The Tragic Muse Part 61

"So much as what?" He couldn't but wonder.

"I don't care for his actress--for that vulgar creature. I don't like her!" said Biddy almost startlingly.

Peter stared. "I thought you hadn't seen her."

"I saw her in Paris--twice. She was wonderfully clever, but she didn't charm me."

He quickly considered, saying then all kindly: "I won't inflict the thing on you in that case--we'll leave it alone for the present." Biddy made no reply to this at first, but after a moment went straight over to the row of stacked canvases and exposed several of them to the light.

"Why did you say you wished to go to the theatre to-night?" her companion continued.

Still she was silent; after which, with her back turned to him and a little tremor in her voice while she drew forth successively her brother's studies, she made answer: "For the sake of your company, Peter! Here it is, I think," she added, moving a large canvas with some effort. "No, no, I'll hold it for you. Is that the light?"

She wouldn't let him take it; she bade him stand off and allow her to place it in the right position. In this position she carefully presented it, supporting it at the proper angle from behind and showing her head and shoulders above it. From the moment his eyes rested on the picture Peter accepted this service without protest. Unfinished, simplified and in some portions merely suggested, it was strong, vivid and a.s.sured, it had already the look of life and the promise of power. Peter felt all this and was startled, was strangely affected--he had no idea Nick moved with that stride. Miriam, seated, was represented in three-quarters, almost to her feet. She leaned forward with one of her legs crossed over the other, her arms extended and foreshortened, her hands locked together round her knee. Her beautiful head was bent a little, broodingly, and her splendid face seemed to look down at life. She had a grand appearance of being raised aloft, with a wide regard, a survey from a height of intelligence, for the great field of the artist, all the figures and pa.s.sions he may represent. Peter asked himself where his kinsman had learned to paint like that. He almost gasped at the composition of the thing and at the drawing of the difficult arms. Biddy abstained from looking round the corner of the canvas as she held it; she only watched, in Peter's eyes, for this gentleman's impression of it. That she easily caught, and he measured her impression--her impression of _his_ impression--when he went after a few minutes to relieve her. She let him lift the thing out of her grasp; he moved it and rested it, so that they could still see it, against the high back of a chair. "It's tremendously good," he then handsomely p.r.o.nounced.

"Dear, dear Nick," Biddy murmured, looking at it now.

"Poor, poor Julia!" Peter was prompted to exclaim in a different tone.

His companion made no rejoinder to this, and they stood another minute or two side by side and in silence, gazing at the portrait. At last he took up his hat--he had no more time, he must go. "Will you come to-night all the same?" he asked with a laugh that was somewhat awkward and an offer of a hand-shake.

"All the same?" Biddy seemed to wonder.

"Why you say she's a terrible creature," Peter completed with his eyes on the painted face.

"Oh anything for art!" Biddy smiled.

"Well, at seven o'clock then." And Sherringham departed, leaving the girl alone with the Tragic Muse and feeling with a quickened rush the beauty of that young woman as well as, all freshly, the peculiar possibilities of Nick.

x.x.x

It was not till after the noon of the next day that he was to see Miriam Rooth. He wrote her a note that evening, to be delivered to her at the theatre, and during the performance she sent round to him a card with "All right, come to luncheon to-morrow" scrawled on it in pencil.

When he presented himself at Balaklava Place he learned that the two ladies had not come in--they had gone again early to rehearsal; but they had left word that he was to be pleased to wait, they would appear from one moment to the other. It was further mentioned to him, as he was ushered into the drawing-room, that Mr. Dashwood was in possession of that ground. This circ.u.mstance, however, Peter barely noted: he had been soaring so high for the past twelve hours that he had almost lost consciousness of the minor differences of earthly things. He had taken Biddy Dormer and her friend Miss Tressilian home from the play and after leaving them had walked about the streets, had roamed back to his sister's house, in a state of exaltation the intenser from his having for the previous time contained himself, thinking it more decorous and considerate, less invidious and less blatant, not to "rave." Sitting there in the shade of the box with his companions he had watched Miriam in attentive but inexpressive silence, glowing and vibrating inwardly, yet for these fine, deep reasons not committing himself to the spoken rapture. Delicacy, it appeared to him, should rule the hour; and indeed he had never had a pleasure less alloyed than this little period of still observation and repressed ecstasy. Miriam's art lost nothing by it, and Biddy's mild nearness only gained. This young lady was virtually mute as well--wonderingly, dauntedly, as if she too a.s.sociated with the performer various other questions than that of her mastery of her art.

To this mastery Biddy's att.i.tude was a candid and liberal tribute: the poor girl sat quenched and pale, as if in the blinding light of a comparison by which it would be presumptuous even to be annihilated. Her subjection, however, was a gratified, a charmed subjection: there was beneficence in such beauty--the beauty of the figure that moved before the footlights and spoke in music--even if it deprived one of hope.

Peter didn't say to her in vulgar elation and in reference to her whimsical profession of dislike at the studio, "Well, do you find our friend so disagreeable now?" and she was grateful to him for his forbearance, for the tacit kindness of which the idea seemed to be: "My poor child, I'd prefer you if I could; but--judge for yourself--how can I? Expect of me only the possible. Expect that certainly, but only that." In the same degree Peter liked Biddy's sweet, hushed air of judging for herself, of recognising his discretion and letting him off while she was lost in the illusion, in the convincing picture of the stage. Miss Tressilian did most of the criticism: she broke out cheerfully and sonorously from time to time, in reference to the actress, "Most striking certainly," or "She _is_ clever, isn't she?" She uttered a series of propositions to which her companions found it impossible to respond. Miss Tressilian was disappointed in nothing but their enjoyment: they didn't seem to think the exhibition as amusing as she.

Walking away through the ordered void of Lady Agnes's quarter, with the four acts of the play glowing again before him in the smokeless London night, Peter found the liveliest thing in his impression the cert.i.tude that if he had never seen Miriam before and she had had for him none of the advantages of a.s.sociation, he would still have recognised in her performance the richest interest the theatre had ever offered him. He floated in the felicity of it, in the general encouragement of a sense of the perfectly _done_, in the almost aggressive bravery of still larger claims for an art which could so triumphantly, so exquisitely render life. "Render it?" he said to himself. "Create it and reveal it, rather; give us something new and large and of the first order!" He had _seen_ Miriam now; he had never seen her before; he had never seen her till he saw her in her conditions. Oh her conditions--there were many things to be said about them; they were paltry enough as yet, inferior, inadequate, obstructive, as compared with the right, full, finished setting of such a talent; but the essence of them was now, irremovably, in our young man's eyes, the vision of how the uplifted stage and the listening house transformed her. That idea of her having no character of her own came back to him with a force that made him laugh in the empty street: this was a disadvantage she reduced so to nothing that obviously he hadn't known her till to-night. Her character was simply to hold you by the particular spell; any other--the good nature of home, the relation to her mother, her friends, her lovers, her debts, the practice of virtues or industries or vices--was not worth speaking of. These things were the fictions and shadows; the representation was the deep substance.

Peter had as he went an intense vision--he had often had it before--of the conditions still absent, the great and complete ones, those which would give the girl's talent a superior, a discussable stage. More than ever he desired them, mentally invoked them, filled them out in imagination, cheated himself with the idea that they were possible. He saw them in a momentary illusion and confusion: a great academic, artistic theatre, subsidised and unburdened with money-getting, rich in its repertory, rich in the high quality and the wide array of its servants, rich above all in the authority of an impossible administrator--a manager personally disinterested, not an actor with an eye to the main chance; pouring forth a continuity of tradition, striving for perfection, laying a splendid literature under contribution. He saw the heroine of a hundred "situations," variously dramatic and vividly real; he saw comedy and drama and pa.s.sion and character and English life; he saw all humanity and history and poetry, and then perpetually, in the midst of them, shining out in the high relief of some great moment, an image as fresh as an unveiled statue. He was not unconscious that he was taking all sorts of impossibilities and miracles for granted; but he was under the conviction, for the time, that the woman he had been watching three hours, the incarnation of the serious drama, would be a new and vivifying force. The world was just then so bright to him that even Basil Dashwood struck him at first as a conceivable agent of his dream.

It must be added that before Miriam arrived the breeze that filled Sherringham's sail began to sink a little. He pa.s.sed out of the eminently "let" drawing-room, where twenty large photographs of the young actress bloomed in the desert; he went into the garden by a gla.s.s door that stood open, and found Mr. Dashwood lolling on a bench and smoking cigarettes. This young man's conversation was a different music--it took him down, as he felt; showed him, very sensibly and intelligibly, it must be confessed, the actual theatre, the one they were all concerned with, the one they would have to make the miserable best of. It was fortunate that he kept his intoxication mainly to himself: the Englishman's habit of not being effusive still prevailed with him after his years of exposure to the foreign infection. Nothing could have been less exclamatory than the meeting of the two men, with its question or two, its remark or two, about the new visitor's arrival in London; its off-hand "I noticed you last night, I was glad you turned up at last" on one side and its attenuated "Oh yes, it was the first time; I was very much interested" on the other. Basil Dashwood played a part in Yolande and Peter had not failed to take with some comfort the measure of his apt.i.tude. He judged it to be of the small order, as indeed the part, which was neither that of the virtuous nor that of the villainous hero, restricted him to two or three inconspicuous effects and three or four changes of dress. He represented an ardent but respectful young lover whom the distracted heroine found time to pity a little and even to rail at; but it was impressed upon his critic that he scarcely represented young love. He looked very well, but Peter had heard him already in a hundred contemporary pieces; he never got out of rehearsal. He uttered sentiments and breathed vows with a nice voice, with a shy, boyish tremor, but as if he were afraid of being chaffed for it afterwards; giving the spectator in the stalls the sense of holding the prompt-book and listening to a recitation. He made one think of country-houses and lawn-tennis and private theatricals; than which there couldn't be, to Peter's mind, a range of a.s.sociation more disconnected from the actor's art.

Dashwood knew all about the new thing, the piece in rehearsal; he knew all about everything--receipts and salaries and expenses and newspaper articles, and what old Baskerville said and what Mrs. Ruffler thought: matters of superficial concern to his fellow-guest, who wondered, before they had sight of Miriam, if she talked with her "walking-gentleman"

about them by the hour, deep in them and finding them not vulgar and boring but the natural air of her life and the essence of her profession. Of course she did--she naturally would; it was all in the day's work and he might feel sure she wouldn't turn up her nose at the shop. He had to remind himself that he didn't care if she didn't, that he would really think worse of her if she should. She certainly was in deep with her bland playmate, talking shop by the hour: he could see this from the fellow's ease of att.i.tude, the air of a man at home and doing the honours. He divined a great intimacy between the two young artists, but asked himself at the same time what he, Peter Sherringham, had to say about it. He didn't pretend to control Miriam's intimacies, it was to be supposed; and if he had encouraged her to adopt a profession rich in opportunities for comradeship it was not for him to cry out because she had taken to it kindly. He had already descried a fund of utility in Mrs. Lovick's light brother; but it irritated him, all the same, after a while, to hear the youth represent himself as almost indispensable. He was practical--there was no doubt of that; and this idea added to Peter's paradoxical sense that as regards the matters actually in question he himself had not this virtue. Dashwood had got Mrs. Rooth the house; it happened by a lucky chance that Laura Lumley, to whom it belonged--Sherringham would know Laura Lumley?--wanted to get rid, for a mere song, of the remainder of the lease. She was going to Australia with a troupe of her own. They just stepped into it; it was good air--the best sort of London air to live in, to sleep in, for people of their trade. Peter came back to his wonder at what Miriam's personal relations with this deucedly knowing gentleman might be, and was again able to a.s.sure himself that they might be anything in the world she liked, for any stake he, the familiar of the Foreign Office, had in them. Dashwood told him of all the smart people who had tried to take up the new star--the way the London world had already held out its hand; and perhaps it was Sherringham's irritation, the crushed sentiment I just mentioned, that gave a little heave in the exclamation, "Oh that--that's all rubbish: the less of that the better!" At this Mr.

Dashwood sniffed a little, rather resentful; he had expected Peter to be pleased with the names of the eager ladies who had "called"--which proved how low a view he took of his art. Our friend explained--it is to be hoped not pedantically--that this art was serious work and that society was humbug and imbecility; also that of old the great comedians wouldn't have known such people. Garrick had essentially his own circle.

"No, I suppose they didn't 'call' in the old narrow-minded time," said Basil Dashwood.

"Your profession didn't call. They had better company--that of the romantic gallant characters they represented. They lived with _them_, so it was better all round." And Peter asked himself--for that clearly struck the young man as a dreary period--if _he_ only, for Miriam, in her new life and among the futilities of those who tried to lionise her, expressed the artistic idea. This at least, Sherringham reflected, was a situation that could be improved.

He learned from his companion that the new play, the thing they were rehearsing, was an old play, a romantic drama of thirty years before, very frequently revived and threadbare with honourable service. Dashwood had a part in it, but there was an act in which he didn't appear, and this was the act they were doing that morning. Yolande had done all Yolande could do; the visitor was mistaken if he supposed Yolande such a tremendous. .h.i.t. It had done very well, it had run three months, but they were by no means coining money with it. It wouldn't take them to the end of the season; they had seen for a month past that they would have to put on something else. Miss Rooth, moreover, wanted a new part; she was above all impatient to show her big range. She had grand ideas; she thought herself very good-natured to repeat the same stuff for three months. The young man lighted another cigarette and described to his listener some of Miss Rooth's ideas. He abounded in information about her--about her character, her temper, her peculiarities, her little ways, her manner of producing some of her effects. He spoke with familiarity and confidence, as if knowing more about her than any one else--as if he had invented or discovered her, were in a sense her proprietor or guarantor. It was the talk of the shop, both with a native sharpness and a touching young candour; the expansion of the commercial spirit when it relaxes and generalises, is conscious of safety with another member of the guild.

Peter at any rate couldn't help protesting against the lame old war-horse it was proposed to bring into action, who had been ridden to death and had saved a thousand desperate fields; and he exclaimed on the strange pa.s.sion of the good British public for sitting again and again through expected situations, watching for speeches they had heard and surprises that struck the hour. Dashwood defended the taste of London, praised it as loyal, constant, faithful; to which his interlocutor retorted with some vivacity that it was faithful to sad trash. He justified this sally by declaring the play in rehearsal sad trash, clumsy mediocrity with all its convenience gone, and that the fault was the want of life in the critical sense of the public, which was ign.o.bly docile, opening its mouth for its dose like the pupils of Dotheboys Hall; not insisting on something different, on a fresh brew altogether. Dashwood asked him if he then wished their friend to go on playing for ever a part she had repeated more than eighty nights on end: he thought the modern "run" was just what he had heard him denounce in Paris as the disease the theatre was dying of. This imputation Peter quite denied, wanting to know if she couldn't change to something less stale than the greatest staleness of all. Dashwood opined that Miss Rooth must have a strong part and that there happened to be one for her in the before-mentioned venerable novelty. She had to take what she could get--she wasn't a person to cry for the moon. This was a stop-gap--she would try other things later; she would have to look round her; you couldn't have a new piece, one that would do, left at your door every day with the milk. On one point Sherringham's mind might be at rest: Miss Rooth was a woman who would do every blessed thing there was to do. Give her time and she would walk straight through the repertory.

She was a woman who would do this--she was a woman who would do that: her spokesman employed this phrase so often that Peter, nervous, got up and threw an unsmoked cigarette away. Of course she was a woman; there was no need of his saying it a hundred times.

As for the repertory, the young man went on, the most beautiful girl in the world could give but what she had. He explained, after their visitor sat down again, that the noise made by Miss Rooth was not exactly what this admirer appeared to suppose. Sherringham had seen the house the night before and would recognise that, though good, it was very far from great. She had done very well, it was all right, but she had never gone above a point which Dashwood expressed in pounds sterling, to the edification of his companion, who vaguely thought the figure high. Peter remembered that he had been unable to get a stall, but Dashwood insisted that "Miriam" had not leaped into commanding fame: that was a thing that never happened in fact--it happened only in grotesque works of fiction.

She had attracted notice, unusual notice for a woman whose name, the day before, had never been heard of: she was recognised as having, for a novice, extraordinary cleverness and confidence--in addition to her looks, of course, which were the thing that had really fetched the crowd. But she hadn't been the talk of London; she had only been the talk of Gabriel Nash. He wasn't London, more was the pity. He knew the esthetic people--the worldly, semi-smart ones, not the frumpy, sickly lot who wore dirty drapery; and the esthetic people had run after her.

Mr. Dashwood sketchily instructed the pilgrim from Paris as to the different sects in the great religion of beauty, and was able to give him the particular "note" of the critical clique to which Miriam had begun so quickly to owe it that she had a vogue. The information made our friend feel very ignorant of the world, very uninitiated and buried in his little professional hole. Dashwood warned him that it would be a long time before the general public would wake up to Miss Rooth, even after she had waked up to herself; she would have to do some really big thing first. _They_ knew it was in her, the big thing--Peter and he and even poor Nash--because they had seen her as no one else had; but London never took any one on trust--it had to be cash down. It would take their young lady two or three years to pay out her cash and get her equivalent. But of course the equivalent would be simply a gold-mine.

Within its limits, however, certainly, the mark she had made was already quite a fairy-tale: there was magic in the way she had concealed from the first her want of experience. She absolutely made you think she had a lot of it, more than any one else. Mr. Dashwood repeated several times that she was a cool hand--a deucedly cool hand, and that he watched her himself, saw ideas come to her, saw her have different notions, and more or less put them to the test, on different nights. She was always alive--she liked it herself. She gave him ideas, long as he had been on the stage. Naturally she had a great deal to learn, no end even of quite basic things; a cosmopolite like Sherringham would understand that a girl of that age, who had never had a friend but her mother--her mother was greater fun than ever now--naturally _would_ have. Sherringham winced at being dubbed a "cosmopolite" by his young entertainer, just as he had winced a moment before at hearing himself lumped in esoteric knowledge with Dashwood and Gabriel Nash; but the former of these gentlemen took no account of his sensibility while he enumerated a few of the elements of the "basic." He was a mixture of acuteness and innocent fatuity; and Peter had to recognise in him a rudiment or two of criticism when he said that the wonderful thing in the girl was that she learned so fast--learned something every night, learned from the same old piece a lot more than any one else would have learned from twenty.

"That's what it is to be a genius," Peter concurred. "Genius is only the art of getting your experience fast, of stealing it, as it were; and in this sense Miss Rooth's a regular brigand." Dashwood condoned the subtlety and added less a.n.a.lytically, "Oh she'll do!" It was exactly in these simple words, addressed to her, that her other admirer had phrased the same truth; yet he didn't enjoy hearing them on his neighbour's lips: they had a profane, patronising sound and suggested displeasing equalities.

The two men sat in silence for some minutes, watching a fat robin hop about on the little seedy lawn; at the end of which they heard a vehicle stop on the other side of the garden-wall and the voices of occupants alighting. "Here they come, the dear creatures," said Basil Dashwood without moving; and from where they sat Peter saw the small door in the wall pushed open. The dear creatures were three in number, for a gentleman had added himself to Mrs. Rooth and her daughter. As soon as Miriam's eyes took in her Parisian friend she fell into a large, droll, theatrical att.i.tude and, seizing her mother's arm, exclaimed pa.s.sionately: "Look where he sits, the author of all my woes--cold, cynical, cruel!" She was evidently in the highest spirits; of which Mrs.

Rooth partook as she cried indulgently, giving her a slap, "Oh get along, you gypsy!"

"She's always up to something," Dashwood laughed as Miriam, radiant and with a conscious stage tread, glided toward Sherringham as if she were coming to the footlights. He rose slowly from his seat, looking at her and struck with her beauty: he had been impatient to see her, yet in the act his impatience had had a disconcerting check.

He had had time to note that the man who had come in with her was Gabriel Nash, and this recognition brought a low sigh to his lips as he held out his hand to her--a sigh expressive of the sudden sense that his interest in her now could only be a gross community. Of course that didn't matter, since he had set it, at the most, such rigid limits; but he none the less felt vividly reminded that it would be public and notorious, that inferior people would be inveterately mixed up with it, that she had crossed the line and sold herself to the vulgar, making him indeed only one of an equalised mult.i.tude. The way Nash turned up there just when he didn't want to see him proved how complicated a thing it was to have a friendship with a young woman so clearly booked for renown. He quite forgot that the intruder had had this object of interest long before his own first view of it and had been present at that pa.s.sage, which he had in a measure brought about. Had Sherringham not been so cut out to make trouble of this particular joy he might have found some adequate a.s.surance that their young hostess distinguished him in the way in which, taking his hand in both of hers, she looked up at him and murmured, "Dear old master!" Then as if this were not acknowledgment enough she raised her head still higher and, whimsically, gratefully, charmingly, almost n.o.bly, kissed him on the lips before the other men, before the good mother whose "Oh you honest creature!" made everything regular.

x.x.xI

If he was ruffled by some of her conditions there was thus comfort and consolation to be drawn from others, beside the essential fascination--so small the doubt of that now--of the young lady's own society. He spent the afternoon, they all spent the afternoon, and the occasion reminded him of pages in _Wilhelm Meister_. He himself could pa.s.s for Wilhelm, and if Mrs. Rooth had little resemblance to Mignon, Miriam was remarkably like Philina. The movable feast awaiting them--luncheon, tea, dinner?--was delayed two or three hours; but the interval was a source of gaiety, for they all smoked cigarettes in the garden and Miriam gave striking ill.u.s.trations of the parts she was studying. Peter was in the state of a man whose toothache has suddenly stopped--he was exhilarated by the cessation of pain. The pain had been the effort to remain in Paris after the creature in the world in whom he was most interested had gone to London, and the balm of seeing her now was the measure of the previous soreness.

Gabriel Nash had, as usual, plenty to say, and he talked of Nick's picture so long that Peter wondered if he did it on purpose to vex him.

They went in and out of the house; they made excursions to see what form the vague meal was taking; and Sherringham got half an hour alone, or virtually alone, with the mistress of his unsanctioned pa.s.sion--drawing her publicly away from the others and making her sit with him in the most sequestered part of the little gravelled grounds. There was summer enough for the trees to shut out the adjacent villas, and Basil Dashwood and Gabriel Nash lounged together at a convenient distance while Nick's whimsical friend dropped polished pebbles, sometimes audibly splashing, into the deep well of the histrionic simplicity. Miriam confessed that like all comedians they ate at queer hours; she sent Dashwood in for biscuits and sherry--she proposed sending him round to the grocer's in the Circus Road for superior wine. Peter judged him the factotum of the little household: he knew where the biscuits were kept and the state of the grocer's account. When he himself congratulated her on having so useful an inmate she said genially, but as if the words disposed of him, "Oh he's awfully handy." To this she added, "You're not, you know"; resting the kindest, most pitying eyes on him. The sensation they gave him was as sweet as if she had stroked his cheek, and her manner was responsive even to tenderness. She called him "Dear master" again and again, and still often "_Cher maitre_," and appeared to express grat.i.tude and reverence by every intonation.

"You're doing the humble dependent now," he said: "you do it beautifully, as you do everything." She replied that she didn't make it humble enough--she couldn't; she was too proud, too insolent in her triumph. She liked that, the triumph, too much, and she didn't mind telling him she was perfectly happy. Of course as yet the triumph was very limited; but success was success, whatever its quant.i.ty; the dish was a small one but had the right taste. Her imagination had already bounded beyond the first phase unexpectedly great as this had been: her position struck her as modest compared with the probably future now vivid to her. Peter had never seen her so soft and sympathetic; she had insisted in Paris that her personal character was that of the good girl--she used the term in a fine loose way--and it was impossible to be a better girl than she showed herself this pleasant afternoon. She was full of gossip and anecdote and drollery; she had exactly the air he would have wished her to have--that of thinking of no end of things to tell him. It was as if she had just returned from a long journey and had had strange adventures and made wonderful discoveries. She began to speak of this and that, then broke off to speak of something else; she talked of the theatre, of the "critics," and above all of London, of the people she had met and the extraordinary things they said to her, of the parts she was going to take up, of lots of new ideas that had come to her about the art of comedy. She wanted to do comedy now--to do the comedy of London life. She was delighted to find that seeing more of the world suggested things to her; they came straight from the fact, from nature, if you could call it nature; she was thus convinced more than ever that the artist ought to _live_ so as to get on with his business, gathering ideas and lights from experience--ought to welcome any experience that would give him lights. But work of course _was_ experience, and everything in one's life that was good was work. That was the jolly thing in the actor's trade--it made up for other elements that were odious: if you only kept your eyes open nothing could happen to you that wouldn't be food for observation and grist to your mill, showing you how people looked and moved and spoke, cried and grimaced, writhed and dissimulated, in given situations. She saw all round her things she wanted to "do"--London bristled with them if you had eyes to see. She was fierce to know why people didn't take them up, put them into plays and parts, give one a chance with them; she expressed her sharp impatience of the general literary _betise_. She had never been chary of this particular displeasure, and there were moments--it was an old story and a subject of frank raillery to Sherringham--when to hear her you might have thought there was no cleverness anywhere but in her own splendid impatience. She wanted tremendous things done that she might use them, but she didn't pretend to say exactly what they were to be, nor even approximately how they were to be handled: her ground was rather that if _she_ only had a pen--it was exasperating to have to explain! She mainly contented herself with the view that nothing had really been touched: she felt that more and more as she saw more of people's goings-on.

Peter went to her theatre again that evening and indeed made no scruple of going every night for a week. Rather perhaps I should say he made a scruple, but a high part of the pleasure of his life during these arbitrary days was to overcome it. The only way to prove he could overcome it was to go; and he was satisfied, after he had been seven times, not only with the spectacle on the stage but with his perfect independence. He knew no satiety, however, with the spectacle on the stage, which induced for him but a further curiosity. Miriam's performance was a thing alive, with a power to change, to grow, to develop, to beget new forms of the same life. Peter contributed to it in his amateurish way and watched with solicitude the effect of his care and the fortune of his hints. He talked it over in Balaklava Place, suggested modifications and variations worth trying. She professed herself thankful for any refreshment that could be administered to her interest in _Yolande_, and with an energy that showed large resource touched up her part and drew several new airs from it. Peter's liberties bore on her way of uttering certain speeches, the intonations that would have more beauty or make the words mean more. She had her ideas, or rather she had her instincts, which she defended and ill.u.s.trated, with a vividness superior to argument, by a happy pictorial phrase or a s.n.a.t.c.h of mimicry; but she was always for trying; she liked experiments and caught at them, and she was especially thankful when some one gave her a showy reason, a plausible formula, in a case where she only stood on an intuition. She pretended to despise reasons and to like and dislike at her sovereign pleasure; but she always honoured the exotic gift, so that Sherringham was amused with the liberal way she produced it, as if she had been a naked islander rejoicing in a present of crimson cloth.

Day after day he spent most of his time in her society, and Miss Laura Lumley's recent habitation became the place in London to which his thoughts and his steps were most attached. He was highly conscious of his not now carrying out that principle of abstention he had brought to such maturity before leaving Paris; but he contented himself with a much cruder justification of this lapse than he would have thought adequate in advance. It consisted simply in the idea that to be identified with the first fresh exploits of a young genius was a delightful experience.

What was the harm of it when the genius was real? His main security was thus that his relations with Miriam had been placed under the protection of that idea of approved extravagance. In this department they made a very creditable figure and required much less watching and pruning than when it had been his effort to adjust them to a worldly plan. He had in fine a sense of real wisdom when he p.r.o.nounced it surely enough that this momentary intellectual partic.i.p.ation in the girl's dawning fame was a charming thing. Charming things were not frequent enough in a busy man's life to be kicked out of the way. Balaklava Place, looked at in this philosophic way, became almost idyllic: it gave Peter the pleasantest impression he had ever had of London.

The season happened to be remarkably fine; the temperature was high, but not so high as to keep people from the theatre. Miriam's "business"

visibly increased, so that the question of putting on the second play underwent some revision. The girl persisted, showing in her persistence a temper of which Peter had already caught some sharp gleams. It was plain that through her career she would expect to carry things with a high hand. Her managers and agents wouldn't find her an easy victim or a calculable force; but the public would adore her, surround her with the popularity that attaches to a good-natured and free-spoken princess, and her comrades would have a kindness for her because she wouldn't be selfish. They too would, besides representing her body-guard, form in a manner a portion of her affectionate public. This was the way her friend read the signs, liking her whimsical tolerance of some of her vulgar playfellows almost well enough to forgive their presence in Balaklava Place, where they were a sore trial to her mother, who wanted her to multiply her points of contact only with the higher orders. There were hours when Peter seemed to make out that her princ.i.p.al relation to the proper world would be to have within two or three years a grand battle with it resulting in its taking her, should she let it have her at all, absolutely on her own terms: a picture which led our young man to ask himself with a helplessness that was not exempt, as he perfectly knew, from absurdity, what part _he_ should find himself playing in such a contest and if it would be reserved to him to be the more ridiculous as a peacemaker or as a heavy backer.

"She might know any one she would, and the only person she appears to take any pleasure in is that dreadful Miss Rover," Mrs. Rooth whimpered to him more than once--leading him thus to recognise in the young lady so designated the princ.i.p.al complication of Balaklava Place. Miss Rover was a little actress who played at Miriam's theatre, combining with an unusual apt.i.tude for delicate comedy a less exceptional absence of rigour in private life. She was pretty and quick and brave, and had a fineness that Miriam professed herself already in a position to estimate as rare. She had no control of her inclinations, yet sometimes they were wholly laudable, like the devotion she had formed for her beautiful colleague, whom she admired not only as an ornament of the profession but as a being altogether of a more fortunate essence. She had had an idea that real ladies were "nasty," but Miriam was not nasty, and who could gainsay that Miriam was a real lady? The girl justified herself to her patron from Paris, who had found no fault with her; she knew how much her mother feared the proper world wouldn't come in if they knew that the improper, in the person of pretty Miss Rover, was on the ground. What did she care who came and who didn't, and what was to be gained by receiving half the sn.o.bs in London? People would have to take her exactly as they found her--that they would have to learn; and they would be much mistaken if they thought her capable of turning sn.o.b too for the sake of their sweet company. She didn't pretend to be anything but what she meant to be, the best general actress of her time; and what had that to do with her seeing or not seeing a poor ignorant girl who had loved--well, she needn't say what f.a.n.n.y had done. They had met in the way of business; she didn't say she would have run after her. She had liked her because she wasn't a slick, and when f.a.n.n.y Rover had asked her quite wistfully if she mightn't come and see her and like her she hadn't bristled with scandalised virtue. Miss Rover wasn't a bit more stupid or more ill-natured than any one else; it would be time enough to shut the door when she should become so.

Peter commended even to extravagance the liberality of such comradeship; said that of course a woman didn't go into that profession to see how little she could swallow. She was right to live with the others so long as they were at all possible, and it was for her and only for her to judge how long that might be. This was rather heroic on his part, for his a.s.sumed detachment from the girl's personal life still left him a margin for some forms of uneasiness. It would have made in his spirit a great difference for the worse that the woman he loved, and for whom he wished no baser lover than himself, should have embraced the prospect of consorting only with the cheaper kind. It was all very well, but f.a.n.n.y Rover was simply a rank _cabotine_, and that sort of a.s.sociation was an odd training for a young woman who was to have been good enough--he couldn't forget that, but kept remembering it as if it might still have a future use--to be his admired wife. Certainly he ought to have thought of such things before he permitted himself to become so interested in a theatrical nature. His heroism did him service, however, for the hour; it helped him by the end of the week to feel quite broken in to Miriam's little circle. What helped him most indeed was to reflect that she would get tired of a good many of its members herself in time; for if it was not that they were shocking--very few of them shone with that intense light--they could yet be thoroughly trusted in the long run to bore you.

There was a lovely Sunday in particular, spent by him almost all in Balaklava Place--he arrived so early--when, in the afternoon, every sort of odd person dropped in. Miriam held a reception in the little garden and insisted on all the company's staying to supper. Her mother shed tears to Peter, in the desecrated house, because they had accepted, Miriam and she, an invitation--and in Cromwell Road too--for the evening. Miriam had now decreed they shouldn't go--they would have so much better fun with their good friends at home. She was sending off a message--it was a terrible distance--by a cabman, and Peter had the privilege of paying the messenger. Basil Dashwood, in another vehicle, proceeded to an hotel known to him, a mile away, for supplementary provisions, and came back with a cold ham and a dozen of champagne. It was all very Bohemian and dishevelled and delightful, very supposedly droll and enviable to outsiders; and Miriam told anecdotes and gave imitations of the people she would have met if she had gone out, so that no one had a sense of loss--the two occasions were fantastically united.

Mrs. Rooth drank champagne for consolation, though the consolation was imperfect when she remembered she might have drunk it, though not quite so much perhaps, in Cromwell Road.