The Tragic Muse Part 24

"Baleful woman! But I'll pull you out!" cried Gabriel Nash.

X

For several days Peter Sherringham had business in hand which left him neither time nor freedom of mind to occupy himself actively with the ladies of the Hotel de la Garonne. There were moments when they brushed across his memory, but their pa.s.sage was rapid and not lighted with complacent attention; for he shrank from bringing to the proof the question of whether Miriam would be an interest or only a bore. She had left him after their second meeting with a quickened sympathy, but in the course of a few hours that flame had burned dim. Like most other men he was a mixture of impulse and reflexion, but was peculiar in this, that thinking things over almost always made him think less conveniently. He found illusions necessary, so that in order to keep an adequate number going he often forbade himself any excess of that exercise. Mrs. Rooth and her daughter were there and could certainly be trusted to make themselves felt. He was conscious of their anxiety and their calculations as of a frequent oppression, and knew that whatever results might ensue he should have to do the costly thing for them. An idea of tenacity, of worrying feminine duration, a.s.sociated itself with their presence; he would have a.s.sented with a silent nod to the proposition--enunciated by Gabriel Nash--that he was saddled with them.

Remedies hovered before him, but these figured also at the same time as complications; ranging vaguely from the expenditure of money to the discovery that he was in love. This latter accident would be particularly tedious; he had a full perception of the arts by which the girl's mother might succeed in making it so. It wouldn't be a compensation for trouble, but a trouble which in itself would require compensations. Would that balm spring from the spectacle of the young lady's genius? The genius would have to be very great to justify a rising young diplomatist in making a fool of himself.

With the excuse of pressing work he put off Miss Rooth from day to day, and from day to day he expected to hear her knock at his door. It would be time enough when they ran him to earth again; and he was unable to see how after all he could serve them even then. He had proposed impetuously a course of the theatres; but that would be a considerable personal effort now that the summer was about to begin--a free bid for bad air, stale pieces, and tired actors. When, however, more than a week had elapsed without a reminder of his neglected promise it came over him that he must himself in honour give a sign. There was a delicacy in such unexpected and such difficult discretion--he was touched by being let alone. The flurry of work at the emba.s.sy was over and he had time to ask himself what in especial he should do. He wanted something definite to suggest before communicating with the Hotel de la Garonne.

As a consequence of this speculation he went back to Madame Carre to ask her to reconsider her stern judgement and give the young English lady--to oblige him--a dozen lessons of the sort she knew so well how to give. He was aware that this request scarcely stood on its feet; for in the first place Madame Carre never reconsidered when once she had got her impression, and in the second never wasted herself on subjects whom nature had not formed to do her honour. He knew his asking her to strain a point to please him would give her a false idea--save that for that matter she had it already--of his relations, actual or prospective, with the girl; but he decided he needn't care for this, since Miriam herself probably wouldn't care. What he had mainly in mind was to say to the old actress that she had been mistaken--the _jeune Anglaise_ wasn't such a _grue_. This would take some courage, but it would also add to the amus.e.m.e.nt of his visit.

He found her at home, but as soon as he had expressed his conviction she began: "Oh, your _jeune Anglaise_, I know a great deal more about her than you! She has been back to see me twice; she doesn't go the longest way round. She charges me like a grenadier and asks me to give her--guess a little what!--private recitations all to herself. If she doesn't succeed it won't be for want of knowing how to thump at doors.

The other day when I came in she was waiting for me; she had been there two hours. My private recitations--have you an idea what people pay for them?"

"Between artists, you know, there are easier conditions," Sherringham laughed.

"How do I know if she's an artist? She won't open her mouth to me; what she wants is to make me say things to _her_. She does make me--I don't know how--and she sits there gaping at me with her big eyes. They look like open pockets!"

"I daresay she'll profit by it," said Sherringham.

"I daresay _you_ will! Her face is stupid while she watches me, and when she has tired me out she simply walks away. However, as she comes back--!"

Madame Carre paused a moment, listened and then cried: "Didn't I tell you?"

Sherringham heard a parley of voices in the little antechamber, and the next moment the door was pushed open and Miriam Rooth bounded into the room. She was flushed and breathless, without a smile, very direct.

"Will you hear me to-day? I know four things," she immediately broke out. Then seeing Sherringham she added in the same brisk, earnest tone, as if the matter were of the highest importance: "Oh how d'ye do? I'm very glad you're here." She said nothing else to him than this, appealed to him in no way, made no allusion to his having neglected her, but addressed herself to Madame Carre as if he had not been there; making no excuses and using no flattery; taking rather a tone of equal authority--all as if the famous artist had an obvious duty toward her.

This was another variation Peter thought; it differed from each of the att.i.tudes in which he had previously seen her. It came over him suddenly that so far from there being any question of her having the histrionic nature she simply had it in such perfection that she was always acting; that her existence was a series of parts a.s.sumed for the moment, each changed for the next, before the perpetual mirror of some curiosity or admiration or wonder--some spectators.h.i.+p that she perceived or imagined in the people about her. Interested as he had ever been in the profession of which she was potentially an ornament, this idea startled him by its novelty and even lent, on the spot, a formidable, a really appalling character to Miriam Rooth. It struck him abruptly that a woman whose only being was to "make believe," to make believe she had any and every being you might like and that would serve a purpose and produce a certain effect, and whose ident.i.ty resided in the continuity of her personations, so that she had no moral privacy, as he phrased it to himself, but lived in a high wind of exhibition, of figuration--such a woman was a kind of monster in whom of necessity there would be nothing to "be fond" of, because there would be nothing to take hold of. He felt for a moment how simple he had been not to have achieved before this a.n.a.lysis of the actress. The girl's very face made it vivid to him now--the discovery that she positively had no countenance of her own, but only the countenance of the occasion, a sequence, a variety--capable possibly of becoming immense--of representative movements. She was always trying them, practising them, for her amus.e.m.e.nt or profit, jumping from one to the other and extending her range; and this would doubtless be her occupation more and more as she acquired ease and confidence. The expression that came nearest belonging to her, as it were, was the one that came nearest being a blank--an air of inanity when she forgot herself in some act of sincere attention. Then her eye was heavy and her mouth betrayed a commonness; though it was perhaps just at such a moment that the fine line of her head told most. She had looked slightly _bete_ even when Sherringham, on their first meeting at Madame Carre's, said to Nick Dormer that she was the image of the Tragic Muse.

Now, at any rate, he seemed to see that she might do what she liked with her face. It was an elastic substance, an element of gutta-percha, like the flexibility of the gymnast, the lady at the music-hall who is shot from the mouth of a cannon. He winced a little at this coa.r.s.er view of the actress; he had somehow always looked more poetically at that priestess of art. Yet what was she, the priestess, when one came to think of it, but a female gymnast, a mountebank at higher wages? She didn't literally hang by her heels from a trapeze and hold a fat man in her teeth, but she made the same use of her tongue, of her eyes, of the imitative trick, that her muscular sister made of leg and jaw. It was an odd circ.u.mstance that Miss Rooth's face seemed to him to-day a finer instrument than old Madame Carre's. It was doubtless that the girl's was fresh and strong and had a future in it, while poor Madame Carre's was worn and weary and had only a past.

The old woman said something, half in jest, half in real resentment, about the brutality of youth while Miriam went to a mirror and quickly took off her hat, patting and arranging her hair as a preliminary to making herself heard. Sherringham saw with surprise and amus.e.m.e.nt that the keen Frenchwoman, who had in her long life exhausted every adroitness, was in a manner helpless and coerced, obliging all in spite of herself. Her young friend had taken but a few days and a couple of visits to become a successful force; she had imposed herself, and Madame Carre, while she laughed--yet looked terrible too, with such high artifices of eye and gesture--was reduced to the last line of defence; that of p.r.o.nouncing her coa.r.s.e and clumsy, saying she might knock her down, but that this proved nothing. She spoke jestingly enough not to offend, but her manner betrayed the irritation of an intelligent woman who at an advanced age found herself for the first time failing to understand. What she didn't understand was the kind of social product thus presented to her by Gabriel Nash; and this suggested to Sherringham that the _jeune Anglaise_ was perhaps indeed rare, a new type, as Madame Carre must have seen innumerable varieties. He saw the girl was perfectly prepared to be abused and that her indifference to what might be thought of her discretion was a proof of life, health, and spirit, the insolence of conscious resources.

When she had given herself a touch at the gla.s.s she turned round, with a rapid "_Ecoutez maintenant_!" and stood leaning a moment--slightly lowered and inclined backward, her hands behind her and supporting her--on the _console_ before the mirror. She waited an instant, turning her eyes from one of her companions to the other as to take possession of them--an eminently conscious, intentional proceeding, which made Sherringham ask himself what had become of her former terror and if that and her tears had all been a comedy: after which, abruptly straightening herself, she began to repeat a short French poem, an ingenious thing of the day, that she had induced Madame Carre to say over to her. She had learned it, practised it, rehea.r.s.ed it to her mother, and had now been childishly eager to show what she could do with it. What she mainly did was to reproduce with a crude fidelity, but in extraordinary detail, the intonations, the personal quavers and cadences of her model.

"How bad you make me seem to myself and if I were you how much better I should say it!" was Madame Carre's first criticism.

Miriam allowed her, however, little time to develop it, for she broke out, at the shortest intervals, with the several other specimens of verse to which the old actress had handed her the key. They were all fine lyrics, of tender or ironic intention, by contemporary poets, but depending for effect on taste and art, a mastery of the rare shade and the right touch, in the interpreter. Miriam had gobbled them up, and she gave them forth in the same way as the first, with close, rude, audacious mimicry. There was a moment for Sherringham when it might have been feared their hostess would see in the performance a designed burlesque of her manner, her airs and graces, her celebrated simpers and grimaces, so extravagant did it all cause these refinements to appear.

When it was over the old woman said, "Should you like now to hear how _you_ do?" and, without waiting for an answer, phrased and trilled the last of the pieces, from beginning to end, exactly as her visitor had done, making this imitation of an imitation the drollest thing conceivable. If she had suffered from the sound of the girl's echo it was a perfect revenge. Miriam had dropped on a sofa, exhausted, and she stared at first, flushed and wild; then she frankly gave way to pleasure, to interest and large laughter. She said afterwards, to defend herself, that the verses in question, and indeed all those she had recited, were of the most difficult sort: you had to do them; they didn't do themselves--they were things in which the _gros moyens_ were of no avail.

"Ah my poor child, your means are all _gros moyens_; you appear to have no others," Madame Carre replied. "You do what you can, but there are people like that; it's the way they're made. They can never come nearer to fine truth, to the just indication; shades don't exist for them, they don't see certain differences. It was to show you a difference that I repeated that thing as you repeat it, as you represent my doing it. If you're struck with the little the two ways have in common so much the better. But you seem to me terribly to _alourdir_ everything you touch."

Peter read into this judgement a deep irritation--Miriam clearly set the teeth of her instructress on edge. She acted on her nerves, was made up of roughnesses and thicknesses unknown hitherto to her fine, free-playing finger-tips. This exasperation, however, was a degree of flattery; it was neither indifference nor simple contempt; it acknowledged a mystifying reality in the _jeune Anglaise_ and even a shade of importance. The latter remarked, serenely enough, that the things she wanted most to do were just those that were not for the _gros moyens_, the vulgar obvious dodges, the starts and shouts that any one could think of and that the _gros public_ liked. She wanted to do what was most difficult, and to plunge into it from the first; and she explained as if it were a discovery of her own that there were two kinds of scenes and speeches: those which acted themselves, of which the treatment was plain, the only way, so that you had just to take it; and those open to interpretation, with which you had to fight every step, rendering, arranging, doing the thing according to your idea. Some of the most effective pa.s.sages and the most celebrated and admired, like the frenzy of Juliet with her potion, were of the former sort; but it was the others she liked best.

Madame Carre received this revelation good-naturedly enough, considering its want of freshness, and only laughed at the young lady for looking so n.o.bly patronising while she gave it. Her laughter appeared partly addressed to the good faith with which Miriam described herself as preponderantly interested in the subtler problems of her art.

Sherringham was charmed with the girl's pluck--if it was pluck and not mere density; the stout patience with which she submitted, for a purpose, to the old woman's rough usage. He wanted to take her away, to give her a friendly caution, to advise her not to become a bore, not to expose herself. But she held up her beautiful head as to show how little she cared at present for any exposure, and that (it was half coa.r.s.eness--Madame Carre was so far right--and half fort.i.tude) she had no intention of coming away so long as; there was anything to be picked up. She sat and still she sat, challenging her hostess with every sort of question--some reasonable, some ingenious, some strangely futile and some highly indiscreet; but all with the effect that, contrary to Peter's expectation, their distinguished friend warmed to the work of answering and explaining, became interested, was content to keep her and to talk. Yes, she took her ease; she relieved herself, with the rare cynicism of the artist--all the crudity, the irony and intensity of a discussion of esoteric things--of personal mysteries, of methods and secrets. It was the oddest hour our young man had ever spent, even in the course of investigations which had often led him into the _cuisine_, the distillery or back shop, of the admired profession. He got up several times to come away; then he remained, partly in order not to leave Miriam alone with her terrible initiatress, partly because he was both amused and edified, and partly because Madame Carre held him by the appeal of her sharp, confidential, old eyes, addressing her talk to himself, with Miriam but a pretext and subject, a vile ill.u.s.tration. She undressed this young lady, as it were, from head to foot, turned her inside out, weighed and measured and sounded her: it was all, for Sherringham, a new revelation of the point to which, in her profession and nation, an intelligence of the business, a ferocious a.n.a.lysis, had been carried and a special vocabulary developed. What struck him above all was the way she knew her grounds and reasons, so that everything was sharp and clear in her mind and lay under her hand. If she had rare perceptions she had traced them to their source; she could give an account of what she did; she knew perfectly why, could explain it, defend it, amplify it, fight for it: all of which was an intellectual joy to her, allowing her a chance to abound and insist and discriminate.

There was a kind of cruelty or at least of hardness in it all, to poor Peter's shy English sense, that sense which can never really reconcile itself to any question of method and form, and has extraneous sentiments to "square," to pacify with compromises and superficialities, the general plea for innocence in everything and often the flagrant proof of it. In theory there was nothing he valued more than just such a logical pa.s.sion as Madame Carre's, but it was apt in fact, when he found himself at close quarters with it, to appear an ado about nothing.

If the old woman was hard it was not that many of her present conclusions about the _jeune Anglaise_ were not indulgent, but that she had a vision of the great manner, of right and wrong, of the just and the false, so high and religious that the individual was nothing before it--a prompt and easy sacrifice. It made our friend uncomfortable, as he had been made uncomfortable by certain _feuilletons_, reviews of the theatres in the Paris newspapers, which he was committed to thinking important but of which, when they were very good, he was rather ashamed.

When they were very good, that is when they were very thorough, they were very personal, as was inevitable in dealing with the most personal of the arts: they went into details; they put the dots on the _i_'s; they discussed impartially the qualities of appearance, the physical gifts of the poor aspirant, finding them in some cases reprehensibly inadequate Peter could never rid himself of a dislike to these p.r.o.nouncements; in the case of the actresses especially they struck him as brutal and offensive--unmanly as launched by an ensconced, moustachioed critic over a cigar. At the same time he was aware of the dilemma (he hated it; it made him blush still more) in which his objection lodged him. If one was right in caring for the actor's art one ought to have been interested in every honest judgement of it, which, given the peculiar conditions, would be useful in proportion as it should be free. If the criticism that recognised frankly these conditions seemed an inferior or an unholy thing, then what was to be said for the art itself? What an implication, if the criticism was tolerable only so long as it was worthless--so long as it remained vague and timid! This was a knot Peter had never straightened out: he contented himself with feeling that there was no reason a theatrical critic shouldn't be a gentleman, at the same time that he often dubbed it an odious trade, which no gentleman could possibly follow. The best of the fraternity, so conspicuous in Paris, were those who didn't follow it--those who, while pretending to write about the stage, wrote about everything else.

It was as if Madame Carre, in pursuance of her inflamed sense that the art was everything and the individual nothing save as he happened to serve it, had said: "Well, if she _will_ have it she shall; she shall know what she's in for, what I went through, battered and broken in as we all have been--all who are worthy, who have had the honour. She shall know the real point of view." It was as if she were still beset with Mrs. Rooth's twaddle and muddle, her hypocrisy, her idiotic scruples--something she felt all need to belabour, to trample on. Miriam took it all as a bath, a baptism, with shuddering joy and gleeful splashes; staring, wondering, sometimes blus.h.i.+ng and failing to follow, but not shrinking nor wounded; laughing, when convicted, at her own expense and feeling evidently that this at last was the high cold air of art, an initiation, a discipline that nothing could undo. Sherringham said he would see her home--he wanted to talk to her and she must walk away with him. "And it's understood then she may come back," he added to Madame Carre. "It's _my_ affair of course. You'll take an interest in her for a month or two; she'll sit at your feet."

The old actress had an admirable shrug. "Oh I'll knock her about--she seems stout enough!"

XI

When they had descended to the street Miriam mentioned to Peter that she was thirsty, dying to drink something: upon which he asked her if she should have an objection to going with him to a cafe.

"Objection? I've spent my life in cafes! They're warm in winter and you get your lamplight for nothing," she explained. "Mamma and I have sat in them for hours, many a time, with a _consommation_ of three sous, to save fire and candles at home. We've lived in places we couldn't sit in, if you want to know--where there was only really room if we were in bed.

Mamma's money's sent out from England and sometimes it usedn't to come.

Once it didn't come for months--for months and months. I don't know how we lived. There wasn't any to come; there wasn't any to get home. That isn't amusing when you're away in a foreign town without any friends.

Mamma used to borrow, but people wouldn't always lend. You needn't be afraid--she won't borrow of _you_. We're rather better now--something has been done in England; I don't understand what. It's only fivepence a year, but it has been settled; it comes regularly; it used to come only when we had written and begged and waited. But it made no difference--mamma was always up to her ears in books. They served her for food and drink. When she had nothing to eat she began a novel in ten volumes--the old-fas.h.i.+oned ones; they lasted longest. She knows every _cabinet de lecture_ in every town; the little, cheap, shabby ones, I mean, in the back streets, where they have odd volumes and only ask a sou and the books are so old that they smell like close rooms. She takes them to the cafes--the little, cheap, shabby cafes too--and she reads there all the evening. That's very well for her, but it doesn't feed me. I don't like a diet of dirty old novels. I sit there beside her with nothing to do, not even a stocking to mend; she doesn't think that _comme il faut_. I don't know what the people take me for. However, we've never been spoken to: any one can see mamma's a great lady. As for me I daresay I might be anything dreadful. If you're going to be an actress you must get used to being looked at. There were people in England who used to ask us to stay; some of them were our cousins--or mamma says they were. I've never been very clear about our cousins and I don't think they were at all clear about us. Some of them are dead; the others don't ask us any more. You should hear mamma on the subject of our visits in England. It's very convenient when your cousins are dead--that explains everything. Mamma has delightful phrases: 'My family is almost extinct.' Then your family may have been anything you like.

Ours of course was magnificent. We did stay in a place once where there was a deer-park, and also private theatricals. I played in them; I was only fifteen years old, but I was very big and I thought I was in heaven. I'll go anywhere you like; you needn't be afraid; we've been in places! I've learned a great deal that way--sitting beside mamma and watching people, their faces, their types, their movements. There's a great deal goes on in cafes: people come to them to talk things over, their private affairs, their complications; they have important meetings. Oh I've observed scenes between men and women--very quiet, terribly quiet, but awful, pathetic, tragic! Once I saw a woman do something that I'm going to do some day when I'm great--if I can get the situation. I'll tell you what it is sometime--I'll do it for you. Oh it is the book of life!"

So Miriam discoursed, familiarly, disconnectedly, as the pair went their way down the Rue de Constantinople; and she continued to abound in anecdote and remark after they were seated face to face at a little marble table in an establishment Peter had selected carefully and where he had caused her, at her request, to be accommodated with _sirop d'orgeat_. "I know what it will come to: Madame Carre will want to keep me." This was one of the felicities she presently threw off.

"To keep you?"

"For the French stage. She won't want to let you have me." She said things of that kind, astounding in self-complacency, the a.s.sumption of quick success. She was in earnest, evidently prepared to work, but her imagination flew over preliminaries and probations, took no account of the steps in the process, especially the first tiresome ones, the hard test of honesty. He had done nothing for her as yet, given no substantial pledge of interest; yet she was already talking as if his protection were a.s.sured and jealous. Certainly, however, she seemed to belong to him very much indeed as she sat facing him at the Paris cafe in her youth, her beauty, and her talkative confidence. This degree of possession was highly agreeable to him and he asked nothing more than to make it last and go further. The impulse to draw her out was irresistible, to encourage her to show herself all the way; for if he was really destined to take her career in hand he counted on some good equivalent--such for instance as that she should at least amuse him.

"It's very singular; I know nothing like it," he said--"your equal mastery of two languages."

"Say of half-a-dozen," Miriam smiled.

"Oh I don't believe in the others to the same degree. I don't imagine that, with all deference to your undeniable facility, you'd be judged fit to address a German or an Italian audience in their own tongue. But you might a French, perfectly, and they're the most particular of all; for their idiom's supersensitive and they're incapable of enduring the _baragouinage_ of foreigners, to which we listen with such complacency.

In fact your French is better than your English--it's more conventional; there are little queernesses and impurities in your English, as if you had lived abroad too much. Ah you must work that."

"I'll work it with _you_. I like the way you speak."

"You must speak beautifully; you must do something for the standard."

"For the standard?"

"Well, there isn't any after all." Peter had a drop. "It has gone to the dogs."

"Oh I'll bring it back. I know what you mean."

"No one knows, no one cares; the sense is gone--it isn't in the public,"

he continued, ventilating a grievance he was rarely able to forget, the vision of which now suddenly made a mission full of possible sanct.i.ty for his companion. "Purity of speech, on our stage, doesn't exist. Every one speaks as he likes and audiences never notice; it's the last thing they think of. The place is given up to abominable dialects and individual tricks, any vulgarity flourishes, and on top of it all the Americans, with every conceivable crudity, come in to make confusion worse confounded. And when one laments it people stare; they don't know what one means."

"Do you mean the grand manner, certain pompous p.r.o.nunciations, the style of the Kembles?"