Hortus Vitae Part 4

This is the secret of our intercourse with those persons of whom our friends will say (or think), What _can_ you have in common with So-and-so? What _can_ you find to talk about? Talk about? Why, nothing; the enigmatic person remains with us, as with all the rest of the world, silent, inarticulate; incapable, sometimes, of any inner making of formulae. But we know that our companion is seeing, feeling, the same lines of the hills and washes of their colours, the same scudding or feathering out of clouds; is _living_, in the completest sense, in that particular scene and hour; and knowing this, it matters nothing how long we trudge along the road or saunter across the gra.s.s without uttering.

The road of life, too, or the paths and thickets of speculation.

And speaking of walks, I know no greater torment, among those minor ones which are the worst, than the intelligent conversation--full of suggestion and fine a.n.a.lysis, perhaps, and descriptions of _other_ places--which reveals to us that the kindly speaker is indeed occupying the same geographical s.p.a.ce or sitting behind the same horse as we are, but that his soul is miles and miles away. And the worst of it is that such false companionship can distract us from any real company with the moment and the place. We have to answer out of civility; then to think, to get interested, and then ... well, then it is all over. "We had such a delightful walk or drive, So-and-so and I," says our friend on returning home, "and I am so glad to find that we have such a lot of interests in common." Alas! alas!... Hazlitt was thinking of such experiences, knowing perhaps the stealthiness and duplicity which the fear of them develops in the honest but polite, when he recommended that one should take one's walks alone.

But there is something more perfect even than one's own company: the companion met once, at most twice, in a lifetime (for he is by no means necessarily your dearest and nearest, nor the person who understands you best). He or she whose words are always about the place and moment, or seem to suit it; whose remarks, like certain music, feel restful, s.p.a.cious, cool, airy--like silence. And here I have got back to the praise of such persons as talk little, or (what is even better) _seem_ to talk little.

There is a deal of truth, and, as befits the subject, rather implied than actually expressed, in Maeterlinck's essay on Silence. His fine temper, veined and shot with colour, rich in harmonics like a well-toned voice, enables him, even like the mystics whom he has edited, to guess at those diffuse and mellow states of soul which often defy words. He knows from experience how little we can really live, although we needs must speak, in definite formulae, logical frameworks of verb and noun, subject and predicate. Let alone the fact that all consummate feeling (like the moment to which Faust cried _Stay_) abolishes the sense of sequence--revolves, if I may say so, on its own axis, a _now, forever_; baffling thereby all speech. And M. Maeterlinck perceives, therefore, that real communion between fellow-creatures is interchange of temperament, of rhythm of life; not exchange of remarks, views, and opinions, of which ninety-nine in a hundred are merely current coin. To what he has said I should like to add that if we are often silent with those whom we love best, it is because we are sensitive to their whole personality, face, gesture, texture of soul and body; that we are living with them not only in the present, but enriched, modified by all they have said before, by everything remaining in our memory as theirs. To talk would never express a state of feeling so rich and living; and it can serve, at most, only to give the heightening certainty of presence, like a handclasp or asking, "Are you there?" and getting the answer, "Yes; I am here, and so are you"--facts of no high logical importance!

As regards silent people, this characteristic may, of course, be mere result of sloth and shyness, or lack of habit of the world, and they may be gabbling volubly in their hearts. Such as these are no kind of blessing, save perhaps negatively. Still less to be commended are those others, cutting a better figure (or thinking so), who measure their words from a dread of "giving themselves away"--of "making themselves cheap," or otherwise (always thinking in terms of money, lawsuits, and general overreaching) getting the worst of a bargain. Indeed, it is a sign how little we are truly civilized, that such silence or laconicism as this, can be met constantly outside the cla.s.s (invariably cunning) of peasants; indeed, among men exercising what we are pleased to call _liberal professions_.

The persons in whom silence is a mark of natural fine breeding are those who, being able to taste the real essence of things, are apt, perhaps wrongly, to despise the unessential. They are disdainful of all the old things inevitably repeated in saying half a new one. They cannot do with the lumber, wastepaper, shavings, sawdust, rubbish necessary for packing and conveying objects of value; now most of talk, and much of life, is exactly of that indispensable useful uselessness. They are silent for the same reason that they are frequently inactive, recognizing that words and actions are so often mere litter and enc.u.mbrance. One feels frozen occasionally by their unspoken criticism; one's small exuberances checked by lack of sympathy and indulgence; one would like, sometimes, to pick a quarrel with them, to offer a penny for their thoughts, to force them to be as unselective and vulgar as one's self. But one desists, feeling instinctively the refreshment (as of some solitary treeless down or rocky stream) and purification of their fine abstention in this world where industry means cinder-heaps, and statesmanship, philosophy, art, philanthropy, mean "secondary products"

of a.n.a.logous kind.

Before concluding this over-garrulous tribute to silence, I would fain point out the contrast, ironical enough, between the pleasant sense of comradeship with some of those who "never utter," and the loneliness of spirit in which we steam and post and cab through every possible realm of fact and theory with certain other people. I am not alluding to the making hay of politics, exhibitions, theatres, current literature, etc., which is so much the least interesting form of gossip. What I mean are those ample, apparently open talks between people who have found each other out; who know the cardboard and lath and plaster of the architectural arrangements or suspect the water-supply and drainage behind; talks where one knows that the other is shirking some practical conclusion, divagating into the abstract, and has to pick his way among hidden interests and vanities, or avert his eyes from moral vistas which he knows of.... "So-and-so is such a delightful talker--so witty and so wonderfully unprejudiced; I cannot understand why you don't cultivate him or her." Cultivate him or her! Cultivate garlic; those elegant white starry flowers you wonder at my weeding out of the beds.

Compare with this the blessedness of knowing that the contents of the other person's mind are _nice_, pure of all worldliness, pretence, and meanness; that the creature's thoughts, if opened out to one, would diffuse the scent of sunshine and lavender even as does clean, well-folded linen.

Hence the charm of a whole lot of persons not conspicuous for conversational powers: men who have lived much out-of-doors, with gun or rod; shy country neighbours, cross old scholars, simple motherly little housewives; and, if one get at their reality, peasants and even servants. For we have within ourselves memories and fancies; and it depends on our companion, on a word, a glance, a gesture, that only the sweet and profitable ones, thoughts of kindness and dignity, should be stirred up.

THE BLAME OF PORTRAITS

Feeling a little bit ashamed of myself, yet relieved at having done with that particular hypocrisy, I unpinned the two facsimiles of drawings from off my study screen and put them in a portfolio. A slight sense of profanation ensued; not so much of infidelity towards those two dear friends, nor certainly of irreverence towards Mr. Watts or the late Sir Edward Burne-Jones, but referable to the insistence with which I had clamoured for those portraits, the delight experienced at their arrival, and the solid satisfaction antic.i.p.ated from their eternal possession.

We have most of us--of the sentimental ones at least--gone through some similar small drama, and been a little harrowed by it. But though we feel as if there were some sort of naughtiness in us, we are quite blameless, and on the whole rather to be pitied. We are the dupes of a very human craving, and one which seems modest in its demands. What! a mere square of painted canvas, a few pencil scratchings, a bare mechanical photograph, something no rarer than a reflection in a mirror!

That is all we ask for, to still the welling-up wistfulness, the clinging reluctance, to console for parting or the thought, almost, of death! We do not guess that this humble desire for a likeness is one of our most signal cravings after the impossible: an attempt to overcome s.p.a.ce and baffle time; to imprison and use at pleasure the most fleeting, intangible, and uncommunicable of all mysterious essences, a human personality.

"Often enough I think I have got the turn of her head and neck; but not the face--never the face that speaks," complains the poor bereaved husband in Mary Robinson's beautiful little poem. The case may not be tragic like that one, and yet thoroughly tantalizing; we feel the absent ones opposite to us in the room, we are in that distant room ourselves; there is a sense of their position, of the s.p.a.ce they occupy, and thus we see, as through a ghost, the familiar outline, perhaps, of a chair. Or, again, there is the well-known movement, accompanied, perhaps, by the tone of voice, concentrated almost to the longed-for look, and, as the figure advances ... nothing! Like Virgil's Orpheus, our fancy embraces a shadow. "The face--never the face that speaks!" But we _will_ have it, people exclaimed, all those ages ago, and exclaim ever since. And thus they came by the notion of portraits.

And when they got them they grumbled. The cavilling at every newly-painted likeness is notorious. The sitter, indeed, is sometimes easy enough to please, poor human creatures enjoying, as a rule, any notice (however professional) of their existence, let alone an answer to the attractive riddle of _what they look like_. And there are, of course, certain superfine persons who, in the case of a famous artist, think very like the sitter, and are satisfied so long as they get an ornamental picture, or one well up to date. But the truly human grumble, and are more than justified in doing so. Their cravings have been disappointed; they had expected the impossible, and have not got it.

Since, in the very nature of things, a picture, and particularly a fine picture, is always an imperfect likeness. For the image of the sitter on the artist's retina is pa.s.sed on its way to the canvas through a mind chock full of other images; and is transferred--heaven knows how changed already--by processes of line and curve, of blots of colour, and juxtaposition of light and shade, belonging not merely to the artist himself, but to the artist's whole school. Regarding merely the latter question, we all know that the old Venetians painted people ample, romantic, magnificent; and the old Tuscans painted them narrow, lucid, and commonplace; men of velvet and silk and armour on the one hand, and men of broadcloth and leather, on the other. The difference due to the individual artist is even greater; and, in truth, a portrait gives the sitter's temperament merged in the temperament of the painter.

So, as a rule, portraiture does but defeat its own end. And, stoically speaking, does it much matter? Posterity has done just as well without the transmission of the real Cardinal Hippolytus; and we know that everything always comes right if only we look at it, Spinoza-like, "under the category of the eternal." But we, meanwhile, are not eternal, nor, alas! are our friends; and that is just one of the things which gall us. We cannot believe--how could we?--that the future can have its own witty men and gracious women, its own sufficient objects of love and reverence, even as we have. We feel we _must_ hand on our own great and beloved ones; we _must_ preserve the evanescent personal fragrance, press the flower. And hence, again, portraits and memoirs, Boswell's "Johnson," or Renan's "Ma Soeur Henriette"; grotesque or lovely things, as the case may be, and always pathetic, which tell us that men have always admired and always loved; leaving us to explain, by subst.i.tuting the image of our own idols, why in that case more specially they did so. Poor people! We do so cling to our particular self and self's preferences; we are so confidently material and literal! And one dreads to think of the cruel self-defence of posterity, when we shall try to push into its notice with phonograph and cinematograph.

Let us, in the presence of such hideous machinery, cease to be literal in matters of sentiment, even at the price of a little sadness and cynicism in recognizing the unreality of everything save our own moods and fancies. Perhaps I feel more strongly on this subject because I happen to have seen with my own eyes the _reductio ad absurdum_--to absurdity how lamentable and dreadful!--of this same human craving for literal preservation of that which should not, cannot, be preserved. It was in the lumber-room of an Italian palace; a life-size doll, with wig of real--perhaps personally real--hair, and dressed from head to foot in the garments of the real poor lady, dead some seventy years ago. I wrote a little tale about it; but the main facts were true, and far surpa.s.sed the power of invention. In this case the husband, who had ordered this simulacrum for his solace, taking his daily dose of sentiment in its presence, proceeded, after an interval, to woo and marry his own laundress; and I think, on the whole, this was the least harrowing possible solution. Fancy if he had not found that form of consolation, but had continued trying to be faithful to that dreadful material presence, more rigid, lifeless, meaningless, with every day and every year of familiarity!

In a small way, we all of us commit that man's mistake of thinking that the life of our dear ones is in an image, instead of in the heartbeats which the image--like a name, a place, any a.s.sociated thing--can produce in ourselves. And only changing things can answer to our changing self; only living creatures live with us. Once learned by heart, the portrait, be it never so speaking, ceases to speak, or we to listen to its selfsame message. What was once company to us, because it awakened a flickering feeling of wished-for presence, becomes, after a time, mere canvas or paper; disintegrates into mere colours or mere black and white. Even the faithfullest among us are utterly faithless to the best-beloved portraits. We have them on our walls or on our writing-tables, and pack and unpack some of them for every journey. But do we look at them? or, looking, do we see them, feel them?

They are not, however, useless; very far from it. You might as well complain of the uselessness of the fire which is burned out, or the extinguished lamp. They have, though for a brief time, pleased, perhaps even consoled, us--warmed our heart with the sense of a loving nearness, shed a light on the visions in our mind. Hence we should cherish them as useful delusions, or rather realities, so long as they awaken a reality of feeling. And 'tis a decent instinct of grat.i.tude, not mere inertness, which causes us to keep them, honoured pensioners of our affections, in honourable places.

Only one thing we should guard against, and act firmly about, despite all sentimental scruples. During the _period of activity_ of a portrait--I mean while we still, more or less, look at it--we must beware lest it take, in our memory, the place of the original. Those unchanging features have the insistence of their definiteness and permanence, and may insidiously extrude, exclude, the fleeting, vacillating outlines of the remembered reality. And those alone concern our heart, and have a right to occupy our fancy. One feels aghast sometimes, on meeting some dear friend after an interval of absence, to find that those real features, that real expression, are not the familiar ones. It is the portrait, the envious counterfeit presentment, which (knowing its poor brief reign) has played us and our friend that mean trick. When this happens we must be merciless, like the fairy-story prince when the wicked creatures in the wood spoke to him in the voice of his mother; piety towards the original arms us with ruthlessness towards the portrait. It was for this same reason that, as I have said, I unpinned from my screen those two facsimiles of drawings, feeling rather a brute while I was doing so.

SERE AND YELLOW

INTERLUDE

"Alors que je me croyais aux derniers jours de l'automne, dans un jardin depouille." The words are Madame de Hauterive's, one of the most charming among eighteenth-century letter-writers; but one of whom, for all the indiscretion of that age, we know little or nothing: a delicate, austere outline merely, a reserved and sensitive ghost shrinking into the dimness. She wrote those words when already an old woman, and long after death had taken her father and her daughter and most of her nearest and dearest, to the young Abbe de Carlades, who proved himself (one hopes) not utterly unworthy of that "unexpected late flowering of the soul." The phrase is eighteenth century, and it may be the feeling itself is of as bygone a fashion. Or does this seem the case because such delicate souls can become known to us only when they and their loves and friendships have ceased to be more than a handful of faded paper, fingered very piously, for heaven's sake?

However this may be, that phrase of Madame de Hauterive's contains a truth which is undying, and which, though un.o.btrusive, can be observed by those who have a discreet eye for the soul's affairs. Nay, one might say that the knowledge of how many times life can begin afresh, the knowledge of the new modes of happiness which may succeed each other, even when the leaves float down yellow in the still air, and the dews on the renovated gra.s.s are white like frost, is one of the blessed secrets into which the pa.s.sing seasons initiate those who have honourably cultivated the garden of life, and life's wide common acres.

Indeed, such faith in the heart's renewed fruitfulness is itself among the autumn blossomings, the hidden compensations. Young folk, and those who never outgrow youth's headlong and blind self-seeking, cannot conceive such truths. For youth has no experience of change; and what it calls the Future is but the present longing or present dread projected forward. Hence youth lacks the resignation which comes of knowing that our aims, our loves, ourselves, will alter; and that we shall not eternally regret what we could not eternally covet. Hence, also, the fine despair and frequent suicide of youthful heroes and heroines. Poor young Werther, in his sky-blue _Frack_ and striped yellow waistcoat, cannot believe that the time will come when he will tune the spinet of some other Charlotte--nay, follow in the footsteps of the enlightened minister, his patron; bury himself in protocols and look forward to a diplomatic game of whist rather than to a country dance with meeting hands and eyes. And it is mere waste of breath to sermon him on the subject: lend him the pistols, and hope that (as in the humaner version of the opera) he will not use them. As to certain other forestallings of experience, they would be positively indecent and barbarous! You would die of shame if the young widow happened to overhear you saying (what is heaven's truth, and a most consoling one) that her baby, which now represents only so much time and love she might have given, all, all, to _him_ alone, is the only good thing which that worthless dead husband could ever have furnished her. And as to hinting in her presence that she will some day be much, much happier with dear Quixotic Dobbin than with that c.o.xcomb of an Osborne, why the bare thought of such indecorum makes us feel like sinking into the ground! We must be sympathizing, and a little short of truthful, with poor distressed young people; above all, never seek to lighten their disappointments with visions of brisk octogenarians, one foot in the grave, enjoying a rubber!

And this, no doubt, is a providential arrangement--I mean this youthful incapacity of grasping the consolations brought by Time. For, after all, life, being there, has to be lived; and maybe life would be lived in a half-hearted fashion did we suspect its many compensations, including what may, methinks, be the last, most solemn one. Should we jump hastily out of bed and bestir ourselves with the zest of the new day, if we thoroughly realized what is, however, matter of common experience, to wit: that at the day's close, sleep, rest without dreams or thought of awaking, may be as welcome as all this pleasant bustle of the morning?

The knowledge of these mysteries, initiation into which comes late and silently, is, as I hinted, perhaps the final compensation; allowing us to face the order of things without superfine cavillings. But there are earlier, less awful and secret compensations, and these it is as well to know about, and to prepare our soul serenely to enjoy when the moment comes.

Of this kind are, of course, those autumn flowerings of sentiment alluded to in Madame de Hauterive's letter. They are blossomings sometimes sweeter than those of summer, thanks to the very scorching of summer's suns; or else touched with an austere vividness by the first frosts, like the late china roses, which are streaked, where they open, with a vermillion unparalleled in their earlier sisters. Compare with this all that is implied in Swinburne's line, "the month of the long decline of roses." Think of those roses (I have before my eyes a Florentine terrace at the end of May) crowding each other out, blowing, withering, and dropping; roses white, red, pale lemon, and, alas! also brown and black with mildew, living and dying in such riotous excess that you have neither time nor inclination to pluck one of them, and keep it, piously in water, before you on your table.

Mind, I do not say that such profusion is not all right and necessary in its season. The economy of Nature is often wasteful. There might be no roses at all next year if we depended for seed and slips upon those frost-bitten flowers with their fine austerity. And in the same way that, despite the pathetic tenderness of long-deferred father or motherhood, it is better for the race that infants be brought into the world plentiful, helter-skelter, and that only the toughest stay there; so, methinks, it may be needful that youth be full of false starts, mistaken vocations, lapsed engagements, fanciful friendships broken off in quarrel, glowing pa.s.sions ending in ashes; nay, that this period, fertile in good and evil, be crowned by marriages such as are said to be made in heaven, no doubt because the great match-making spirit of life pursues ends unguessed by human wisdom, which would often remain in single blessedness, and found homes for sickly infants. Wedlock, in other words, and, for the matter of that, father and motherhood, and most of the serious business of the universe, should not be looked upon as a compensation or consolation, but rather as something for which poor human creatures require to be consoled and compensated.

Having admitted which, and even suggested that marriages are fittest at the age of Daphnis and Chloe, or even of Amelia and George Osborne, let us, I pray you, glance with reverent eyes, and a smile not mocking but tender, at certain other weddings which furtively cross our path.

Weddings between elderly persons, hitherto unable to make up their mind, or having, perchance, made it up all wrong on a first occasion; inveterate old maids and bachelors, or widowers who thought to mourn for ever; people who have found their heart perhaps a little late in the day; but, who knows? shrivelled as it is, perhaps, but the mellower, and of more enduring, more essential sweetness.

Alongside of such tardy nuptials there is a corresponding cla.s.s of _marriages of true minds_. Genuine ones are exceedingly rare during youth; and the impediments, despite the opinion of Shakespeare, are of the nature of nullity, ending most often in unseemly divorce between Hermia and Helena, or the Kings of Sicilia and Bohemia, one of whom, if you remember, tried to poison the other on very small provocation. The last-named is an instructive example of the hollowness of nursery or playground friendship, or rather of what pa.s.ses for such. Genuine friendship is an addition to our real self, a revelation of new possibilities; and young people, busily absorbing the traditions of the past and the fashions of the day, have very rarely got a real self to reveal or to bestow. So that the feeling we experience in later life towards our playmates is, in fact, rather a wistful pleasure in the thought of our own past than any real satisfaction in their present selves.

Be this as it may, there is among the compensations of life, a kind of friendship which, by its very nature, requires that one of the friends have pa.s.sed the _middle of the way_. I am not referring to the joys of grandfather and grandmotherhood, and all that "_art d'etre grandpere_"

which have been written and sung until one turns a trifle sceptical about them. What I allude to has, on the contrary, escaped (almost entirely, I think) the desecrating pen of the a.n.a.lytical or moralizing novelist, and remains one of the half-veiled mysteries of human good fortune, before which the observer pa.s.ses quickly in shy admiration.

The case is this: one of the parents has been unwilling, or disappointed; marriage has meant emptiness, or worse; and a nursery full of children has been, very likely, a mere occasion for ill-will and painful struggle. The poor soul has been, perhaps for years, fretted and wearied; or else woefully lonely, cabined, confined, and cramped almost to numbness. When, behold! by the marvellous miracle of man or womanhood--a dull, tiresome child is suddenly transformed, takes on shapeliness and stature, opens the bolted doors of life, leads the father or mother into valleys of ease and on to hopeful hilltops; slays dragons, chains ogres, and smiles with the eyes and lips which have been vaguely dreamed of, longed for, who knows how long!

So children do occasionally const.i.tute compensations and blessings not merely in disguise. And this particularly where they have not been looked upon as investments for future happiness or arrangements for paying off parental debts to society, to glory, or the Supreme Being.

For surely, if children are ever to renovate the flagging life of parents, it can only be by their leaving off their childhood and coming back as equals, brothers, sisters, sometimes as tenderest and most admiring of chivalrous lovers.

'Tis, in fact, unexpected new life adding itself to ours which const.i.tutes the supreme compensation in middle age; and our heart puts forth fresh blossoms of happiness (of genius sometimes, as in the case of Goethe) because younger shoots are rejoicing in the seasonable sunshine or dews. The interests and beliefs of the younger generation prevent our own from dying; nay, the friendships and loves of our children, whether according to the flesh or the spirit, may become our own. Daughters-in-law are not invariably made to dine off the poisoned half of a partridge, as in works of history. Some stepfathers and stepmothers feel towards those alien youths and maidens only as that dear Valentine Visconti did towards the little Dunois, whom she took in her arms, say the chronicles, and, with many kisses on eyes and cheeks, exclaimed, "Surely thou wast stolen from me!" And, in another relationship which is spoken ill of by those unworthy of it, we can sometimes watch a thing which is among reality's best poetry: where a mother, wisely and dutifully stepping aside from her married daughter's path, has been s.n.a.t.c.hed back, borne in triumph, not by one loving pair of arms, but two; and where the happy young wife has smiled at recognizing that in her husband's love for her there was mixed up a head-over-ears devotion for her mother.

Some folks have no sons or daughters, or husbands or wives, and hence no stepchildren or children-in-law. Yet even for them autumn may blossom.

There are the children of friends, recalling their youth or compensating for their youth's failure; and for some there are the younger workers in the same field, giving us interest in books or pictures, or journeys or campaigns, when our own days for work and struggle are over; even as we, perhaps, have kept open the vistas of life, given Pisgah-sights to those beloved and venerated ones whose sympathy we value and understand better perhaps now than all those many, many years ago. Yes! even in our youthful egoism we gave them something, those dear long dead friends; and this knowledge is itself a tiny autumn bud in our soul.

There are humbler compensations also. And among these the kind which, years after writing the immortal idyll of "Dr. Antonio," my dear venerated friend Ruffini set forth in a tiny story, perhaps partly his own, about the modest but very real happiness which the mere relationship of master and servant can bring into a solitary life; the story taking its name, by a coincidence by no means indifferent to me, from a faithful and pleasant person called Carlino.

But an end to digressions, for it is time to cease writing, particularly of such intangible and shy matters. So, to return to Madame de Hauterive's sentence, which was our starting-point in this inventory of compensations and consolations. Paradoxical though it seem, the understanding and union brought by a glance, by words said in a given way, by any of the trifles bearing mysterious, unreasoned significance for the experienced soul--or, briefly, "_friendship at first sight_"--is as natural in the sere and yellow, as love at first sight in the salad, days. Only, to be sure, less manifest to indifferent bystanders, since one of the consoling habits which life brings with it is a respect for life's thoroughfares, a reluctance to stop the way, collect a crowd with our private interests, and a pious reserve about such good fortune as is good precisely because it suits us, not other people.

Reserve of this sort, as I began with saying, is one of the charms of dear Madame de Hauterive; and the more so that eighteenth-century folk, particularly French, were not much given to it! And thus it happens that we know little or nothing about that friendship which consoled her later life; and must look round us in our own, if we would understand what were those new flowerings which had arisen, when, as she says, she had thought herself already in the last days of autumn and in a leafless garden.

A STAGE JEWEL

"It doesn't seem to be precisely what is meant by _old paste_," she answered, repeating the expression I had just made use of, while she handed me the diamond hoop across the table. "It's too like real stones, you know. I think it must be a stage jewel."