‘What a fool I am!’ thought Susie.
She had learnt long ago that common sense, intelligence, good-nature, and strength of character were unimportant in comparison with a pretty face. She shrugged her shoulders.
‘I don’t know if you young things realise that it’s growing late. If you want us to dine at the Chien Noir, you must leave us now, so that we can make ourselves tidy.’
‘Very well,’ said Arthur, getting up. ‘I’ll go back to my hotel and have a wash. We’ll meet at half-past seven.’
When Margaret had closed the door on him, she turned to her friend.
‘Well, what do you think?’ she asked, smiling.
‘You can’t expect me to form a definite opinion of a man whom I’ve seen for so short a time.’
‘Nonsense!’ said Margaret.
Susie hesitated for a moment.
‘I think he has an extraordinarily good face,’ she said at last gravely. ‘I’ve never seen a man whose honesty of purpose was so transparent.’
Susie Boyd was so lazy that she could never be induced to occupy herself with household matters and, while Margaret put the tea things away, she began to draw the caricature which every new face suggested to her. She made a little sketch of Arthur, abnormally lanky, with a colossal nose, with the wings and the bow and arrow of the God of Love, but it was not half done before she thought it silly. She tore it up with impatience. When Margaret came back, she turned round and looked at her steadily.
‘Well?’ said the girl, smiling under the scrutiny.
She stood in the middle of the lofty studio. Half-finished canvases leaned with their faces against the wall: pieces of stuff were hung here and there, and photographs of well-known pictures. She had fallen unconsciously into a wonderful pose, and her beauty gave her, notwithstanding her youth, a rare dignity. Susie smiled mockingly.
‘You look like a Greek goddess in a Paris frock,’ she said.
‘What have you to say to me?’ asked Margaret, divining from the searching look that something was in her friend’s mind.
Susie stood up and went to her.
‘You know, before I’d seen him I hoped with all my heart that he’d make you happy. Notwithstanding all you’d told me of him, I was afraid. I knew he was much older than you. He was the first man you’d ever known. I could scarcely bear to entrust you to him in case you were miserable.’
‘I don’t think you need have any fear.’
‘But now I hope with all my heart that you’ll make him happy. It’s not you I’m frightened for now, but him.’
Margaret did not answer; she could not understand what Susie meant.
‘I’ve never seen anyone with such a capacity for wretchedness as that man has. I don’t think you can conceive how desperately he might suffer. Be very careful, Margaret, and be very good to him, for you have the power to make him more unhappy than any human being should be.’
‘Oh, but I want him to be happy,’ cried Margaret vehemently. ‘You know that I owe everything to him. I’d do all I could to make him happy, even if I had to sacrifice myself. But I can’t sacrifice myself, because I love him so much that all I do is pure delight.’
Her eyes filled with tears and her voice broke. Susie, with a little laugh that was half hysterical, kissed her.
‘My dear, for heaven’s sake don’t cry! You know I can’t bear people who weep, and if he sees your eyes red, he’ll never forgive me.’
3
The Chien Noir, where Susie Boyd and Margaret generally dined, was the most charming restaurant in the quarter. Downstairs was a public room, where all and sundry devoured their food, for the little place had a reputation for good cooking combined with cheapness; and the patron, a retired horse-dealer who had taken to victualling in order to build up a business for his son, was a cheery soul whose loud-voiced friendliness attracted custom. But on the first floor was a narrow room, with three tables arranged in a horse-shoe, which was reserved for a small party of English or American painters and a few Frenchmen with their wives. At least, they were so nearly wives, and their manner had such a matrimonial respectability, that Susie, when first she and Margaret were introduced into this society, judged it would be vulgar to turn up her nose. She held that it was prudish to insist upon the conventions of Notting Hill in the Boulevard de Montparnasse. The young women who had thrown in their lives with these painters were modest in demeanour and quiet in dress. They were model housewives, who had preserved their self-respect notwithstanding a difficult position, and did not look upon their relation with less seriousness because they had not muttered a few words before Monsieur le Maire.
The room was full when Arthur Burdon entered, but Margaret had kept him an empty seat between herself and Miss Boyd. Everyone was speaking at once, in French, at the top of his voice, and a furious argument was proceeding on the merit of the later Impressionists. Arthur sat down, and was hurriedly introduced to a lanky youth, who sat on the other side of Margaret. He was very tall, very thin, very fair. He wore a very high collar and very long hair, and held himself like an exhausted lily.
‘He always reminds me of an Aubrey Beardsley that’s been dreadfully smudged,’ said Susie in an undertone. ‘He’s a nice, kind creature, but his name is Jagson. He has virtue and industry. I haven’t seen any of his work, but he has absolutely no talent.’
‘How do you know, if you’ve not seen his pictures?’ asked Arthur.
‘Oh, it’s one of our conventions here that nobody has talent,’ laughed Susie. ‘We suffer one another personally, but we have no illusions about the value of our neighbour’s work.’
‘Tell me who everyone is.’
‘Well, look at that little bald man in the corner. That is Warren.’
Arthur looked at the man she pointed out. He was a small person, with a pate as shining as a billiard-ball, and a pointed beard. He had protruding, brilliant eyes.
‘Hasn’t he had too much to drink?’ asked Arthur frigidly.
‘Much,’ answered Susie promptly, ‘but he’s always in that condition, and the further he gets from sobriety the more charming he is. He’s the only man in this room of whom you’ll never hear a word of evil. The strange thing is that he’s very nearly a great painter. He has the most fascinating sense of colour in the world, and the more intoxicated he is, the more delicate and beautiful is his painting. Sometimes, after more than the usual number of apéritifs, he will sit down in a café to do a sketch, with his hand so shaky that he can hardly hold a brush; he has to wait for a favourable moment, and then he makes a jab at the panel. And the immoral thing is that each of these little jabs is lovely. He’s the most delightful interpreter of Paris I know, and when you’ve seen his sketches—he’s done hundreds, of unimaginable grace and feeling and distinction—you can never see Paris in the same way again.’
The little maid who looked busily after the varied wants of the customers stood in front of them to receive Arthur’s order. She was a hard-visaged creature of mature age, but she looked neat in her black dress and white cap; and she had a motherly way of attending to these people, with a capacious smile of her large mouth which was full of charm.
‘I don’t mind what I eat,’ said Arthur. ‘Let Margaret order my dinner for me.’
‘It would have been just as good if I had ordered it,’ laughed Susie.
They began a lively discussion with Marie as to the merits of the various dishes, and it was only interrupted by Warren’s hilarious expostulations.
‘Marie, I precipitate myself at your feet, and beg you to bring me a poule au riz.’
‘Oh, but give me one moment, monsieur,’ said the maid.
‘Do not pay any attention to that gentleman. His morals are detestable, and he only seeks to lead you from the narrow path of virtue.’
Arthur protested that on the contrary the passion of hunger occupied at that moment his heart to the exclusion of all others.
‘Marie, you no longer love me,’ cried Warren. ‘There was a time whe
n you did not look so coldly upon me when I ordered a bottle of white wine.’
The rest of the party took up his complaint, and all besought her not to show too hard a heart to the bald and rubicund painter.
‘Mais si, je vous aime, Monsieur Warren,’ she cried, laughing, ‘Je vous aime tous, tous.’
She ran downstairs, amid the shouts of men and women, to give her orders.
‘The other day the Chien Noir was the scene of a tragedy,’ said Susie. ‘Marie broke off relations with her lover, who is a waiter at Lavenue’s, and would have no reconciliation. He waited till he had a free evening, and then came to the room downstairs and ordered dinner. Of course, she was obliged to wait on him, and as she brought him each dish he expostulated with her, and they mingled their tears.’
‘She wept in floods,’ interrupted a youth with neatly brushed hair and fat nose. ‘She wept all over our food, and we ate it salt with tears. We besought her not to yield; except for our encouragement she would have gone back to him; and he beats her.’
Marie appeared again, with no signs now that so short a while ago romance had played a game with her, and brought the dishes that had been ordered. Susie seized once more upon Arthur Burdon’s attention.
‘Now please look at the man who is sitting next to Mr Warren.’
Arthur saw a tall, dark fellow with strongly-marked features, untidy hair, and a ragged black moustache.
‘That is Mr O’Brien, who is an example of the fact that strength of will and an earnest purpose cannot make a painter. He’s a failure, and he knows it, and the bitterness has warped his soul. If you listen to him, you’ll hear every painter of eminence come under his lash. He can forgive nobody who’s successful, and he never acknowledges merit in anyone till he’s safely dead and buried.’
‘He must be a cheerful companion,’ answered Arthur. ‘And who is the stout old lady by his side, with the flaunting hat?’
‘That is the mother of Madame Rouge, the little palefaced woman sitting next to her. She is the mistress of Rouge, who does all the illustrations for La Semaine. At first it rather tickled me that the old lady should call him mon gendre, my son-in-law, and take the irregular union of her daughter with such a noble unconcern for propriety; but now it seems quite natural.’
The mother of Madame Rouge had the remains of beauty, and she sat bolt upright, picking the leg of a chicken with a dignified gesture. Arthur looked away quickly, for, catching his eye she gave him an amorous glance. Rouge had more the appearance of a prosperous tradesman than of an artist; but he carried on with O’Brien, whose French was perfect, an argument on the merits of Cézanne. To one he was a great master and to the other an impudent charlatan. Each hotly repeated his opinion, as though the mere fact of saying the same thing several times made it more convincing.
‘Next to me is Madame Meyer,’ proceeded Susie. ‘She was a governess in Poland, but she was much too pretty to remain one, and now she lives with the landscape painter who is by her side.’
Arthur’s eyes followed her words and rested on a clean-shaven man with a large quantity of grey, curling hair. He had a handsome face of a deliberately aesthetic type and was very elegantly dressed. His manner and his conversation had the flamboyance of the romantic thirties. He talked in flowing periods with an air of finality, and what he said was no less just than obvious. The gay little lady who shared his fortunes listened to his wisdom with an admiration that plainly flattered him.
Miss Boyd had described everyone to Arthur except young Raggles, who painted still life with a certain amount of skill, and Clayson, the American sculptor. Raggles stood for rank and fashion at the Chien Noir. He was very smartly dressed in a horsey way, and he walked with bowlegs, as though he spent most of his time in the saddle. He alone used scented pomade upon his neat smooth hair. His chief distinction was a great-coat he wore, with a scarlet lining; and Warren, whose memory for names was defective, could only recall him by that peculiarity. But it was understood that he knew duchesses in fashionable streets, and occasionally dined with them in solemn splendour.
Clayson had a vinous nose and a tedious habit of saying brilliant things. With his twinkling eyes, red cheeks, and fair, pointed beard, he looked exactly like a Franz Hals; but he was dressed like the caricature of a Frenchman in a comic paper. He spoke English with a Parisian accent.
Miss Boyd was beginning to tear him gaily limb from limb, when the door was flung open, and a large person entered. He threw off his cloak with a dramatic gesture.
‘Marie, disembarrass me of this coat of frieze. Hang my sombrero upon a convenient peg.’
He spoke execrable French, but there was a grandiloquence about his vocabulary which set everyone laughing.
‘Here is somebody I don’t know,’ said Susie.
‘But I do, at least, by sight,’ answered Burdon. He leaned over to Dr Porhoët who was sitting opposite, quietly eating his dinner and enjoying the nonsense which everyone talked. ‘Is not that your magician?’
‘Oliver Haddo,’ said Dr Porhoët, with a little nod of amusement.
The new arrival stood at the end of the room with all eyes upon him. He threw himself into an attitude of command and remained for a moment perfectly still.
‘You look as if you were posing, Haddo,’ said Warren huskily.
‘He couldn’t help doing that if he tried,’ laughed Clayson.
Oliver Haddo slowly turned his glance to the painter.
‘I grieve to see, O most excellent Warren, that the ripe juice of the aperitif has glazed your sparkling eye.’
‘Do you mean to say I’m drunk, sir?’
‘In one gross, but expressive, word, drunk.’
The painter grotesquely flung himself back in his chair as though he had been struck a blow, and Haddo looked steadily at Clayson.
‘How often have I explained to you, O Clayson, that your deplorable lack of education precludes you from the brilliancy to which you aspire?’
For an instant Oliver Haddo resumed his effective pose; and Susie, smiling, looked at him. He was a man of great size, two or three inches more than six feet high; but the most noticeable thing about him was a vast obesity. His paunch was of imposing dimensions. His face was large and fleshy. He had thrown himself into the arrogant attitude of Velasquez’s portrait of Del Borro in the Museum of Berlin; and his countenance bore of set purpose the same contemptuous smile. He advanced and shook hands with Dr Porhoët.
‘Hail, brother wizard! I greet in you, if not a master, at least a student not unworthy my esteem.’
Susie was convulsed with laughter at his pompousness, and he turned to her with the utmost gravity.
‘Madam, your laughter is more soft in mine ears than the singing of Bulbul in a Persian garden.’
Dr Porhoët interposed with introductions. The magician bowed solemnly as he was in turn made known to Susie Boyd, and Margaret, and Arthur Burdon. He held out his hand to the grim Irish painter.
‘Well, my O’Brien, have you been mixing as usual the waters of bitterness with the thin claret of Bordeaux?’
‘Why don’t you sit down and eat your dinner?’ returned the other, gruffly.
‘Ah, my dear fellow, I wish I could drive the fact into this head of yours that rudeness is not synonymous with wit. I shall not have lived in vain if I teach you in time to realize that the rapier of irony is more effective an instrument than the bludgeon of insolence.’
O’Brien reddened with anger, but could not at once find a retort, and Haddo passed on to that faded, harmless youth who sat next to Margaret.
‘Do my eyes deceive me, or is this the Jagson whose name in its inanity is so appropriate to the bearer? I am eager to know if you still devote upon the ungrateful arts talents which were more profitably employed upon haberdashery.’
The unlucky creature, thus brutally attacked, blushed feebly without answering, and Haddo went on to the Frenchman, Meyer as more worthy of his mocking.
‘I’m afraid my entrance interrupted you i
n a discourse. Was it the celebrated harangue on the greatness of Michelangelo, or was it the searching analysis of the art of Wagner?’
‘We were just going,’ said Meyer, getting up with a frown.
‘I am desolated to lose the pearls of wisdom that habitually fall from your cultivated lips,’ returned Haddo, as he politely withdrew Madame Meyer’s chair.
He sat down with a smile.
‘I saw the place was crowded, and with Napoleonic instinct decided that I could only make room by insulting somebody. It is cause for congratulation that my gibes, which Raggles, a foolish youth, mistakes for wit, have caused the disappearance of a person who lives in open sin; thereby vacating two seats, and allowing me to eat a humble meal with ample room for my elbows.’
Marie brought him the bill of fare, and he looked at it gravely.
‘I will have a vanilla ice, O well-beloved, and a wing of a tender chicken, a fried sole, and some excellent pea-soup.’
‘Bien, un potage, une sole, one chicken, and an ice.’
‘But why should you serve them in that order rather than in the order I gave you?’
Marie and the two Frenchwomen who were still in the room broke into exclamations at this extravagance, but Oliver Haddo waved his fat hand.
‘I shall start with the ice, O Marie, to cool the passion with which your eyes inflame me, and then without hesitation I will devour the wing of a chicken in order to sustain myself against your smile. I shall then proceed to a fresh sole, and with the pea-soup I will finish a not unsustaining meal.’
Having succeeded in capturing the attention of everyone in the room, Oliver Haddo proceeded to eat these dishes in the order he had named. Margaret and Burdon watched him with scornful eyes, but Susie, who was not revolted by the vanity which sought to attract notice, looked at him curiously. He was clearly not old, though his corpulence added to his apparent age. His features were good, his ears small, and his nose delicately shaped. He had big teeth, but they were white and even. His mouth was large, with heavy moist lips. He had the neck of a bullock. His dark, curling hair had retreated from the forehead and temples in such a way as to give his clean-shaven face a disconcerting nudity. The baldness of his crown was vaguely like a tonsure. He had the look of a very wicked, sensual priest. Margaret, stealing a glance at him as he ate, on a sudden violently shuddered; he affected her with an uncontrollable dislike. He lifted his eyes slowly, and she looked away, blushing as though she had been taken in some indiscretion. These eyes were the most curious thing about him. They were not large, but an exceedingly pale blue, and they looked at you in a way that was singularly embarrassing. At first Susie could not discover in what precisely their peculiarity lay, but in a moment she found out: the eyes of most persons converge when they look at you, but Oliver Haddo’s, naturally or by a habit he had acquired for effect, remained parallel. It gave the impression that he looked straight through you and saw the wall beyond. It was uncanny. But another strange thing about him was the impossibility of telling whether he was serious. There was a mockery in that queer glance, a sardonic smile upon the mouth, which made you hesitate how to take his outrageous utterances. It was irritating to be uncertain whether, while you were laughing at him, he was not really enjoying an elaborate joke at your expense.
The Magician Page 6
