grime! And I think all this genial caressing love of his kind, this depth and breath of human sympathy, are patent in all his work.

On the whole, however, he came to prefer for society that of the best and cleverest of his own cla.s.s--those who live and prevail by the professional exercise of their own specially trained and highly educated wits, the skilled workmen of the brain--from the Lord Chief-Justice of England downward--the salt of the earth, in his opinion: and stuck to them.

There is no cla.s.s so genial and sympathetic as _our own_, in the long-run--even if it be but the criminal cla.s.s! none where the welcome is likely to be so genuine and sincere, so easy to win, so difficult to outstay, if we be but decently pleasant and successful; none where the memory of us will be kept so green (if we leave any memory at all!).

So Little Billee found it expedient, when he wanted rest and play, to seek them at the houses of those whose rest and play were like his own--little halts in a seeming happy life-journey, full of toil and strain and endeavor; oases of sweet water and cooling shade, where the food was good and plentiful, though the tents might not be of cloth of gold; where the talk was of something more to his taste than court or sport or narrow party politics; the new beauty; the coming match of the season; the coming ducal conversion to Rome; the last elopement in high life--the next! and where the music was that of the greatest music-makers that can be, who found rest and play in making better music for love than they ever made for hire--and were listened to as they should be, with understanding and religious silence, and all the fervent grat.i.tude they deserved.

There were several such houses in London then--and are still--thank Heaven! And Little Billee had his little billet there--and there he was wont to drown himself in waves of lovely sound, or streams of clever talk, or rivers of sweet feminine adulation, seas! oceans!--a somewhat relaxing bath!--and forget for a while his everlasting chronic plague of heart-insensibility, which no doctor could explain or cure, and to which he was becoming gradually resigned--as one does to deafness or blindness or locomotor ataxia--for it had lasted nearly five years! But now and again, during sleep, and in a blissful dream, the lost power of loving--of loving mother, sister, friend--would be restored to him; just as with a blind man who sometimes dreams he has recovered his sight; and the joy of it would wake him to the sad reality: till he got to know, even in his dream, that he was only dreaming, after all, whenever that priceless boon seemed to be his own once more--and did his utmost not to wake. And these were nights to be marked with a white stone, and remembered!

And nowhere was he happier than at the houses of the great surgeons and physicians who interested themselves in his strange disease. When the Little Billees of this world fall ill, the great surgeons and physicians (like the great singers and musicians) do better for them, out of mere love and kindness, than for the princes of the earth, who pay them thousand-guinea fees and load them with honors.

And of all these notable London houses none was pleasanter than that of Cornelys the great sculptor, and Little Billee was such a favorite in that house that he was able to take his friends Taffy and the Laird there the very day they came to London.

First of all they dined together at a delightful little Franco-Italian pothouse near Leicester Square, where they had bouillabaisse (imagine the Laird's delight), and spaghetti, and a poulet roti, which is _such_ a different affair from a roast fowl! and salad, which Taffy was allowed to make and mix himself; and they all smoked just where they sat, the moment they had swallowed their food--as had been their way in the good old Paris days.

That dinner was a happy one for Taffy and the Laird, with their Little Billee apparently unchanged--as demonstrative, as genial, and caressing as ever, and with no swagger to speak of; and with so many things to talk about that were new to them, and of such delightful interest! They also had much to say--but they didn't say very much about Paris, for fear of waking up Heaven knows what sleeping dogs!

And every now and again, in the midst of all this pleasant foregathering and communion of long-parted friends, the pangs of Little Billee's miserable mind-malady would shoot through him like poisoned arrows.

He would catch himself thinking how fat and fussy and serious about trifles Taffy had become; and what a s.h.i.+ftless, f.e.c.kless, futile duffer was the Laird; and how greedy they both were, and how red and coa.r.s.e their ears and gills and cheeks grew as they fed, and how s.h.i.+ny their faces; and how little he would care, try as he might, if they both fell down dead under the table! And this would make him behave more caressingly to them, more genially and demonstratively than ever--for he knew it was all a grewsome physical ailment of his own, which he could no more help than a cataract in his eye!

Then, catching sight of his own face and form in a mirror, he would curse himself for a puny, misbegotten shrimp, an imp--an abortion--no bigger, by the side of the herculean Taffy or the burly Laird of c.o.c.kpen, than six-pennorth o' half-pence: a wretched little overrated follower of a poor trivial craft--a mere light amuser! For what did pictures matter, or whether they were good or bad, except to the triflers who painted them, the dealers who sold them, the idle, uneducated, purse-proud fools who bought them and stuck them up on their walls because they were told!

And he felt that if a dynamite sh.e.l.l were beneath the table where they sat, and its fuse were smoking under their very noses, he would neither wish to warn his friends nor move himself. He didn't care a d----!

And all this made him so lively and brilliant in his talk, so fascinating and droll and witty, that Taffy and the Laird wondered at the improvement success and the experience of life had wrought in him, and marvelled at the happiness of his lot, and almost found it in their warm, affectionate hearts to feel a touch of envy!

[Ill.u.s.tration: A HAPPY DINNER]

Oddly enough, in a brief flash of silence, "entre la poire et le fromage," they heard a foreigner at an adjoining table (one of a very noisy group) exclaim: "Mais quand je vous dis que j'l'ai entendue, moi, la Svengali! et meme qu'elle a chante l'Impromptu de Chopin absolument comme si c'etait un piano qu'on jouait! voyons!..."

"Farceur! la bonne blague!" said another--and then the conversation became so noisily general it was no good listening any more.

"Svengali! how funny that name should turn up! I wonder what's become of _our_ Svengali, by-the-way?" observed Taffy.

"I remember _his_ playing Chopin's Impromptu," said Little Billee; "what a singular coincidence!"

There were to be more coincidences that night; it never rains them but it pours!

So our three friends finished their coffee and liqueured up, and went to Cornelys's, three in a hansom--

"Like Mars, A-smokin' their poipes and cigyars."

Sir Louis Cornelys, as everybody knows, lives in a palace on Campden Hill, a house of many windows; and whichever window he looks out of, he sees his own garden and very little else. In spite of his eighty years, he works as hard as ever, and his hand has lost but little of its cunning. But he no longer gives those splendid parties that made him almost as famous a host as he was an artist.

[Ill.u.s.tration: "A-SMOKIN' THEIR POIPES AND CIGYARS"]

When his beautiful wife died he shut himself up from the world; and now he never stirs out of his house and grounds except to fulfil his duties at the Royal Academy and dine once a year with the Queen.

It was very different in the early sixties. There was no pleasanter or more festive house than his in London, winter or summer--no lordlier host than he--no more irresistible hostesses than Lady Cornelys and her lovely daughters; and if ever music had a right to call itself divine, it was there you heard it--on late Sat.u.r.day nights during the London season--when the foreign birds of song come over to reap their harvest in London Town.

It was on one of the most brilliant of these Sat.u.r.day nights that Taffy and the Laird, chaperoned by Little Billee, made their debut at Mechelen Lodge, and were received at the door of the immense music-room by a tall, powerful man with splendid eyes and a gray beard, and a small velvet cap on his head--and by a Greek matron so beautiful and stately and magnificently attired that they felt inclined to sink them on their bended knees as in the presence of some overwhelming Eastern royalty--and were only prevented from doing so, perhaps, by the simple, sweet, and cordial graciousness of her welcome.

And whom should they be shaking hands with next but Antony, Lorrimer, and the Greek--with each a beard and mustache of nearly five years'

growth!

But they had no time for much exuberant greeting, for there was a sudden piano crash--and then an immediate silence, as though for pins to drop--and Signor Giuglini and the wondrous maiden Adelina Patti sang the Miserere out of Signor Verdi's most famous opera--to the delight of all but a few very superior ones who had just read Mendelssohn's letters (or misread them) and despised Italian music; and thought cheaply of "mere virtuosity," either vocal or instrumental.

When this was over, Little Billee pointed out all the lions to his friends--from the Prime Minister down to the present scribe--who was right glad to meet them again and talk of auld lang syne, and present them to the daughters of the house and other charming ladies.

Then Roucouly, the great French barytone, sang Durien's favorite song,

"Plaisir d'amour ne dure qu'un moment; Chagrin d'amour dure toute la vie...."

with quite a little drawing-room voice--but quite as divinely as he had sung "Noel, noel," at the Madeleine in full blast one certain Christmas Eve our three friends remembered well.

Then there was a violin solo by young Joachim, then as now the greatest violinist of his time; and a solo on the piano-forte by Madame Schumann, his only peeress! and these came as a wholesome check to the levity of those for whom all music is but an agreeable pastime, a mere emotional delight, in which the intellect has no part; and also as a well-deserved humiliation to all virtuosi who play so charmingly that they make their listeners forget the master who invented the music in the lesser master who interprets it!

For these two--man and woman--the highest of their kind, never let you forget it was Sebastian Bach they were playing--playing in absolute perfection, in absolute forgetfulness of themselves--so that if you weren't up to Bach, you didn't have a very good time!

But if you were (or wished it to be understood or thought you were), you seized your opportunity and you scored; and by the earnestness of your rapt and tranced immobility, and the stony, gorgon-like intensity of your gaze, you rebuked the frivolous--as you had rebuked them before by the listlessness and carelessness of your bored resignation to the Signorina Patti's trills and fioritures, or M. Roucouly's pretty little French mannerisms.

And what added so much to the charm of this delightful concert was that the guests were not packed together sardinewise, as they are at most concerts; they were comparatively few and well chosen, and could get up and walk about and talk to their friends between the pieces, and wander off into other rooms and look at endless beautiful things, and stroll in the lovely grounds, by moon or star or Chinese-lantern light.

And there the frivolous could sit and chat and laugh and flirt when Bach was being played inside; and the earnest wander up and down together in soul-communion, through darkened walks and groves and alleys where the sound of French or Italian warblings could not reach them, and talk in earnest tones of the great Zola, or Guy de Maupa.s.sant and Pierre Loti, and exult in beautiful English over the inferiority of English literature, English art, English music, English everything else.

For these high-minded ones who can only bear the sight of cla.s.sical pictures and the sound of cla.s.sical music do not necessarily read cla.s.sical books in any language--no Shakespeares or Dantes or Molieres or Goethes for _them_. They know a trick worth two of that!

And the mere fact that these three immortal French writers of light books I have just named had never been heard of at this particular period doesn't very much matter; they had cognate predecessors whose names I happen to forget. Any stick will do to beat a dog with, and history is always repeating itself.

Feydeau, or Flaubert, let us say--or for those who don't know French and cultivate an innocent mind, Miss Austen (for to be dead and buried is almost as good as to be French and immoral!)--and Sebastian Bach, and Sandro Botticelli--that all the arts should be represented. These names are rather discrepant, but they made very good sticks for dog-beating; and with a thorough knowledge and appreciation of these (or the semblance thereof), you were well equipped in those days to hold your own among the elect of intellectual London circles, and snub the philistine to rights.

Then, very late, a tall, good-looking, swarthy foreigner came in, with a roll of music in his hands, and his entrance made quite a stir; you heard all round, "Here's Glorioli," or "Ecco Glorioli," or "Voici Glorioli," till Glorioli got on your nerves. And beautiful ladies, amba.s.sadresses, female celebrities of all kinds, fluttered up to him and cajoled and fawned;--as Svengali would have said, "Prinzessen, Comtessen, Serene English Altessen!"--and they soon forgot their Highness and their Serenity!