The Tragic Muse Part 75

"I think there's nothing so good for him as that he happens to have such a sister as you," Peter declared as they went out. He heard at the same time the sound of a carriage stopping, and before Biddy, who was in front of him, opened the door of the house had been able to say to himself, "What a bore--there's Miriam!" The opened door showed him that truth--this young lady in the act of alighting from the brougham provided by Basil Dashwood's thrifty zeal. Her mother followed her, and both the new visitors exclaimed and rejoiced, in their demonstrative way, as their eyes fell on their valued friend. The door had closed behind Peter, but he instantly and violently rang, so that they should be admitted with as little delay as possible, while he stood disconcerted, and fearing he showed it, by the prompt occurrence of an encounter he had particularly sought to avert. It ministered, moreover, a little to this sensibility that Miriam appeared to have come somewhat before her time. The incident promised, however, to pa.s.s off in a fine florid way. Before he knew it both the ladies had taken possession of Biddy, who looked at them with comparative coldness, tempered indeed by a faint glow of apprehension, and Miriam had broken out:

"We know you, we know you; we saw you in Paris, and you came to my theatre a short time ago with Mr. Sherringham!"

"We know your mother, Lady Agnes Dormer. I hope her ladys.h.i.+p's very well," said Mrs. Rooth, who had never struck Peter as a more objectionable old woman.

"You offered to do a head of me or something or other: didn't you tell me you work in clay? I daresay you've forgotten all about it, but I should be delighted," Miriam pursued with the richest urbanity. Peter was not concerned with her mother's pervasiveness, though he didn't like Biddy to see even that; but he hoped his companion would take the overcharged benevolence of the young actress in the spirit in which, rather to his surprise, it evidently was offered. "I've sat to your clever brother many times," said Miriam; "I'm going to sit again. I daresay you've seen what we've done--he's too delightful. _Si vous saviez comme cela me repose_!" she added, turning for a moment to Peter.

Then she continued, smiling at Biddy; "Only he oughtn't to have thrown up such prospects, you know. I've an idea I wasn't nice to you that day in Paris--I was nervous and scared and perverse. I remember perfectly; I _was_ odious. But I'm better now--you'd see if you were to know me. I'm not a bad sort--really I'm not. But you must have your own friends.

Happy they--you look so charming! Immensely like Mr. Dormer, especially about the eyes; isn't she, mamma?"

"She comes of a beautiful Norman race--the finest, purest strain," the old woman simpered. "Mr. Dormer's sometimes so good as to come and see us--we're always at home on Sunday; and if some day you found courage to come with him you might perhaps find it pleasant, though very different of course from the circle in which you habitually move."

Biddy murmured a vague recognition of these wonderful civilities, and Miriam commented: "Different, yes; but we're all right, you know. Do come," she added. Then turning to Sherringham: "Remember what I told you--I don't expect you to-night."

"Oh I understand; I shall come,"--and Peter knew he grew red.

"It will be idiotic. Keep him, keep him away--don't let him," Miriam insisted to Biddy; with which, as Nick's portals now were gaping, she drew her mother away.

Peter, at this, walked off briskly with Biddy, dropping as he did so: "She's too fantastic!"

"Yes, but so tremendously good-looking. I shall ask Nick to take me there," the girl said after a moment.

"Well, she'll do you no harm. They're all right, as she says. It's the world of art--you were standing up so for art just now."

"Oh I wasn't thinking so much of that kind," she demurred.

"There's only one kind--it's all the same thing. If one sort's good the other is."

Biddy walked along a moment. "Is she serious? Is she conscientious?"

"She has the makings of a great artist," Peter opined.

"I'm glad to hear you think a woman can be one."

"In that line there has never been any doubt about it."

"And only in that line?"

"I mean on the stage in general, dramatic or lyric. It's as the actress that the woman produces the most complete and satisfactory artistic results."

"And only as the actress?"

He weighed it. "Yes, there's another art in which she's not bad."

"Which one do you mean?" asked Biddy.

"That of being charming and good, that of being indispensable to man."

"Oh that isn't an art."

"Then you leave her only the stage. Take it if you like in the widest sense."

Biddy appeared to reflect a moment, as to judge what sense this might be. But she found none that was wide enough, for she cried the next minute: "Do you mean to say there's nothing for a woman but to be an actress?"

"Never in my life. I only say that that's the best thing for a woman to be who finds herself irresistibly carried into the practice of the arts; for there her capacity for them has most application and her incapacity for them least. But at the same time I strongly recommend her not to be an artist if she can possibly help it. It's a devil of a life."

"Oh I know; men want women not to be anything."

"It's a poor little refuge they try to take from the overwhelming consciousness that you're in very fact everything."

"Everything?" And the girl gave a toss. "That's the kind of thing you say to keep us quiet."

"Dear Biddy, you see how well we succeed!" laughed Peter.

To which she replied by asking irrelevantly: "Why is it so necessary for you to go to the theatre to-night if Miss Rooth doesn't want you to?"

"My dear child, she does want me to. But that has nothing to do with it."

"Why then did she say that she doesn't?"

"Oh because she meant just the contrary."

"Is she so false then--is she so vulgar?"

"She speaks a special language; practically it isn't false, because it renders her thought and those who know her understand it."

"But she doesn't use it only to those who know her," Biddy returned, "since she asked me, who have so little the honour of her acquaintance, to keep you away to-night. How am I to know that she meant by that that I'm to urge you on to go?"

He was on the point of replying, "Because you've my word for it"; but he shrank in fact from giving his word--he had some fine scruples--and sought to relieve his embarra.s.sment by a general tribute. "Dear Biddy, you're delightfully acute: you're quite as clever as Miss Rooth." He felt, however, that this was scarcely adequate and he continued: "The truth is that its being important for me to go is a matter quite independent of that young lady's wis.h.i.+ng it or not wis.h.i.+ng it. There happens to be a definite intrinsic propriety in it which determines the thing and which it would take me long to explain."

"I see. But fancy your 'explaining' to me: you make me feel so indiscreet!" the girl cried quickly--an exclamation which touched him because he was not aware that, quick as it had been, she had still had time to be struck first--though she wouldn't for the world have expressed it--with the oddity of such a duty at such a season. In fact that oddity, during a silence of some minutes, came back to Peter himself: the note had been forced--it sounded almost ign.o.bly frivolous from a man on the eve of proceeding to a high diplomatic post. The effect of this, none the less, was not to make him break out with "Hang it, I _will_ keep my engagement to your mother!" but to fill him with the wish to shorten his present strain by taking Biddy the rest of the way in a cab. He was uncomfortable, and there were hansoms about that he looked at wistfully. While he was so occupied his companion took up the talk by an abrupt appeal.

"Why did she say that Nick oughtn't to have resigned his seat?"

"Oh I don't know. It struck her so. It doesn't matter much."

But Biddy kept it up. "If she's an artist herself why doesn't she like people to go in for art, especially when Nick has given his time to painting her so beautifully? Why does she come there so often if she disapproves of what he has done?"

"Oh Miriam's disapproval--it doesn't count; it's a manner of speaking."

"Of speaking untruths, do you mean? Does she think just the reverse--is that the way she talks about everything?"

"We always admire most what we can do least," Peter brought forth; "and Miriam of course isn't political. She ranks painters more or less with her own profession, about which already, new as she is to it, she has no illusions. They're all artists; it's the same general sort of thing. She prefers men of the world--men of action."

"Is that the reason she likes you?" Biddy mildly mocked.

"Ah she doesn't like me--couldn't you see it?"

The girl at first said nothing; then she asked: "Is that why she lets you call her 'Miriam'?"