by Henry James
The main inconvenience I suffered at their hands was that at first I was shy of letting it break upon them that my artful little servant had begun to sit to me for “Rutland Ramsay.” They knew I had been odd enough—they were prepared by this time to allow oddity to artists—to pick a foreign vagabond out of the streets when I might have had a person with whiskers and credentials; but it was some time before they learned how high I rated his accomplishments. They found him in an attitude more than once, but they never doubted I was doing him as an organ-grinder. There were several things they never guessed, and one of them was that for a striking scene in the novel, in which a footman briefly figured, it occurred to me to make use of Major Monarch as the menial. I kept putting this off, I didn’t like to ask him to don the livery— besides the difficulty of finding a livery to fit him. At last, one day late in the winter, when I was at work on the despised Oronte, who caught one’s idea on the wing, and was in the glow of feeling myself go very straight, they came in, the Major and his wife, with their society laugh about nothing (there was less and less to laugh at); came in like country-callers—they always reminded me of that—who have walked across the park after church and are presently persuaded to stay to luncheon. Luncheon was over, but they could stay to tea—I knew they wanted it. The fit was on me, however, and I couldn’t let my ardour cool and my work wait, with the fading daylight, while my model prepared it. So I asked Mrs. Monarch if she would mind laying it out—a request which for an instant brought all the blood to her face. Her eyes were on her husband’s for a second, and some mute telegraphy passed between them. Their folly was over the next instant; his cheerful shrewdness put an end to it. So far from pitying their wounded pride, I must add, I was moved to give it as complete a lesson as I could. They bustled about together and got out the cups and saucers and made the kettle boil. I know they felt as if they were waiting on my servant, and when the tea was prepared I said: “He’ll have a cup, please—he’s tired.” Mrs. Monarch brought him one where he stood, and he took it from her as if he had been a gentleman at a party squeezing a crush-hat with an elbow.
Then it came over me that she had made a great effort for me—made it with a kind of nobleness—and that I owed her a compensation. Each time I saw her after this I wondered what the compensation could be. I couldn’t go on doing the wrong thing to oblige them. Oh it WAS the wrong thing, the stamp of the work for which they sat—Hawley was not the only person to say it now. I sent in a large number of the drawings I had made for “Rutland Ramsay,” and I received a warning that was more to the point than Hawley’s. The artistic adviser of the house for which I was working was of opinion that many of my illustrations were not what had been looked for. Most of these illustrations were the subjects in which the Monarchs had figured. Without going into the question of what HAD been looked for, I had to face the fact that at this rate I shouldn’t get the other books to do. I hurled myself in despair on Miss Churm—I put her through all her paces. I not only adopted Oronte publicly as my hero, but one morning when the Major looked in to see if I didn’t require him to finish a Cheapside figure for which he had begun to sit the week before, I told him I had changed my mind—I’d do the drawing from my man. At this my visitor turned pale and stood looking at me. “Is HE your idea of an English gentleman?” he asked.
I was disappointed, I was nervous, I wanted to get on with my work; so. I replied with irritation: “Oh my dear Major—I can’t be ruined for YOU!”
It was a horrid speech, but he stood another moment—after which, without a word, he quitted the studio. I drew a long breath, for I said to myself that I shouldn’t see him again. I hadn’t told—him definitely that I was in danger of having my work rejected, but I was vexed at his not having felt the catastrophe in the air, read with me the moral of our fruitless collaboration, the lesson that in the deceptive atmosphere of art even the highest respectability may fail of being plastic.
I didn’t owe my friends money, but I did see them again. They reappeared together three days later, and, given all the other facts, there was something tragic in that one. It was a clear proof they could find nothing else in life to do. They had threshed the matter out in a dismal conference—they had digested the bad news that they were not in for the series. If they weren’t useful to me even for the Cheapside their function seemed difficult to determine, and I could only judge at first that they had come, forgivingly, decorously, to take a last leave. This made me rejoice in secret that I had little leisure for a scene; for I had placed both my other models in position together and I was pegging away at a drawing from which I hoped to derive glory. It had been suggested by the passage in -which Rutland Ramsay, drawing up a chair to Artemisia’s piano-stool, says extraordinary things to her while she ostensibly fingers out a difficult piece of music. I had done Miss Churm at the piano before—it was an attitude in which she knew how to take on an absolutely poetic grace. I wished the two figures to “compose” together with intensity, and my little Italian had entered perfectly into my conception. The pair were vividly before me, the piano had been pulled out; it was a charming show of blended youth and murmured love, which I had only to catch and keep. My visitors stood and looked at it, and I was friendly to them over my shoulder.
They made no response, but I was used to silent company and went on with my work, only a little disconcerted—even though exhilarated by the sense that this was at least the ideal thing—at not having got rid of them after all. Presently I heard Mrs. Monarch’s sweet voice beside or rather above me: “I wish her hair were a little better done.” I looked up and she was staring with a strange fixedness at Miss Churm, whose back was turned to her. “Do you mind my just touching it?” she went on—a question which made me spring up for an instant as with the instinctive fear that she might do the young lady a harm. But she quieted me with a glance I shall never forget—I confess I should like to have been able to paint that—and went for a moment to my model. She spoke to her softly, laying a hand on her shoulder and bending over her; and as the girl, understanding, gratefully assented, she disposed her rough curls, with a few quick passes, in such a way as to make Miss Churm’s head twice as charming. It was one of the most heroic personal services I’ve ever seen rendered. Then Mrs. Monarch turned away with a low sigh and, looking about her as if for something to do, stooped to the floor with a noble humility and picked up a dirty rag that had dropped out of my paint-box.
The Major meanwhile had also been looking for something to do, and, wandering to the other end of the studio, saw before him my breakfast-things neglected, unremoved. “I say, can’t I be useful HERE?” he called out to me with an irrepressible quaver. I assented with a laugh that I fear was awkward, and for the next ten minutes, while I worked, I heard the light clatter of china and the tinkle of spoons and glass. Mrs. Monarch assisted her husband— they washed up my crockery, they put it away. They wandered off into my little scullery, and I afterwards found that they had cleaned my knives and that my slender stock of plate had an unprecedented surface. When it came over me, the latent eloquence of what they were doing, I confess that my drawing was blurred for a moment—the picture swam. They had accepted their failure, but they couldn’t accept their fate. They had bowed their heads in bewilderment to the perverse and cruel law in virtue of which the real thing could be so much less precious than the unreal; but they didn’t want to starve. If my servants were my models, then my models might be my servants. They would reverse the parts—the others would sit for the ladies and gentlemen and THEY would do the work. They would still be in the studio—it was an intense dumb appeal to me not to turn them out. “Take us on,” they wanted to say—”we’ll do ANYTHING.”
My pencil dropped from my hand; my sitting was spoiled and I got rid of my sitters, who were also evidently rather mystified and awestruck. Then, alone with the Major and his wife I had a most uncomfortable moment. He put their prayer into a single sentence: “I say, you know—just let US do for you, can’t you?” I couldn’
t— it was dreadful to see them emptying my slops; but I pretended I could, to oblige them, for about a week. Then I gave them a sum of money to go away, and I never saw them again. I obtained the remaining books, but my friend Hawley repeats that Major and Mrs. Monarch did me a permanent harm, got me into false ways. If it be true I’m content to have paid the price—for the memory.
THE STORY OF IT
CHAPTER I
The weather had turned so much worse that the rest of the day was certainly lost. The wind had risen and the storm gathered force; they gave from time to time a thump at the firm windows and dashed even against those protected by the verandah their vicious splotches of rain. Beyond the lawn, beyond the cliff, the great wet brush of the sky dipped deep into the sea. But the lawn, already vivid with the touch of May, showed a violence of watered green; the budding shrubs and trees repeated the note as they tossed their thick masses, and the cold troubled light, filling the pretty saloon, marked the spring afternoon as sufficiently young. The two ladies seated there in silence could pursue without difficulty—as well as, clearly, without interruption—their respective tasks; a confidence expressed, when the noise of the wind allowed it to be heard, by the sharp scratch of Mrs. Dyott’s pen at the table where she was busy with letters.
Her visitor, settled on a small sofa that, with a palm-tree, a screen, a stool, a stand, a bowl of flowers and three photographs in silver frames, had been arranged near the light wood-fire as a choice “corner”—Maud Blessingbourne, her guest, turned audibly, though at intervals neither brief nor regular, the leaves of a book covered in lemon-coloured paper and not yet despoiled of a certain fresh crispness. This effect of the volume, for the eye, would have made it, as presumably the newest French novel—and evidently, from the attitude of the reader, “good”—consort happily with the special tone of the room, a consistent air of selection and suppression, one of the finer aesthetic evolutions. If Mrs. Dyott was fond of ancient French furniture and distinctly difficult about it, her inmates could be fond—with whatever critical cocks of charming dark-braided heads over slender sloping shoulders—of modern French authors. Nothing bad passed for half an hour— nothing at least, to be exact, but that each of the companions occasionally and covertly intermitted her pursuit in such a manner as to ascertain the degree of absorption of the other without turning round. What their silence was charged with therefore was not only a sense of the weather, but a sense, so to speak, of its own nature. Maud Blessingbourne, when she lowered her book into her lap, closed her eyes with a conscious patience that seemed to say she waited; but it was nevertheless she who at last made the movement representing a snap of their tension. She got up and stood by the fire, into which she looked a minute; then came round and approached the window as if to see what was really going on. At this Mrs. Dyott wrote with refreshed intensity. Her little pile of letters had grown, and if a look of determination was compatible with her fair and slightly faded beauty the habit of attending to her business could always keep pace with any excursion of her thought. Yet she was the first who spoke.
“I trust your book has been interesting.”
“Well enough; a little mild.”
A louder throb of the tempest had blurred the sound of the words. “A little wild?”
“Dear no—timid and tame; unless I’ve quite lost my sense.”
“Perhaps you have,” Mrs. Dyott placidly suggested—”reading so many.”
Her companion made a motion of feigned despair. “Ah you take away my courage for going to my room, as I was just meaning to, for another.”
“Another French one?”
“I’m afraid.”
“Do you carry them by the dozen—?”
“Into innocent British homes?” Maud tried to remember. “I believe I brought three—seeing them in a shop-window as I passed through town. It never rains but it pours! But I’ve already read two.”
“And are they the only ones you do read?”
“French ones?” Maud considered. “Oh no. D’Annunzio.”
“And what’s that?” Mrs. Dyott asked as she affixed a stamp.
“Oh you dear thing!” Her friend was amused, yet almost showed pity. “I know you don’t read,” Maud went on; “but why should you? YOU live!”
“Yes—wretchedly enough,” Mrs. Dyott returned, getting her letters together. She left her place, holding them as a neat achieved handful, and came over to the fire, while Mrs. Blessingbourne turned once more to the window, where she was met by another flurry.
Maud spoke then as if moved only by the elements. “Do you expect him through all this?”
Mrs. Dyott just waited, and it had the effect, indescribably, of making everything that had gone before seem to have led up to the question. This effect was even deepened by the way she then said “Whom do you mean?”
“Why I thought you mentioned at luncheon that Colonel Voyt was to walk over. Surely he can’t.”
“Do you care very much?” Mrs. Dyott asked.
Her friend now hesitated. “It depends on what you call ‘much.’ If you mean should I like to see him—then certainly.”
“Well, my dear, I think he understands you’re here.”
“So that as he evidently isn’t coming,” Maud laughed, “it’s particularly flattering! Or rather,” she added, giving up the prospect again, “it would be, I think, quite extraordinarily flattering if he did. Except that of course,” she threw in, “he might come partly for you.”
“‘Partly’ is charming. Thank you for ‘partly.’ If you ARE going upstairs, will you kindly,” Mrs Dyott pursued, “put these into the box as you pass?”
The younger woman, taking the little pile of letters, considered them with envy. “Nine! You ARE good. You’re always a living reproach!”
Mrs. Dyott gave a sigh. “I don’t do it on purpose. The only thing, this afternoon,” she went on, reverting to the other question, “would be their not having come down.”
“And as to that you don’t know.”
“No—I don’t know.” But she caught even as she spoke a rat-tat-tat of the knocker, which struck her as a sign. “Ah there!”
“Then I go.” And Maud whisked out.
Mrs. Dyott, left alone, moved with an air of selection to the window, and it was as so stationed, gazing out at the wild weather, that the visitor, whose delay to appear spoke of the wiping of boots and the disposal of drenched mackintosh and cap, finally found her. He was tall lean fine, with little in him, on the whole, to confirm the titular in the “Colonel Voyt” by which he was announced. But he had left the army, so that his reputation for gallantry mainly depended now on his fighting Liberalism in the House of Commons. Even these facts, however, his aspect scantily matched; partly, no doubt, because he looked, as was usually said, un-English. His black hair, cropped close, was lightly powdered with silver, and his dense glossy beard, that of an emir or a caliph, and grown for civil reasons, repeated its handsome colour and its somewhat foreign effect. His nose had a strong and shapely arch, and the dark grey of his eyes was tinted with blue. It had been said of him—in relation to these signs—that he would have struck you as a Jew had he not, in spite of his nose, struck you so much as an Irishman. Neither responsibility could in fact have been fixed upon him, and just now, at all events, he was only a pleasant weather-washed wind-battered Briton, who brought in from a struggle with the elements that he appeared quite to have enjoyed a certain amount of unremoved mud and an unusual quantity of easy expression. It was exactly the silence ensuing on the retreat of the servant and the closed door that marked between him and his hostess the degree of this ease. They met, as it were, twice: the first time while the servant was there and the second as soon as he was not. The difference was great between the two encounters, though we must add in justice to the second that its marks were at first mainly negative. This communion consisted only in their having drawn each other for a minute as close as possible—as possible, that is, with no help but the full clasp of hands. Thus they
were mutually held, and the closeness was at any rate such that, for a little, though it took account of dangers, it did without words. When words presently came the pair were talking by the fire and she had rung for tea. He had by this time asked if the note he had despatched to her after breakfast had been safely delivered.
“Yes, before luncheon. But I’m always in a state when—except for some extraordinary reason—you send such things by hand. I knew, without it, that you had come. It never fails. I’m sure when you’re there—I’m sure when you’re not.”