The Early Life and Adventures of Sylvia Scarlett Part 31

"Oh, you, my dear man, of course. If I asked you for a city, you'd give me a view from a Pierrot's window of a Harlequin who'd stolen the first five numbers of the Yellow Book from a Pantaloon who kept a second-hand bookshop in a street-scene by Steinlen, and whose daughter, Columbine, having died of grief at being deserted by the New English Art Club, had been turned into a book-plate. No, I want some fierce young genius of to-day."

Over their drinks they discussed possible candidates; finally Ronald said he would invite a certain number of the most representative and least representational modern painters to his studio, from whom Sylvia might make her choice. Accordingly, two or three days later Sylvia visited Ronald in Grosvenor Road. For the moment, when she entered, she thought that he had been playing a practical joke upon her, for it seemed impossible that these extraordinary people could be real. The northerly light of the studio, severe and virginal, was less kind than the feverish exhalation of the Cafe Royal.

"They are real?" she whispered to her host.

"Oh yes, they're quite real, and in deadly earnest. Each of them represents a school and each of them thinks I've been converted to his point of view. I'll introduce Morphew."

He beckoned to a tall young man in black, who looked like a rolled-up umbrella with a jade handle.

"Morphew, this is Miss Scarlett. She's nearly as advanced as you are. Sylvia, this is Morphew, the Azurist."

Walker maliciously withdrew when he had made the introduction.

"Ought I to know what an Azurist is?" Sylvia asked. She felt that it was an unhappy opening for the conversation, but she did not want to hurt his religious feelings if Azurism was a religion, and if it was a trade she might be excused for not knowing what it was, such a rare trade must it be.

Mr. Morphew smiled in a superior way. "I think most people have heard about me by now."

"Ah, but I've been abroad."

"Several of my affirmations have been translated and published in France, Germany, Russia, Spain, Italy, Sweden, Hungary, and Holland," said Mr. Morphew, in a tone that seemed to imply that if Sylvia had not grasped who he was by now she never would, in which case it was scarcely worth his while to go on talking to her.

"Oh dear! What a pity!" she exclaimed. "I was in Montenegro all last year, so I must have missed them. I don't think you're known in Montenegro yet. It's such a small country, I should have been sure to hear about anything like that.

"Like what?" thought Sylvia, turning up her mind's eyes to heaven.

Mr. Morphew was evidently not sure what sort of language was spoken in Montenegro, and thought it wiser to instruct Sylvia than to expose his own ignorance.

"What color is that?" he suddenly demanded, pointing to the orange coverlet of a settee.

"Orange," said Sylvia. "Perhaps it's inclining to some shade of brown."

"Orange! Brown!" Mr. Morphew scoffed. "It's blue."

"Oh, but it's not!" she contradicted. "There's nothing blue about it."

"Blue," repeated Mr. Morphew. "All is blue. The Azurists deny that there is anything but blue. Blue," he continued in a rapt voice. "Blue! I was a Blanchist at first; but when we quarreled most of the Blanchists followed me. I shall publish the nineteenth affirmation of the Azurists next week. If you give me your address I'll send you a copy. We're going to give the Ovists h.e.l.l in a new magazine that we're bringing out. We find that affirmations are not enough."

"Will it be an ordinary magazine?" Sylvia asked. "Will you have stories, for instance?"

"We don't admit that stories exist. Life-rays exist. There will be life-rays in our magazine."

"I suppose they'll be pretty blue," said Sylvia.

"All life-rays are blue."

"I suppose you don't mind wet weather?" she suggested. "Because it must be rather difficult to know when it's going to clear up."

"There are degrees of blue," Mr. Morphew explained.

"I see. Life isn't just one vast, reckless blue. Well, thank you very much for being so patient with my old-fashioned optical ideas. I do hope you'll go to America and tell them that their leaves turn blue in autumn. Anyway, you'll feel quite at home crossing the ocean, though some people won't even admit that's blue."

Sylvia left the Azurist and rejoined Ronald.

"Well," he laughed. "You look quite frightened."

"My dear, I've just done a bolt from the blue. You are a beast to rag my enthusiasms. Isn't there anybody here whose serious view of himself I can indorse?"

"Well, there's Pattison, the Ovist. He maintains that everything resolves itself into ovals."

"I think I should almost prefer Azurism," said Sylvia. "What about the Blanchists?"

"Oh, you wouldn't like them! They maintain that there's no such thing as color; their pictures depend on the angle at which they're hung."

"But if there's no such thing as color, how can they paint?"

"They don't. Their canvases are blank. Then there are the Combinationists. They don't repudiate color, but they repudiate paint. The most famous Combinationist picture exhibited so far consisted of half a match-box, a piece of orange-peel, and some sealing-wax, all stuck upon a slip of sugar-paper. The other Combinationists wanted to commit suicide because they despaired of surpa.s.sing it. Roger Cadbury wrote a superb introduction, pointing out that it must be either liked or disliked, but that it was impossible to do both or neither. It was that picture which inspired Hezekiah Penny to write what is considered one of his finest poems. You know it, perhaps?

"Why do I sing? There is no reason why I should continue: This image of the essential bin is better Than the irritated uvulas of modern poets.

That caused almost as great sensation as the picture, because some of his fellow-poets maintained that he had no right to speak for anybody but himself."

"Who is Hezekiah Penny?" Sylvia asked.

"Hezekiah Penny is a provincial poet who began by writing Provencal verse."

"But this is madness," Sylvia exclaimed, looking round her at the studio, where the representatives of modernity eyed one another with surprise and distaste like unusual fish in the tank of an aquarium. "Behind all this rubbish surely something truly progressive exists. You've deliberately invited all the charlatans and impostors to meet me. I tell you, Ronnie, I saw lots of pictures in New York that were eccentric, but they were striving to rediscover life in painting. You're prejudiced because you belong to the decade before all this, and you've taken a delight in showing me all the extravagant side of it. You should emulate t.i.thonus."

"Who was he?"

"Now don't pretend you can't follow a simple allusion. The gentleman who fell in love with Aurora."

"Didn't he get rather tired of living forever?"

"Oh, well, that was because he grew a beard like you. Don't nail my allusions to the counter; they're not lies."

"I'll take pity on you," said Ronnie. "There is quite a clever youth whom I intended for you from the beginning. He's coming in later, when the rest have gone."

When she and Ronnie were alone again and before Lucian Hope, the young painter, arrived, Sylvia, looking through one of his sketch-books, came across a series of studies of a girl in the practice-dress of dancing; he told her it was Jenny Pearl.

"Maurice Avery's Jenny," she murmured. "What happened to her?"

"Didn't you hear about it? She was killed by her husband. It was a horrible business. Maurice went down to see her where she lived in the country, and this brute shot her. It was last summer. The papers were full of it."

"And what happened to Maurice?"

"Oh, he nearly went off his head. He's wandering about in Morocco probably."

"Where I met him," said Sylvia.

"But didn't he tell you?"

"Oh, it was before. More than three years ago. We talked about her."

Sylvia shuddered. One of her improvisations had been Maurice Avery; she must burn it.

Lucian Hope arrived before Sylvia could ask any more questions about the horrible event; she was glad to escape from the curiosity that would have turned it into a tale of the police-court. The new-comer was not more than twenty-two, perhaps less--too young, at any rate, to have escaped from the unconventionality of artistic attire that stifles all personality. But he had squirrel's eyes, and was not really like an undertaker. He was shy, too, so shy that Sylvia wondered how he could tolerate being stared at in the street on account of his odd appearance. She would have liked to ask him what pleasure he derived from such mimicry of a sterile and professional distinction, but she feared to hurt his young vanity; moreover, she was disarmed by those squirrel's eyes, so sharp and bright even in the falling dusk. The three of them talked restlessly for a while, and Sylvia, seeing that Ronald was preparing to broach the subject for which they were met, antic.i.p.ated him with a call for attention, and began one of her improvisations. It was of Concetta lost in a greater city than Granada. By the silence that followed she knew that her companions had cared for it, and she changed to Mrs. Gainsborough. Then she finished up with three of the poems.

"Could you paint me a scene for that?" she asked, quickly, to avoid any comment.

"Oh, rather!" replied the young man, very eagerly; though it was nearly dark now, she could see his eyes flashing real a.s.surance.

They all three dined together that evening, and Lucian Hope, ever since Sylvia had let him know that she stood beside him to conquer the world, lost his early shyness and talked volubly of what she wanted and what he wanted to do. Ronald Walker presided in the background of the ardent conversation, and as they came out of the restaurant he took Sylvia's arm for a moment.

"All right?"

"Quite all right, thanks."

"So's your show going to be. Not so entirely modern as you gave me to suppose. But that's not a great fault."

Sylvia and Lucian Hope spent a good deal of time together, so much was there to talk about in connection with the great enterprise. She brought him to the Airdales' that he might meet Jack, who was supposed to have charge of the financial arrangements. The sight of the long-haired young man made Sylvius cry, and, as a matter of course, Rose, also, which embarra.s.sed Lucian Hope a good deal, especially when he had to listen to an explanation of himself by Olive for the children's consolation.

"He's a gollywog," Sylvius howled.

"He's a gollywog," Rose echoed.

"He's tum to gobble us," Sylvius bellowed.

"To gobble us, to gobble us," Rose wailed.

"He's not a gollywog, darlings," their mother declared. "He makes pretty pictures, oh, such pretty pictures of--"

"He is a gollywog," choked Sylvius, in an ecstasy of rage and fear.

"A gollywog, a gollywog," Rose insisted.

Their mother changed her tactics. "But he's a kind gollywog. Oh, such a kind gollywog, the kindest, nicest gollywog that was ever thought of."

"He is--ent," both children proclaimed. "He's bad!"

"Don't you think I'd better go?" asked the painter. "I think it must be my hair that's upsetting them."

He started toward the door, but, unfortunately, he was on the wrong side of the children, who, seeing him make a move in their direction, set up such an appalling yell that the poor young man drew back in despair. In the middle of this the maid entered, announcing Mr. Arthur Madden, who followed close upon her heels. Sylvius and Rose were by this time obsessed with the idea of an invasion by an army of gollywogs, and Arthur's pleasant face took on for them the dreaded lineaments of the foe. Both children clung shrieking to their mother's skirts. Sylvia and Jack were leaning back, incapable through laughter. Arthur and Lucian Hope surveyed miserably the scene they had created. At last the nurse arrived to rescue the twins, and they were carried away without being persuaded to change their minds about the inhuman nature of the two visitors.

Arthur apologized for worrying Sylvia, but his mother was so anxious to know when she was coming down to Dulwich, and as he had been up in town seeing about an engagement, he had not been able to resist coming to visit her.

Sylvia felt penitent for having abandoned Arthur so completely since they had arrived in England, and she told him she would go back with him that very afternoon.

"Oh, but Miss Scarlett," protested Lucian, "don't you remember? We arranged to explore Limehouse to-morrow."

Arthur looked at the painter very much as if he were indeed the gollywog for which he had just been taken.

"I don't want to interfere with previous arrangements," he said, with such a pathetic haughtiness that Sylvia had not the heart to wound his dignity, and told Lucian Hope that the expedition to Limehouse must be postponed. The young painter looked disconsolate and Arthur blossomed from his fading. However, Lucian had the satisfaction of saying, in a mysterious voice, to Sylvia before he went: "Well, then, while you're away I'll get on with it."

It was not until they were half-way to Dulwich in the train that Arthur asked Sylvia what he was going to get on with.

"My scene," she said.

"What scene?"

"Arthur, don't be stupid. The set for my show."

"You're not going to let a youth like that paint a set for you? You're mad. What experience has he had?"

"None. That's exactly why I chose him. I'm providing the experience."

"Have you known him long?" Arthur demanded. "You can't have known him very long. He must have been at school when you left England."

"Don't be jealous," said Sylvia.

"Jealous? Of him? Huh!"

Mrs. Madden had changed more than Sylvia expected. Arthur had seemed so little altered that she was surprised to see his mother with white hair, for she could scarcely be fifty-five yet. The drawing-room of the little house in Dulwich recalled vividly the drawing-room of the house in Hampstead; nor had Mrs. Madden bought herself a new piano with the fifty pounds that was cabled back to her from Sulphurville. It suddenly occurred to Sylvia that this was the first time she had seen her since she ran away with Arthur, fifteen years ago, and she felt that she ought to apologize for that behavior now; but, after all, Mrs. Madden had run away herself once upon a time with her father's groom and could scarcely have been greatly astonished at Arthur's elopement.

"You have forgiven me for carrying him off from Hampstead?" she asked, with a smile.

Mrs. Madden laughed gently. "Yes, I was frightened at the time. But in the end it did Arthur good, I think. It's been such a pleasure to me to hear how successful he's been lately." She looked at Sylvia with an expression of marked sympathy.

After supper Mrs. Madden came up to Sylvia's room and, taking her hand, said, in her soft voice, "Arthur has told me all about you two."

Sylvia flushed and pulled her hand away. "He's no business to tell you anything about me," she said, hotly.

"You mustn't be angry, Sylvia. He made it quite clear that you hadn't quite made up your mind yet. Poor boy," she added, with a sigh.

Sylvia, when she understood that Arthur had not said anything about their past, had a strong desire to tell Mrs. Madden that she had lived with him for a year. She resented the way she had said "poor boy." She checked the impulse and a.s.sured her that if Arthur had spoken of their marriage he had had no right to do so. It really was most improbable that she should marry him; oh, but most improbable.

"You always spoke very severely about love when you were a little girl. Do you remember? You must forgive a mother, but I must tell you that I believe Arthur's happiness depends upon your marrying him. He talks of nothing else and makes such plans for the future."

"He makes too many plans," Sylvia said, severely.

"Ah, there soon comes a time when one ceases to make plans," Mrs. Madden sighed. "One is reduced to expedients. But now that you're a woman, and I can easily believe that you're the clever woman Arthur says you are, for you gave every sign of it when you were young--now that you're a woman, I do hope you'll be a merciful woman. It's such a temptation--you must forgive my plain speaking--it's such a temptation to keep a man like Arthur hanging on. You must have noticed how young he is still--to all intents and purposes quite a boy; and believe me he has the same romantic adoration for you and your wonderfulness as he had when he was seventeen. Don't, I beg of you, treat such devotion too lightly."

Sylvia could not keep silent under this unjustified imputation of heartlessness, and broke out: "I'm sure you'll admit that Arthur has given quite a wrong idea of me when I tell you that we lived together for a year; and you must remember that I've been married already and know what it means. Arthur has no right to complain of me."

"Oh, Sylvia, I'm sorry!" Mrs. Madden almost whispered. "Oh dear! how could Arthur do such a thing?"

"Because I made him, of course. Now you must forgive me if I say something that hurts your feelings, but I must say it. When you ran away with your husband, you must have made him do it. You must have done."

"Good gracious me!" Mrs. Madden exclaimed. "I suppose I did. I never looked at it in that light before. You've made me feel quite ashamed of my behavior. Quite embarra.s.sed. And I suppose everybody has always blamed me entirely; but because my husband was one of my father's servants I always used to be defending him. I never thought of defending myself."