Trilby Part 5

At the time this story begins, this small waif and stray was "en pension" with le pere Martin, the rag-picker, and his wife, the dealer in bric-a-brac and inexpensive old masters. They were very good people, and had grown fond of the child, who was beautiful to look at, and full of pretty tricks and pluck and cleverness--a popular favorite in the Rue du Puits d'Amour and its humble neighborhood.

Trilby, for some freak, always chose to speak of him as her G.o.dson, and as the grandchild of le pere et la mere Martin, so that these good people had almost grown to believe he really belonged to them.

And almost every one else believed that he was the child of Trilby (in spite of her youth), and she was so fond of him that she didn't mind in the least.

He might have had a worse home.

La mere Martin was pious, or pretended to be; le pere Martin was the reverse. But they were equally good for their kind, and, though coa.r.s.e and ignorant and unscrupulous in many ways (as was natural enough), they were gifted in a very full measure with the saving graces of love and charity, especially he. And if people are to be judged by their works, this worthy pair are no doubt both equally well compensated by now for the trials and struggles of their sordid earthly life.

So much for Trilby's parentage.

And as she sat and wept at Madame Doche's impersonation of la Dame aux Camelias (with her hand in Durien's) she vaguely remembered, as in a waking dream, now the n.o.ble presence of Taffy as he towered cool and erect, foil in hand, gallantly waiting for his adversary to breathe, now the beautiful sensitive face of Little Billee and his deferential courtesy.

And during the _entr'actes_ her heart went out in friendship to the jolly Scotch Laird of c.o.c.kpen, who came out now and then with such terrible French oaths and abominable expletives (and in the presence of ladies, too!), without the slightest notion of what they meant.

For the Laird had a quick ear, and a craving to be colloquial and idiomatic before everything else, and made many awkward and embarra.s.sing mistakes.

It would be with him as though a polite Frenchman should say to a fair daughter of Albion, "D---- my eyes, mees, your tea is getting ---- cold; let me tell that good old ---- of a Jules to bring you another cup."

And so forth, till time and experience taught him better. It is perhaps well for him that his first experiments in conversational French were made in the unconventional circle of the Place St. Anatole des Arts.

[Ill.u.s.tration]

Part Second

"Dieu! qu'il fait bon la regarder, La gracieuse, bonne et belle!

Pour les grands biens qui sont en elle Chacun est pret de la louer."

n.o.body knew exactly how Svengali lived, and very few knew where (or why). He occupied a roomy dilapidated garret, au sixieme, in the Rue Tire-Liard; with a truckle-bed and a piano-forte for furniture, and very little else.

He was poor; for in spite of his talent he had not yet made his mark in Paris. His manners may have been accountable for this. He would either fawn or bully, and could be grossly impertinent. He had a kind of cynical humor, which was more offensive than amusing, and always laughed at the wrong thing, at the wrong time, in the wrong place. And his laughter was always derisive and full of malice. And his egotism and conceit were not to be borne; and then he was both tawdry and dirty in his person; more greasily, mattedly unkempt than even a really successful pianist has any right to be, even in the best society.

He was not a nice man, and there was no pathos in his poverty--a poverty that was not honorable, and need not have existed at all; for he was constantly receiving supplies from his own people in Austria--his old father and mother, his sisters, his cousins, and his aunts, hard-working, frugal folk of whom he was the pride and the darling.

He had but one virtue--his love of his art; or, rather, his love of himself as a master of his art--_the_ master; for he despised, or affected to despise, all other musicians, living or dead--even those whose work he interpreted so divinely, and pitied them for not hearing Svengali give utterance to their music, which of course they could not utter themselves.

"Ils safent tous un peu toucher du biano, mais pas grand'chose!"

He had been the best pianist of his time at the Conservatory in Leipsic; and, indeed, there was perhaps some excuse for this overweening conceit, since he was able to lend a quite peculiar individual charm of his own to any music he played, except the highest and best of all, in which he conspicuously failed.

He had to draw the line just above Chopin, where he reached his highest level. It will not do to lend your own quite peculiar individual charm to Handel and Bach and Beethoven; and Chopin is not bad as a _pis-aller_.

He had ardently wished to sing, and had studied hard to that end in Germany, in Italy, in France, with the forlorn hope of evolving from some inner recess a voice to sing with. But nature had been singularly harsh to him in this one respect--inexorable. He was absolutely without voice, beyond the harsh, hoa.r.s.e, weak raven's croak he used to speak with, and no method availed to make one for him. But he grew to understand the human voice as perhaps no one has understood it--before or since.

So in his head he went forever singing, singing, singing, as probably no human nightingale has ever yet been able to sing out loud for the glory and delight of his fellow-mortals; making unheard heavenly melody of the cheapest, trivialest tunes--tunes of the cafe concert, tunes of the nursery, the shop-parlor, the guard-room, the school-room, the pothouse, the slum. There was nothing so humble, so base even, but that his magic could transform it into the rarest beauty without altering a note. This seems impossible, I know. But if it didn't, where would the magic come in?

Whatever of heart or conscience--pity, love, tenderness, manliness, courage, reverence, charity--endowed him at his birth had been swallowed up by this one faculty, and nothing of them was left for the common uses of life. He poured them all into his little flexible flageolet.

Svengali playing Chopin on the piano-forte, even (or especially) Svengali playing "Ben Bolt" on that penny whistle of his, was as one of the heavenly host.

[Ill.u.s.tration: "AS BAD AS THEY MAKE 'EM"]

Svengali walking up and down the earth seeking whom he might cheat, betray, exploit, borrow money from, make brutal fun of, bully if he dared, cringe to if he must--man, woman, child, or dog--was about as bad as they make 'em.

To earn a few pence when he couldn't borrow them he played accompaniments at cafe concerts, and even then he gave offence; for in his contempt for the singer he would play too loud, and embroider his accompaniments with brilliant improvisations of his own, and lift his hands on high and bring them down with a bang in the sentimental parts, and shake his dirty mane and shrug his shoulders, and smile and leer at the audience, and do all he could to attract their attention to himself.

He also gave a few music lessons (not at ladies' schools, let us hope), for which he was not well paid, presumably, since he was always without the sou, always borrowing money, that he never paid back, and exhausting the pockets and the patience of one acquaintance after another.

He had but two friends. There was Gecko, who lived in a little garret close by in the Impa.s.se des Ramoneurs, and who was second violin in the orchestra of the Gymnase, and shared his humble earnings with his master, to whom, indeed, he owed his great talent, not yet revealed to the world.

Svengali's other friend and pupil was (or rather had been) the mysterious Honorine, of whose conquest he was much given to boast, hinting that she was "une jeune femme du monde." This was not the case.

Mademoiselle Honorine Cahen (better known in the quartier latin as Mimi la Salope) was a dirty, drabby little dolly-mop of a Jewess, a model for the figure--a very humble person indeed, socially.

She was, however, of a very lively disposition, and had a charming voice, and a natural gift of singing so sweetly that you forgot her accent, which was that of the "tout ce qu'il y a de plus canaille."

She used to sit at Carrel's, and during the pose she would sing. When Little Billee first heard her he was so fascinated that "it made him sick to think she sat for the figure"--an effect, by-the-way, that was always produced upon him by all specially attractive figure models of the gentler s.e.x, for he had a reverence for woman. And before everything else, he had for the singing woman an absolute worship. He was especially thrall to the contralto--the deep low voice that breaks and changes in the middle and soars all at once into a magnified angelic boy treble. It pierced through his ears to his heart, and stirred his very vitals.

He had once heard Madame Alboni, and it had been an epoch in his life; he would have been an easy prey to the sirens! Even beauty paled before the lovely female voice singing in the middle of the note--the nightingale killed the bird-of-paradise.

I need hardly say that poor Mimi la Salope had not the voice of Madame Alboni, nor the art; but it was a beautiful voice of its little kind, always in the very middle of the note, and her artless art had its quick seduction.

She sang little songs of Beranger's--"Grand'mere, parlez-nous de lui!"

or "T'en souviens-tu? disait un capitaine--" or "Enfants, c'est moi qui suis Lisette!" and such like pretty things, that almost brought the tears to Little Billee's easily moistened eyes.

But soon she would sing little songs that were not by Beranger--little songs with slang words Little Billee hadn't French enough to understand; but from the kind of laughter with which the points were received by the "rapins" in Carrel's studio he guessed these little songs were vile, though the touching little voice was as that of the seraphim still; and he knew the pang of disenchantment and vicarious shame.

Svengali had heard her sing at the Bra.s.serie des Porcherons in the Rue du c.r.a.paud-volant, and had volunteered to teach her; and she went to see him in his garret, and he played to her, and leered and ogled, and flashed his bold, black, beady Jew's eyes into hers, and she straightway mentally prostrated herself in reverence and adoration before this dazzling specimen of her race.

So that her sordid, mercenary little gutter-draggled soul was filled with the sight and the sound of him, as of a lordly, G.o.dlike, shawm-playing, cymbal-banging hero and prophet of the Lord G.o.d of Israel--David and Saul in one!

And then he set himself to teach her--kindly and patiently at first, calling her sweet little pet names--his "Rose of Sharon," his "pearl of Pabylon," his "cazelle-eyed liddle Cherusalem skylark"--and promised her that she should be the queen of the nightingales.

But before he could teach her anything he had to unteach her all she knew; her breathing, the production of her voice, its emission--everything was wrong. She worked indefatigably to please him, and soon succeeded in forgetting all the pretty little sympathetic tricks of voice and phrasing Mother Nature had taught her.

[Ill.u.s.tration: "A VOICE HE DIDN'T UNDERSTAND"]

But though she had an exquisite ear, she had no real musical intelligence--no intelligence of any kind except about sous and centimes; she was as stupid as a little downy owl, and her voice was just a light native warble, a throstle's pipe, all in the head and nose and throat (a voice he _didn't_ understand, for once), a thing of mere youth and health and bloom and high spirits--like her beauty, such as it was--_beaute du diable, beaute d.a.m.nee_.

She did her very best, and practised all she could in this new way, and sang herself hoa.r.s.e: she scarcely ate or slept for practising. He grew harsh and impatient and coldly severe, and of coa.r.s.e she loved him all the more; and the more she loved him the more nervous she got and the worse she sang. Her voice cracked; her ear became demoralized; her attempts to vocalize grew almost as comical as Trilby's. So that he lost his temper completely, and called her terrible names, and pinched and punched her with his big bony hands till she wept worse than Niobe, and borrowed money of her--five-franc pieces, even francs and demifrancs--which he never paid her back; and browbeat and bullied and ballyragged her till she went quite mad for love of him, and would have jumped out of his sixth-floor window to give him a moment's pleasure!

He did not ask her to do this--it never occurred to him, and would have given him no pleasure to speak of. But one fine Sabbath morning (a Sat.u.r.day, of course) he took her by the shoulders and chucked her, neck and crop, out of his garret, with the threat that if she ever dared to show her face there again he would denounce her to the police--an awful threat to the likes of poor Mimi la Salope!

"For where did all those five-franc pieces come from--_hein?_--with which she had tried to pay for all the singing-lessons that had been thrown away upon her? Not from merely sitting to painters--_hein?_"

Thus the little gazelle-eyed Jerusalem skylark went back to her native streets again--a mere mud-lark of the Paris slums--her wings clipped, her spirit quenched and broken, and with no more singing left in her than a common or garden sparrow--not so much!