Memoirs of My Dead Life Part 14

"That is it," I cried, "that is the right time to play it in, without stress on either side.... No, you mustn't leave the piano, Doris.

Sing me some songs. Go on singing Schumann or Schubert; there are no other songs. Let me hear you sing 'The Moonlight' or 'The Lotus-flower.' Schumann and Schubert were the singing birds of the fifties; I love their romantic sentimentalities, orange gardens, south winds, a lake with a pinnace upon it, and a nightingale singing in a dark wood by a lonely sh.o.r.e; that is how they felt, how they dreamed."

And resigning herself to my humour, she sang song after song till at last, awaking from a long reverie of music and old a.s.sociation of memories, I said, "Play me a waltz, Doris; I would hear an old-time waltz played in this room; its romantic flourishes will evoke the departed spirits." And very soon, sitting in my chair with half-closed eyes, it seemed to me that I saw crinolines faintly gliding over the floor, and white-stockinged feet, sloping shoulders and glistening necks with chignons--swan-like women, and long-whiskered cavaliers wearing peg-top trousers and braided coats dancing or talking with them.... The music suddenly stopped and Doris said:

"If we are to catch our train we must go on with our packing."

"You mustn't talk to me of trains," and overcome with a Schumann-like longing and melancholy I took her in my arms, overcome by her beauty.

She was perfection. No Chelsea or Dresden figure was ever more dainty, gayer, or brighter. She was Schumann and Dresden, but a Dresden of an earlier period than Schumann; but why compare her to anything? She was Doris, the very embodiment of her name.

"Ah, Doris, why are we leaving here? Why can't we remain here for ever?"

"It is strange," she said; "I feel the charm of those old stately rooms as much as you do. But, dearest, we have missed the train."

The pink waiter came up, I promised to hasten, but my love of Doris delayed us unduly, and we arrived at the station only to hear that the train had gone away some ten minutes before. The train that had left was the only good train in the day, and missing it had given us another twenty-four hours in Orelay; but Doris was superst.i.tious. "Our three days are done," she said; "if we don't go today we shall go to-morrow, and to go on the fourth day would be unlucky. What shall we do all day? The spell has been broken. We have left our hotel. Let us take a carriage," she pleaded, "and drive to the next station. The sun is s.h.i.+ning, and the country is beautiful; we saw it from the railway, a strange red country grey with olives, olive orchards extending to the very foot of the mountains, and mingling with the pine trees descending the slopes."

"The slopes!" I said, "the precipitous sides of that high rock! Shall I ever forget it, beginning like the tail of a lion and rising up to the sky, towering above the level landscape like a sphinx."

"The drive would be delightful!"

"And it would be a continuation of the romance of the old Empire drawing-room. A post-chaise would be the thing if we could discover one."

Sometimes Nature seems to conspire to carry out an idea, and though no veritable post-chaise of old time was discovered in the coach-house behind the courtyard in which the ilex trees flourished, we happened to catch sight of a carriage some twenty-five or thirty years old, a c.u.mbersome old thing hung upon C springs, of the security of which the coachman seemed doubtful. He spoke disparagingly, telling us that the proprietor had been trying to sell it, but no one would buy it, so heavy was it on the horses' backs, so out of fas.h.i.+on one was ashamed to go out in it. The coachman's notions of beauty did not concern us, but Doris dreaded lest one of the wheels should come off; however, on examination it was found to be roadworthy, and I said to Doris as I helped her into it:

"If it be no post-chaise, at all events ladies wearing crinolines have sat inside it, that is certain, and gentlemen wearing peg-top trousers with braid upon them. Good G.o.d, Doris, if you were to wear a crinoline I should love you beyond hope of repentance. Don't I remember when I was a boy every one wore white stockings; I had only heard of black ones, and I always hoped to meet a lady wearing black stockings... now my hope is to meet one wearing white."

"We might have searched the town for a crinoline and a pair of white stockings."

"Yes, and I might have discovered a black silk stock. I wonder how I should have looked in it. Doris," I said, "we have missed the best part of our adventure. We forgot to dress for the part we are playing, the lovers of Orelay."

Who will disagree with me when I say that no adventure is complete unless it necessitates an amount of ceremonial, the wearing of wigs, high bodices, stockings, and breeches? Every one likes to dress himself up, whether for a masquerade ball or to be enrolled in some strange order. Have you, reader, ever seen any one enrolled in any of these orders? If you have, you will excuse the little comedy and believe it to be natural--the comedy that Doris and I played in the old carriage driving from Orelay to Verlancourt, where we hoped to breakfast.

We could hardly speak for excitement. Doris thought of how she would look in a crinoline, and I remembered the ill.u.s.trations in an early edition of Balzac of which I am the happy possessor. How nice the men looked in the light trousers and the black stockings of the period; and crossing my legs I followed with interest the line of my calf.

Somebody did that in "Les Illusions Perdues." She and I lay back thinking which story in "The Human Comedy" was the most applicable to our case; and the only one we could think of was when Madame Bargeton, a provincial blue-stocking, left Angouleme for Paris with Lucien de Rubempre. There were no railways in the forties; they must have travelled in a post-chaise. Yes, I remember their journey, faintly it is true, but I remember it. Madame Bargeton was a woman of five-and-thirty at least, and Doris was much younger. Lucien was only one-and-twenty, and even at that time I was more than that. The names of these people and of the people they met at the theatre and in the Tuileries Gardens--Rastignac, Madame d'Espard, the d.u.c.h.ess of Chaulieu, Madame de Rochefide, and Ca.n.a.lis--carried my mind back from crinolines and white stockings, from peg-top trousers and braided coats, to the slim trousers that were almost breeches and to the high-breasted gowns of the Restoration. Our mothers and fathers wore the crinolines and the peg-top trousers, and our grandfathers the tight trousers and the black silk stocks. The remembrance of these costumes filled me with a tenderness and a melancholy I could not subdue, and I could see that Doris was thinking of the same subject as myself.

We were thinking of that subject which interested men before history began, the mutability of human things, the vanis.h.i.+ng of generations.

Young as she was, Doris was thinking of death; nor is it the least extraordinary she should, for as soon as any one has reached the age of reflection the thought of death may come upon him at any moment, though he be in the middle of a ballroom or lying in the arms of his mistress. If the scene be a ballroom he has only to look outside, and the night will remind him that in a few years he will enter the eternal night; or if the scene be a bedroom the beautiful face of his mistress may perchance remind him of another whose face was equally beautiful and who is now under the earth; lesser things will suffice to recall his thoughts from life to death, a rose petal falling on a marble table, a dead bird in the path as he walks in his garden. And after the thought of death the most familiar thought is the decay of the bodily vesture. The first grey hair may seem to us an amusing accident, but very few years will pa.s.s before another and yet another appear, and if these do not succeed in reminding us that decay has begun, a black speck on a tooth cannot fail to do so; and when we go to the dentist to have it stopped we have begun to repair artificially the falling structure. The activity of youth soon pa.s.ses, and its slenderness. I remember still the shock I felt on hearing an athlete say that he could no longer run races of a hundred yards; he was half a second or a quarter of a second slower than he was last year. I looked at him saying, "But you are only one-and-twenty," and he answered, "Yes, that is it." A football player I believe is out of date at eight-and-twenty. Out of date! What a pathos there is in the words--out of date! _Suranne_, as the French say. How are we to render it in English? By the beautiful but artificial word "yester-year"? Yester-year perhaps, for a sorrow clings about it; it conveys a sense of autumn, of "the long decline of roses." There is something ghostlike in the out-of-date. The landscape about Plessy had transported us back into antiquity, making us dream of nymphs and dryads, but the gilt cornices and damask hangings and the salon at Orelay had made us dream of a generation ago, of the youth of our parents. Ancient conveys no personal meaning, but the out-of-date transports us, as it were, to the stern of the vessel, throws us into a mournful att.i.tude; we lean our heads upon our hands and, looking back, we see the white wake of the vessel with sh.o.r.es sinking in the horizon and the crests of the mountains pa.s.sing away into the clouds.

While musing on these abstract questions raised by my remark that we had not managed our adventure properly, since we had forgotten to provide ourselves with proper costumes, the present suddenly thrust itself upon me.

"Good G.o.d!" I said to Doris, "let us look back, for we shall never see Orelay again!" and she from one window, and I from the other, saw the spires of Orelay for the last time. We could not tear ourselves away, but fortunately the road turned; Orelay was blotted out from our sight for ever, and we sank back to remember that a certain portion of our lives was over and done, a beautiful part of our lives had been thrown into the void, into the great rubble-heap of emotions that had been lived through, that are no more.

"Of what are you thinking, dear? You have been far away. This is the first time we have been separated, and we are not yet five miles from Orelay."

"Five miles! Ah, if it were only five!"

We did not speak for a long time, and watching the midday sun, I thought that peradventure it was not farther from us than yesterday.

Were I to say so to Doris she would answer, "It will be the same in Paris," but if she did it would be the first falsehood she had told me, for we both knew that things are never the same; things change--for better or worse, but they change.

This last sentence seems to me somewhat trite, and if I were to continue this story any further my pen would run into many other superficial and facile observations, for my mind is no longer engrossed with the story. I no longer remember it; I do not mean that I do not remember whether we got to Verlancourt, whether we had breakfast, or whether we drove all the way to Paris with relays of horses. I am of course quite certain about the facts: we breakfasted at Verlancourt, and after breakfast we asked the coachman whether he would care to go on to Paris with us; he raised his eyes--"The carriage is a very old one, surely, Monsieur----" Doris and I laughed, for, truth to tell, we had been so abominably shaken that we were glad to exchange the picturesque old coach of our fathers' generation for the train.

These stories are memories, not inventions, and an account of the days I spent in Paris would interest n.o.body; all the details are forgotten, and invention and remembrance do not agree any better than the goat and the cabbage. So, omitting all that does not interest me--and if it does not interest me how can it interest the reader?--I will tell merely that my adventure with Doris was barren of scandal or unpleasant consequences. Her mother, a dear unsuspicious woman--whether her credulity was the depth of folly or the depth of wisdom I know not; there are many such mothers, my blessing be upon them!--took charge of her daughter, and Doris and her mother returned to England. I am afraid that when I confess that I did not speak to Doris of marriage I shall forfeit the good opinion of my reader, who will, of course, think that a love story with such an agreeable creature as Doris merited a lifetime of devotion; but I pray the reader to discover an excuse for me in the fact that Doris had told me when we were at Plessy that there was no question of her marrying any one but Albert. Had she not sacrificed the great love of her life in order that she might remain constant to Albert? Is it to be expected, then, that having done that, she would put Albert aside and throw her lot in with mine? She might have done this; men and women act inconsequently. Having on one occasion refused to drop the mutton chop for the shadow, on the next occasion they would drop it for the shadow of the shadow; but Doris was made of sterner stuff, and some months afterwards she wrote me a steady, sensible little letter telling me that she was going to be married, and that it seemed to her quite natural that she should marry Albert. Years have pa.s.sed away, and nothing has happened to lead me to believe that she has not proved a true and loving wife. Albert has always told me that he found all the qualities in her which he had foreseen from the first time he looked upon her pretty, sparkling face. Frown not, reader; accuse me not of superficial cynicism! Albert is part of the world's inheritance. You may be Albert yourself--every one has been or will be Albert; Albert is in us all, just as I am in you all. Doris, too, is in you, dear lady who sit reading my book--Doris my three-days mistress at Orelay, and Doris the faithful spouse of Albert for twenty years in a lonely London suburb.

Study and boudoir would like to know if Doris had any children. About two years afterwards I heard that she was "expecting." The word came up spontaneously in my mind, perhaps because I had written it in the beginning of the story. Reader, do you remember in "Ma.s.similla Doni"

how Balzac, when he came to the last pages, declares that he dare not tell you the end of the adventure. One word, he says, will suffice for the wors.h.i.+ppers of the ideal--_Ma.s.similla Doni_ was "expecting."

I have not read the story for many years, but the memory of it s.h.i.+nes in my mind bright--well, as the morning star; and I looked up this last paragraph when I began to write this story, but had to excuse myself for not translating it, my pretext being that I was baffled by certain grammatical obscurities, or what seemed to me such. I seemed to understand and to admire it all till I came to the line that "_les peuplades de cent cathedrales gothiques_" (which might be rendered as the figured company of a hundred Gothic cathedrals), "_tout le peuple des figures qui brisent leur forme pour venir a vous, artistes comprehensifs, toutes ces angeliques filles incorporelles accoururent autour du lit de Ma.s.similla, et y pleurerent!_" What puzzles me is why statues should break their forms (_form_ I suppose should be translated by _mould_)--break their moulds--the expression seems very inadequate--break their moulds "in order to go to you, great imaginative artists." How could they break their moulds or their forms to go to the imaginative artists, the mould or the form being the gift of the imaginative artists? I should have understood Balzac better if he had said that the statues escape from their niches and the madonnas and the angels from their frames to gather round the bed of _Ma.s.similla_ to weep. Balzac's idea seems to have got a little tangled, or maybe I am stupid to-day. However, here is the pa.s.sage:

"Les peris, les ondines, les fees, les sylphides du vieux temps, les muses de la Grece, les vierges de marbre de la Certosa di Pavia, le Jour et la Nuit de Michel Ange, les pet.i.ts anges que Bellini le premier mit au bas des tableaux d'eglise, et que Raphael a faits si divinement au bas de la vierge au donataire, et de la madone qui gele a Dresde, les delicieuses filles d'Orcagna, dans l'eglise de San-Michele a Florence, les ch?urs celestes du tombeau de Saint Sebald a Nuremberg, quelques vierges du Duomo de Milan, les peuplades de cent cathedrales gothiques, tout le peuple des figures qui brisent leur forme pour venir a vous, artistes comprehensifs, toutes ces angeliques filles incorporelles accoururent autour du lit de Ma.s.similla, et y pleurerent."

CHAPTER IX

IN THE LUXEMBOURG GARDENS

There was a time when my dream was not literature, but painting; and I remember an American giving me a commission to make a small copy of Ingres's "Perseus and Andromeda," and myself sitting on a high stool in the Luxembourg, trying to catch the terror of the head thrown back, of the arms widespread, chained to the rock, and the beauty of the foot advanced to the edge of the sea. Since my copying days the picture has been transferred to the Louvre. What has become of my copy, whether I ever finished it and received the money I had been promised, matters very little. Memories of an art that one has abandoned are not pleasant memories. Maybe the poor thing is in some Western state where the people are ignorant enough to accept it as a sketch for the original picture. My hope is that it has drifted away, and become part of the world's rubbish and dust. But why am I thinking of it at all? Only because a more interesting memory hangs upon it.

After working at it all one morning, I left the museum feeling half satisfied with my drawing, but dreading the winged monster that awaited me after lunch. In those days I was poor, though rich for the Quarter. I moved in a society of art students, and we used to meet for breakfast in a queer little cafe; the meal cost us about a s.h.i.+lling.

On my return from this cafe soon after twelve--I had breakfasted early that morning--I remember how, overcome by a sudden idleness, I could not go back to my work, and feeling that I must watch the birds and the sunlight (they seemed to understand each other so well), I threw myself on a bench and began to wonder if there was anything better in the world worth doing than to sit in an alley of clipped limes, smoking, thinking of Paris and of myself.

Every one, or nearly every one, except perhaps the upper cla.s.ses, whose ideas of Paris are the princ.i.p.al boulevards--the Rue de Rivoli, the Rue de la Paix--knows the Luxembourg Gardens; and watching April playing and listening to water trickling from a vase that a great stone Neptune held in his arms at the end of the alley, my thoughts embraced not only the garden, but all I know of Paris, of the old city that lies far away behind the Hotel de Ville and behind the Boulevard St. Antoine. I thought of a certain palace now a museum, rarely visited, of its finely proportioned courtyard decorated with bas-reliefs by Jean Goujon. I had gone there a week ago with Mildred; but finding she had never heard of Madame de Sevigne, and did not care whether she had lived in this palace or another, I spoke to her of the Place des Vosges, saying we might go there, hoping that she would feel interested in it because it had once been the habitation of the old French n.o.bility. As I spoke, its colour rose up before my eyes, pretty tones of yellow and brown brick, the wrought-iron railings and the high-pitched roofs and the slim chimneys. As I walked beside her I tried to remember if there were any colonnades. It is strange how one forgets; yes, and how one remembers. The Place des Vosges has always seemed to me something more than an exhibition of the most beautiful domestic architecture in France. The mind of a nation shapes itself, like rocks, by a process of slow acc.u.mulation, and it takes centuries to gather together an idea so characteristic as the Place des Vosges.

One cannot view it--I cannot, at least--without thinking of the great monarchical centuries, and of the picturesque names which I have learned from Balzac's novels and from the history of France. In his "etude de Catherine de Medicis," Balzac speaks of Madame de Sauve, and I am sure she must have lived in the Place des Vosges. Monsieur de Montresser might have occupied a flat on the first floor. Le Comte Bouverand de la Loyere, La Marquise d'Osmond, Le Comte de Coetlogon, La Marquise de Villefranche, and Le Duc de Cadore, and many other names rise up in my mind, but I will not burden this story with them.

I suppose the right thing to do would be to find out who had lived in the Place des Vosges; but the search, I am afraid, would prove tedious and perhaps not worth the trouble. For if none of the bearers of the names I have mentioned lived in the Place des Vosges, it is certain that others bearing equally n.o.ble names lived there.

Its appearance is the same to-day as it was in the seventeenth century, but it is now inhabited by the small tradespeople of the Quarter; the last great person who lived there was Victor Hugo; his house has been converted into a museum, and it is there that the most interesting relics of the great poet are stored. I unburdened my mind to Mildred, and my enthusiasm enkindled in her an interest sufficient to induce her to go there with me, for I could not forgo a companion that day, though she was far from being the ideal companion for such sentimental prowling as mine. Afterwards we visited Notre Dame together, and the quays, and the old streets; but Mildred lacked the historical sense, I am afraid, for as we returned in the glow of the sunset, when the monumented Seine is most beautiful, she said that Paris wasn't bad for an old city, and it was the memory of this somewhat crude remark that caused a smile to light up my lips as I looked down the dark green alley through which the April sunlight flickered.

But I did not think long of her; my attention was distracted by the beauty of a line of masonry striking across the pale spring sky, tender as a faded eighteenth-century silk, only the blue was a young blue like that of a newly opened flower; and it seemed to me that I could detect in the clouds going by, great designs for groups and single figures, and I compared this aerial sculpture with the sculpture on the roofs. In every angle of the palace there are statues, and in every corner of the gardens one finds groups or single figures. Ancient Rome had sixty thousand statues--a statue for every thirty-three or thirty-four inhabitants; in Paris the proportion of statues to the people is not so great, still there are a great many; no city has had so many since antiquity; and that is why Paris always reminds me of those great days of Greece and Rome when this world was the only world.

When one tires of watching the sunlight there is no greater delight than to become absorbed in the beauty of the bal.u.s.trades, the stately flights of steps, the long avenues of clipped limes, the shapely stone basins, every one monumented in some special way. "How shapely these gardens are," I said, and I fell to dreaming of many rocky hills where, at the entrance of cool caves, a Neptune lies, a vase in his arms with water flowing from it. Yesterevening I walked in these gardens with a sculptor; together we pondered Carpeau's fountain, and, after admiring Fremiet's horses, we went to Watteau's statue, appropriately placed in a dell, among greenswards like those he loved to paint. At this moment my meditation was broken.

"I thought I should find you in the museum painting, but here you are, idling in this pretty alley, and in the evening you'll tell us you've been working all day."

"Will you come for a walk?" I said, thinking that the gardens might interest her, and, if they did not, the people we should meet could not fail to amuse her. It was just the time to see the man who came every morning to feed the sparrows; he had taught them to take bread from his lips, and I thought that Mildred would like to see the funny little birds hopping about his feet, so quaint, so full of themselves, seeming to know all about it. Then if we had luck we might meet Robin Hood, for in those days a man used to wander in the gardens wearing the costume of the outlaw, and armed with a bow and quiver. The strange folk one meets in the Luxembourg Gardens are part of their charm. Had I not once met a man in armour, not plate, but the beautiful chain armour of the thirteenth century, sitting on a bench eating his lunch, his helmet beside him?--a model no doubt come from a studio for the lunch hour, or maybe he was an _exalte_ or a _fumist_; a very innocent _fumist_ if he were one, not one of the Quarter certainly, for even the youngest among us would know that it would take more than a suit of armour to astonish the frequenters of the gardens. As we came down a flight of steps we met an old man and his wife, an aged couple nearly seventy years of age, playing football, and the gambols of this ancient pair in the pretty April sunlight were pathetic to watch. I called her attention to them, telling her that in another part of the garden three old women came to dance; but seeing that Mildred was not interested, I took the first opportunity to talk of something else. She was more interested in the life of the Quarter, in _le bal Bullier_, in my stories of grisettes and students; and I noticed that she considered every student as he pa.s.sed, his slim body b.u.t.toned tightly in a long frock-coat, with hair flowing over his shoulders from under his slouched hat, just as she had considered each man on board the boat a week ago as we crossed from Folkestone to Boulogne. We had met on the boat; I noticed her the moment I got on board; her quiet, neat clothes were unmistakably French, though not the florid French clothes Englishwomen so often buy and wear so badly. The stays she had on I thought must be one of those little ribbon stays with very few bones, and as she walked up and down she kept pressing her leather waistband still more neatly into its place, looking first over one shoulder and then over the other. She reminded me of a bird, so quick were her movements, and so alert. She was nice-looking, not exactly pretty, for her lips were thin, her mouth too tightly closed, the under lip almost disappearing, her eyes sloped up very much at the corners, and her eyebrows were black, and they nearly met.

The next time I saw her she was beside me at dinner--we had come by chance to the same hotel, a small hotel in the Rue du Bac. Her mother was with her, an elderly, sedate Englishwoman, to whom the girl talked very affectionately, "Yes, dearest mamma"; "No, dearest mamma." She had a gay voice, though she never seemed to laugh or joke; but her face had a sad expression, and she sighed continually. After dinner her mother went to the piano and played with a great deal of accent and noise the "Brooklyn Cake Walk."

"We used to dance that at Nice. Oh, dear mamma, do you remember that lovely two-step?"

Her mother nodded and smiled, and began playing a Beethoven sonata, but she had not played many bars before her daughter said:

"Now, mother, don't play any more; come and talk to us."

I asked her if she did not like Beethoven. She shrugged her shoulders; an expression of irritation came into her face. She either did not want to talk of Beethoven then, or she was incapable of forming any opinion about him, and, judging from her interest in the "Brooklyn Cake Walk," I said:

"The Cake Walk is gayer, isn't it?"

The sarcasm seemed lost upon her; she sat looking at me with a vague expression in her eyes, and I found it impossible to say whether it was indifference or stupidity.