‘There she is,’ he said.
He had painted Rosie full length, just a little less than life-size, in an evening dress of white silk. It was not at all like the academy portraits I was accustomed to. I did not know what to say, so I said the first thing that came into my head.
‘When will it be finished?’
‘It is finished,’ he answered.
I blushed furiously. I felt a perfect fool. I had not then acquired the technique that I flatter myself now enables me to deal competently with the works of modern artists. If this were the place I could write a very neat little guide to enable the amateur of pictures to deal to the satisfaction of their painters with the most diverse manifestations of the creative instinct. There is the intense ‘By God!’ that acknowledges the power of the ruthless realist, the It’s so awfully sincere,’ that covers your embarrassment when you are shown the coloured photograph of an alderman’s widow, the low whistle that exhibits your admiration for the post-impressionist, the ‘Terribly amusing’ that expresses what you feel about the cubist, the ‘Oh!’ of one who is overcome, the ‘Ah!’ of him whose breath is taken away.
‘It’s awfully like,’ was all that then I could lamely say.
‘It’s not chocolate-boxy enough for you,’ said Hillier.
‘I think it’s awfully good,’ I answered quickly, defending myself. ‘Are you going to send it to the Academy?’
‘Good God, no! I might send it to the Grosvenor.’
I looked from the painting to Rosie and from Rosie to the painting.
‘Get into the pose, Rosie,’ said Hillier, ‘and let him see you.’
She got up on to the model stand. I stared at her and I stared at the picture. I had such a funny little feeling in my heart. It was as though someone softly plunged a sharp knife into it, but it was not an unpleasant sensation at all, painful but strangely agreeable; and then suddenly I felt quite weak at the knees. But now I do not know if I remember Rosie in the flesh or in the picture. For when I think of her it is not in the shirt and boater that I first saw her in, nor in any of the other dresses I saw her in then or later, but in the white silk that Hillier painted, with a black velvet bow in her hair, and in the pose he had made her take.
I never exactly knew Rosie’s age, but reckoning the years out as well as I can, I think she must have been then thirty-five. She did not look anything like it. Her face was quite unlined and her skin as smooth as a child’s. I do not think she had very good features. They certainly had none of the aristocratic distinction of the great ladies whose photographs were at that time sold in all the shops; they were rather blunt. Her short nose was a little thick, her eyes were smallish, her mouth was large; but her eyes had the blue of cornflowers, and they smiled with her lips, very red and sensual, and her smile was the gayest, the most friendly, the sweetest thing I ever saw. She had by nature a heavy, sullen look, but when she smiled this sullenness became on a sudden infinitely attractive. She had no colour in her face; it was of a very pale brown except under the eyes where it was faintly blue. Her hair was pale gold and it was done in the fashion of the day, high on the head with an elaborate fringe.
‘She’s the very devil to paint,’ said Hillier, looking at her and at his picture. ‘You see, she’s all gold, her face and her hair; and yet she doesn’t give you a golden effect, she gives you a silvery effect.’
I knew what he meant. She glowed, but palely, like the moon rather than the sun, or if it was like the sun it was like the sun in the white mist of dawn. Hillier had placed her in the middle of his canvas and she stood, with her arms by her sides, the palms of her hands toward you and her head a little thrown back, in an attitude that gave value to the pearly beauty of her neck and bosom. She stood like an actress taking a call, confused by unexpected applause, but there was something so virginal about her, so exquisitely springlike, that the comparison was absurd. This artless creature had never known grease paint or footlights. She stood like a maiden apt for love offering herself guiltlessly, because she was fulfilling the purposes of Nature, to the embraces of a lover. She belonged to a generation that did not fear a certain opulence of line; she was slender, but her breasts were ample and her hips well marked. When, later, Mrs Barton Trafford saw the picture she said it reminded her of a sacrificial heifer.
15
Edward Driffield worked at night, and Rosie, having nothing to do, was glad to go out with one or other of her friends. She liked luxury and Quentin Forde was well-to-do. He would fetch her in a cab and take her to dine at Kettner’s or the Savoy, and she would put on her grandest clothes for him; and Harry Retford, though he never had a bob, behaved as if he had, and took her about in hansoms, too, and gave her dinner at Romano’s or in one or other of the little restaurants that were becoming modish in Soho. He was an actor and a clever one, but he was difficult to suit and so was often out of work. He was about thirty, a man with a pleasantly ugly face and a clipped way of speaking that made what he said sound funny. Rosie liked his devil-may-care attitude toward life, the swagger with which he wore clothes made by the best tailor in London and unpaid for, the recklessness with which he would put a fiver he hadn’t got on a horse, and the generosity with which he flung his money about when a lucky win put him in funds. He was gay, charming, vain, boastful, and unscrupulous. Rosie told me that once he had pawned his watch to take her out to dinner and then borrowed a couple of pounds from the actor-manager who had given them seats for the play, in order to take him out to supper with them afterward.
But she was just as well pleased to go with Lionel Hillier to his studio and eat a chop that he and she cooked between them and spend the evening talking, and it was only very rarely that she would dine with me at all. I used to fetch her after I had had my dinner in Vincent Square and she hers with Driffield, and we would get on a bus and go to a music-hall. We went here and there, to the Pavilion or the Tivoli, sometimes to the Metropolitan if there was a particular turn we wanted to see; but our favourite was the Canterbury. It was cheap and the show was good. We ordered a couple of beers and I smoked my pipe. Rosie looked round with delight at the great dark smoky house, crowded to the ceiling with the inhabitants of South London.
‘I like the Canterbury,’ she said. ‘It’s so homey.’
I discovered that she was a great reader. She liked history, but only history of a certain kind, the lives of queens and of mistresses of royal personages; and she would tell me with a childlike wonder of the strange things she read. She had a wide acquaintance with the six consorts of King Henry VIII and there was little she did not know about Mrs Fitzherbert and Lady Hamilton. Her appetite was prodigious and she ranged from Lucrezia Borgia to the wives of Philip of Spain; then there was the long list of the royal mistresses of France. She knew them all, and all about them, from Agnes Sorel down to Madame du Barry.
‘I like to read about real things,’ she said. ‘I don’t much care for novels.’
She liked to gossip about Blackstable, and I thought it was on account of my connexion with it that she liked to come out with me. She seemed to know all that was going on there.
‘I go down every other week or so to see my mother,’ she said. ‘Just for the night, you know.’
‘To Blackstable?’
I was surprised.
‘No, not to Blackstable,’ Rosie smiled. ‘I don’t know that I’d care to go there just yet. To Haversham. Mother comes over to meet me. I stay at the hotel where I used to work.’
She was never a great talker. Often when, the night being fine, we decided to walk back from the music-hall at which we had been spending the evening, she never opened her mouth. But her silence was intimate and comfortable. It did not exclude you; it included you in a pervasive well-being.
I was talking about her once to Lionel Hillier and I said to him that I could not understand how she had turned from the fresh, pleasant-looking young woman I had first known at Blackstable into the lovely creature whose beauty now practically everyone acknowledged. (T
here were people who made reservations. ‘Of course she has a very good figure,’ they said, ‘but it’s not the sort of face I very much admire personally.’ And others said: ‘Oh, yes, a very pretty woman; but it’s a pity she hasn’t a little more distinction.’)
‘I can explain that to you in half a jiffy,’ said Lionel Hillier. ‘She was only a fresh buxom wench when you first met her. I made her beauty.’
I forget what my answer was, but I know it was ribald.
‘All right. That just shows you don’t know anything about beauty. No one ever thought very much of Rosie till I saw her like the sun shining silver. It wasn’t till I painted it that anyone knew that her hair was the most lovely thing in the world.’
‘Did you make her neck and her breasts and her carriage and her bones?’ I asked.
‘Yes, damn you, that’s just what I did do.’
When Hillier talked of Rosie in front of her she listened to him with a smiling gravity. A little flush came into her pale cheeks. I think that first when he spoke to her of her beauty she believed he was just making game of her; but when she found out that he wasn’t, when he painted her silvery gold, it had no particular effect on her. She was a trifle amused, pleased, of course, and a little surprised, but it did not turn her head. She thought him a little mad. I often wondered whether there was anything between them. I could not forget all I had heard of Rosie at Blackstable and what I had seen in the vicarage garden; I wondered about Quentin Forde, too, and Harry Retford. I used to watch them with her. She was not exactly familiar with them, comradely rather; she used to make her appointments with them quite openly in anybody’s hearing; and when she looked at them it was with that mischievous, childlike smile which I had now discovered held such a mysterious beauty. Sometimes when we were sitting side by side in a music-hall I looked at her face; I do not think I was in love with her, I merely enjoyed the sensation of sitting quietly beside her and looking at the pale gold of her hair and the pale gold of her skin. Of course Lionel Hillier was right; the strange thing was that this gold did give one a strange moonlight feeling. She had the serenity of a summer evening when the light fades slowly from the unclouded sky. There was nothing dull in her immense placidity; it was as living as the sea when under the August sun it lay calm and shining along the Kentish coast. She reminded me of a sonatina by an old Italian composer with its wistfulness in which there is yet an urbane flippancy and its light rippling gaiety in which echoes still the trembling of a sigh. Sometimes, feeling my eyes on her, she would turn round and for a moment or two look me full in the face. She did not speak. I did not know of what she was thinking.
Once, I remember, I fetched her at Limpus Road, and the maid, telling me she was not ready, asked me to wait in the parlour. She came in. She was in black velvet, with a picture hat covered with ostrich feathers (we were going to the Pavilion and she had dressed up for it), and she looked so lovely that it took my breath away. I was staggered. The clothes of that day gave a woman dignity, and there was something amazingly attractive in the way her virginal beauty (sometimes she looked like the exquisite statue of Psyche in the museum at Naples) contrasted with the stateliness of her gown. She had a trait that I think must be very rare: the skin under her eyes, faintly blue, was all dewy. Sometimes I could not persuade myself that it was natural, and once I asked her if she had rubbed vaseline under her eyes. That was just the effect it gave. She smiled, took a handkerchief, and handed it to me.
‘Rub them and see,’ she said.
Then one night when we had walked home from the Canterbury, and I was leaving her at her door, when I held out my hand she laughed a little, a low chuckle it was, and leaned forward.
‘You old silly,’ she said.
She kissed me on the mouth. It was not a hurried peck, nor was it a kiss of passion. Her lips, those very full red lips of hers, rested on mine long enough for me to be conscious of their shape and their warmth and their softness. Then she withdrew them, but without hurry, in silence pushed open the door, skipped inside and left me. I was so startled that I had not been able to say anything. I accepted her kiss stupidly. I remained inert. I turned away and walked back to my lodgings. I seemed to hear still in my ears Rosie’s laughter. It was not contemptuous or wounding, but frank and affectionate; it was as though she laughed because she was fond of me.
16
I did not go out with Rosie again for more than a week. She was going down to Haversham to spend a night with her mother. I had various engagements in London. Then she asked me if I would go to the Haymarket Theatre with her. The play was a success and free seats were not to be had, so we made up our minds to go in the pit. We had a steak and a glass of beer at the Cafe Monico and then stood with the crowd. In those days there was no orderly queue and when the doors were opened there was a mad rush and scramble to get in. We were hot and breathless and somewhat battered when at last we pushed our way into our seats.
We walked back through St James’s Park. The night was so lovely that we sat down on a bench. In the starlight Rosie’s face and her fair hair glowed softly. She was suffused, as it were (I express it awkwardly, but I do not know how to describe the emotion she gave me), with a friendliness at once candid and tender. She was like a silvery flower of the night that only gave its perfume to the moonbeams. I slipped my arm round her waist and she turned her face to mine This time it was I who kissed. She did not move; her soft red lips submitted to the pressure of mine with a calm, intensive passivity as the water of a lake accepts the light of the moon. I don’t know how long we stayed there.
‘I’m awfully hungry,’ she said suddenly.
‘So am I,’ I laughed.
‘Couldn’t we go and have some fish and chips somewhere?’
‘Rather.’
In those days I knew my way very well about Westminster, not yet a fashionable quarter for parliamentary and otherwise cultured persons, but slummy and down-at-heel; and after we had come out of the park, crossing Victoria Street, I led Rosie to a fried-fish shop in Horseferry Row. It was late and the only other person there was the driver of a four-wheeler waiting outside. We ordered our fish and chips and a bottle of beer. A poor woman came in and bought two penn ’orth of mixed and took it away with her in a piece of paper. We ate with appetite.
Our way back to Rosie’s led through Vincent Square and as we passed my house I asked her:
‘Won’t you come in for a minute? You’ve never seen my rooms.’
‘What about your landlady? I don’t want to get you into trouble.’
‘Oh, she sleeps like a rock.’
‘I’ll come in for a little.’
I slipped my key into the lock and, because the passage was dark, took Rosie’s hand to lead her in. I lit the gas in my sitting-room. She took off her hat and vigorously scratched her head. Then she looked for a glass, but I was very artistic and had taken down the mirror that was over the chimney-piece and there was no means in the room for anyone to see what he looked like.
‘Come into my bedroom,’ I said. ‘There’s a glass there.’
I opened the door and lit the candle. Rosie followed me in and I held it up so that she should be able to see herself. I looked at her in the glass as she arranged her hair. She took two or three pins out, which she put in her mouth, and taking one of my brushes, brushed her hair up from the nape of her neck. She twisted it, patted it, and put back the pins, and as she was intent on this her eyes caught mine in the glass and she smiled at me. When she had replaced the last pin she turned and faced me; she did not say anything; she looked at me tranquilly still with that little friendly smile in her blue eyes. I put down the candle. The room was very small and the dressing-table was by the bed. She raised her hand and softly stroked my cheek.
I wish now that I had not started to write this book in the first person singular. It is all very well when you can show yourself in an amiable or touching light, and nothing can be more effective than the modest heroic or pathetic humorous which in this mode is much
cultivated; it is charming to write about yourself when you see on the reader’s eyelash the glittering tear and on his lips the tender smile; but it is not so nice when you have to exhibit yourself as a plain damned fool.
A little while ago I read in the Evening Standard an article by Mr Evelyn Waugh in the course of which he remarked that to write novels in the first person was a contemptible practice. I wish he had explained why, but he merely threw out the statement with just the same take-it-or-leave-it casualness as Euclid used when he made his celebrated observation about parallel straight lines. I was much concerned, and forthwith asked Alroy Kear (who reads everything, even the books he writes prefaces for) to recommend to me some works on the art of fiction. On his advice I read The Craft of Fiction by Mr Percy Lubbock, from which I learned that the only way to write novels was like Henry James; after that I read Aspects of the Novel by Mr E. M. Forster, from which I learned that the only way to write novels was like Mr E. M. Forster; then I read The Structure of the Novel by Mr Edwin Muir, from which I learned nothing at all. In none of them could I discover anything to the point at issue. All the same I can find one reason why certain novelists, such as Defoe, Sterne, Thackeray, Dickens, Emily Bronte, and Proust, well known in their day but now doubtless forgotten, have used the method that Mr Evelyn Waugh reprehends. As we grow older we become more conscious of the complexity, incoherence, and unreasonableness of human beings; this indeed is the only excuse that offers for the middle-aged or elderly writer whose thoughts should more properly be turned to graver matters, occupying himself with the trivial concerns of imaginary people. For if the proper study of mankind is man it is evidently more sensible to occupy yourself with the coherent, substantial, and significant creatures of fiction than with the irrational and shadowy figures of real life. Sometimes the novelist feels himself like God and is prepared to tell you everything about his characters; sometimes, however, he does not; and then he tells you not everything that is to be known about them but the little he knows himself; and since as we grow older we feel ourselves less and less like God I should not be surprised to learn that with advancing years the novelist grows less and less inclined to describe more than his own experience has given him. The first person singular is a very useful device for this limited purpose.
Cakes and Ale Page 16