"Is she going into your business?" I asked.
"Oh no; I wouldn't let her do that," Mrs. Strickland answered. "She's so pretty. I'm sure she'll marry well."
"I should have thought it would be a help to you."
"Several people have suggested that she should go on the stage, but of course I couldn't consent to that, I know all the chief dramatists, and I could get her a part to-morrow, but I shouldn't like her to mix with all sorts of people."
I was a little chilled by Mrs. Strickland's exclusiveness.
"Do you ever hear of your husband?"
"No; I haven't heard a word. He may be dead for all I know."
"I may run across him in Paris. Would you like me to let you know about him?"
She hesitated a minute.
"If he's in any real want I'm prepared to help him a little. I'd send you a certain sum of money, and you could give it him gradually, as he needed it."
"That's very good of you," I said.
But I knew it was not kindness that prompted the offer. It is not true that suffering ennobles the character; happiness does that sometimes, but suffering, for the most part, makes men petty and vindictive.
Chapter XVIII
In point of fact, I met Strickland before I had been a fortnight in Paris.
I quickly found myself a tiny apartment on the fifth floor of a house in the Rue des Dames, and for a couple of hundred francs bought at a second-hand dealer's enough furniture to make it habitable. I arranged with the concierge to make my coffee in the morning and to keep the place clean. Then I went to see my friend Dirk Stroeve.
Dirk Stroeve was one of those persons whom, according to your character, you cannot think of without derisive laughter or an embarrassed shrug of the shoulders. Nature had made him a buffoon. He was a painter, but a very bad one, whom I had met in Rome, and I still remembered his pictures. He had a genuine enthusiasm for the commonplace. His soul palpitating with love of art, he painted the models who hung about the stairway of Bernini in the Piazza de Spagna, undaunted by their obvious picturesqueness; and his studio was full of canvases on which were portrayed moustachioed, large-eyed peasants in peaked hats, urchins in becoming rags, and women in bright petticoats. Sometimes they lounged at the steps of a church, and sometimes dallied among cypresses against a cloudless sky; sometimes they made love by a Renaissance well-head, and sometimes they wandered through the Campagna by the side of an ox-waggon. They were carefully drawn and carefully painted. A photograph could not have been more exact. One of the painters at the Villa Medici had called him Le Maitre de la Boite a Chocoloats. To look at his pictures you would have thought that Monet, Manet, and the rest of the Impressionists had never been.
"I don't pretend to be a great painter," he said, "I'm not a Michael Angelo, no, but I have something. I sell. I bring romance into the homes of all sorts of people. Do you know, they buy my pictures not only in Holland, but in Norway and Sweden and Denmark? It's mostly merchants who buy them, and rich tradesmen. You can't imagine what the winters are like in those countries, so long and dark and cold. They like to think that Italy is like my pictures. That's what they expect. That's what I expected Italy to be before I came here."
And I think that was the vision that had remained with him always, dazzling his eyes so that he could not see the truth; and notwithstanding the brutality of fact, he continued to see with the eyes of the spirit an Italy of romantic brigands and picturesque ruins. It was an ideal that he painted -a poor one, common and shop-soiled, but still it was an ideal; and it gave his character a peculiar charm.
It was because I felt this that Dirk Stroeve was not to me, as to others, merely an object of ridicule. His fellow-painters made no secret of their contempt for his work, but he earned a fair amount of money, and they did not hesitate to make free use of his purse. He was generous, and the needy, laughing at him because he believed so naively their stories of distress, borrowed from him with effrontery. He was very emotional, yet his feeling, so easily aroused, had in it something absurd, so that you accepted his kindness, but felt no gratitude. To take money from him was like robbing a child, and you despised him because he was so foolish. I imagine that a pickpocket, proud of his light fingers, must feel a sort of indignation with the careless woman who leaves in a cab a vanity-bag with all her jewels in it. Nature had made him a butt, but had denied him insensibility. He writhed under the jokes, practical and otherwise, which were perpetually made at his expense, and yet never ceased, it seemed wilfully, to expose himself to them. He was constantly wounded, and yet his good-nature was such that he could not bear malice: the viper might sting him, but he never learned by experience, and had no sooner recovered from his pain than he tenderly placed it once more in his bosom. His life was a tragedy written in the terms of knockabout farce. Because I did not laugh at him he was grateful to me, and he used to pour into my sympathetic ear the long list of his troubles. The saddest thing about them was that they were grotesque, and the more pathetic they were, the more you wanted to laugh.
But though so bad a painter, he had a very delicate feeling for art, and to go with him to picture-galleries was a rare treat. His enthusiasm was sincere and his criticism acute. He was catholic. He had not only a true appreciation of the old masters, but sympathy with the moderns. He was quick to discover talent, and his praise was generous. I think I have never known a man whose judgment was surer. And he was better educated than most painters. He was not, like most of them, ignorant of kindred arts, and his taste for music and literature gave depth and variety to his comprehension of painting. To a young man like myself his advice and guidance were of incomparable value.
When I left Rome I corresponded with him, and about once in two months received from him long letters in queer English, which brought before me vividly his spluttering, enthusiastic, gesticulating conversation. Some time before I went to Paris he had married an Englishwoman, and was now settled in a studio in Montmartre. I had not seen him for four years, and had never met his wife.
Chapter XIX
I had not announced my arrival to Stroeve, and when I rang the bell of his studio, on opening the door himself, for a moment he did not know me. Then he gave a cry of delighted surprise and drew me in. It was charming to be welcomed with so much eagerness. His wife was seated near the stove at her sewing, and she rose as I came in. He introduced me.
"Don't you remember?" he said to her. "I've talked to you about him often." And then to me: "But why didn't you let me know you were coming? How long have you been here? How long are you going to stay? Why didn't you come an hour earlier, and we would have dined together?"
He bombarded me with questions. He sat me down in a chair, patting me as though I were a cushion, pressed cigars upon me, cakes, wine. He could not let me alone. He was heart-broken because he had no whisky, wanted to make coffee for me, racked his brain for something he could possibly do for me, and beamed and laughed, and in the exuberance of his delight sweated at every pore.
"You haven't changed," I said, smiling, as I looked at him.
He had the same absurd appearance that I remembered. He was a fat little man, with short legs, young still -he could not have been more than thirty -but prematurely bald. His face was perfectly round, and he had a very high colour, a white skin, red cheeks, and red lips. His eyes were blue and round too, he wore large gold-rimmed spectacles, and his eyebrows were so fair that you could not see them. He reminded you of those jolly, fat merchants that Rubens painted.
When I told him that I meant to live in Paris for a while, and had taken an apartment, he reproached me bitterly for not having let him know. He would have found me an apartment himself, and lent me furniture -did I really mean that I had gone to the expense of buying it? -and he would have helped me to move in. He really looked upon it as unfriendly that I had not given him the opportunity of making himself useful to me. Meanwhile, Mrs. Stroeve sat quietly mending her stockings, without talking, and she listened to all he said with a quiet smile on her lips.
He beamed at her, and settled his spectacles on the bridge of his nose. The sweat made them constantly slip down.
"What on earth do you expect me to say to that?" I laughed.
"Really, Dirk," put in Mrs. Stroeve, smiling.
"But isn't she wonderful? I tell you, my boy, lose no time; get married as soon as ever you can. I'm the happiest man alive. Look at her sitting there. Doesn't she make a picture? Chardin, eh? I've seen all the most beautiful women in the world; I've never seen anyone more beautiful than Madame Dirk Stroeve."
"If you don't be quiet, Dirk, I shall go away."
"Mon petit chou", he said.
She flushed a little, embarrassed by the passion in his tone. His letters had told me that he was very much in love with his wife, and I saw that he could hardly take his eyes off her. I could not tell if she loved him. Poor pantaloon, he was not an object to excite love, but the smile in her eyes was affectionate, and it was possible that her reserve concealed a very deep feeling. She was not the ravishing creature that his love-sick fancy saw, but she had a grave comeliness. She was rather tall, and her gray dress, simple and quite well-cut, did not hide the fact that her figure was beautiful. It was a figure that might have appealed more to the sculptor than to the costumier. Her hair, brown and abundant, was plainly done, her face was very pale, and her features were good without being distinguished. She had quiet gray eyes. She just missed being beautiful, and in missing it was not even pretty. But when Stroeve spoke of Chardin it was not without reason, and she reminded me curiously of that pleasant housewife in her mob-cap and apron whom the great painter has immortalised. I could imagine her sedately busy among her pots and pans, making a ritual of her household duties, so that they acquired a moral significance; I did not suppose that she was clever or could ever be amusing, but there was something in her grave intentness which excited my interest. Her reserve was not without mystery. I wondered why she had married Dirk Stroeve. Though she was English, I could not exactly place her, and it was not obvious from what rank in society she sprang, what had been her upbringing, or how she had lived before her marriage. She was very silent, but when she spoke it was with a pleasant voice, and her manners were natural.
I asked Stroeve if he was working.
"Working? I'm painting better than I've ever painted before."
We sat in the studio, and he waved his hand to an unfinished picture on an easel. I gave a little start. He was painting a group of Italian peasants, in the costume of the Campagna, lounging on the steps of a Roman church.
"Is that what you're doing now?" I asked.
"Yes. I can get my models here just as well as in Rome."
"Don't you think it's very beautiful?" said Mrs. Stroeve.
"This foolish wife of mine thinks I'm a great artist," said he.
His apologetic laugh did not disguise the pleasure that he felt. His eyes lingered on his picture. It was strange that his critical sense, so accurate and unconventional when he dealt with the work of others, should be satisfied in himself with what was hackneyed and vulgar beyond belief.
"Show him some more of your pictures," she said.
"Shall I?"
Though he had suffered so much from the ridicule of his friends, Dirk Stroeve, eager for praise and naively self-satisfied, could never resist displaying his work. He brought out a picture of two curly-headed Italian urchins playing marbles.
"Aren't they sweet?" said Mrs. Stroeve.
And then he showed me more. I discovered that in Paris he had been painting just the same stale, obviously picturesque things that he had painted for years in Rome. It was all false, insincere, shoddy; and yet no one was more honest, sincere, and frank than Dirk Stroeve. Who could resolve the contradiction?
I do not know what put it into my head to ask:
"I say, have you by any chance run across a painter called Charles Strickland?"
"You don't mean to say you know him?" cried Stroeve.
"Beast," said his wife.
Stroeve laughed.
"Ma pauvre cherie." He went over to her and kissed both her hands. "She doesn't like him. How strange that you should know Strickland!"
"I don't like bad manners," said Mrs. Stroeve.
Dirk, laughing still, turned to me to explain.
"You see, I asked him to come here one day and look at my pictures. Well, he came, and I showed him everything I had." Stroeve hesitated a moment with embarrassment. I do not know why he had begun the story against himself; he felt an awkwardness at finishing it. "He looked at -at my pictures, and he didn't say anything. I thought he was reserving his judgment till the end. And at last I said: 'There, that's the lot!' He said: 'I came to ask you to lend me twenty francs.'"
"And Dirk actually gave it him," said his wife indignantly.
"I was so taken aback. I didn't like to refuse. He put the money in his pocket, just nodded, said 'Thanks,' and walked out."
Dirk Stroeve, telling the story, had such a look of blank astonishment on his round, foolish face that it was almost impossible not to laugh.
"I shouldn't have minded if he'd said my pictures were bad, but he said nothing -nothing."
"And you will tell the story, Dirk," Said his wife.
It was lamentable that one was more amused by the ridiculous figure cut by the Dutchman than outraged by Strickland's brutal treatment of him.
"I hope I shall never see him again," said Mrs. Stroeve.
Stroeve smiled and shrugged his shoulders. He had already recovered his good-humour.
"The fact remains that he's a great artist, a very great artist."
"Strickland?" I exclaimed. "It can't be the same man."
"A big fellow with a red beard. Charles Strickland. An Englishman."
"He had no beard when I knew him, but if he has grown one it might well be red. The man I'm thinking of only began painting five years ago."
"That's it. He's a great artist."
"Impossible."
"Have I ever been mistaken?" Dirk asked me. "I tell you he has genius. I'm convinced of it. In a hundred years, if you and I are remembered at all, it will be because we knew Charles Strickland."
I was astonished, and at the same time I was very much excited. I remembered suddenly my last talk with him.
"Where can one see his work?" I asked. "Is he having any success? Where is he living?"
"No; he has no success. I don't think he's ever sold a picture. When you speak to men about him they only laugh. But I know he's a great artist. After all, they laughed at Manet. Corot never sold a picture. I don't know where he lives, but I can take you to see him. He goes to a cafe in the Avenue de Clichy at seven o'clock every evening. If you like we'll go there to-morrow."
"I'm not sure if he'll wish to see me. I think I may remind him of a time he prefers to forget. But I'll come all the same. Is there any chance of seeing any of his pictures?"
"Not from him. He won't show you a thing. There's a little dealer I know who has two or three. But you mustn't go without me; you wouldn't understand. I must show them to you myself."
"Dirk, you make me impatient," said Mrs. Stroeve. "How can you talk like that about his pictures when he treated you as he did?" She turned to me. "Do you know, when some Dutch people came here to buy Dirk's pictures he tried to persuade them to buy Strickland's? He insisted on bringing them here to show."
"What did you think of them?" I asked her, smiling.
"They were awful."
"Ah, sweetheart, you don't understand."
"Well, your Dutch people were furious with you. They thought you were having a joke with them."
Dirk Stroeve took off his spectacles and wiped them. His flushed face was shining with excitement.
"Why should you think that beauty, which is the most precious thing in the world, lies like a stone on the beach for the careless passer-by to pick up idly? Beauty is something wonderful and strange t
hat the artist fashions out of the chaos of the world in the torment of his soul. And when he has made it, it is not given to all to know it. To recognize it you must repeat the adventure of the artist. It is a melody that he sings to you, and to hear it again in your own heart you want knowledge and sensitiveness and imagination."
"Why did I always think your pictures beautiful, Dirk? I admired them the very first time I saw them."
Stroeve's lips trembled a little.
"Go to bed, my precious. I will walk a few steps with our friend, and then I will come back."
Chapter XX
Dirk Stroeve agreed to fetch me on the following evening and take me to the cafe at which Strickland was most likely to be found. I was interested to learn that it was the same as that at which Strickland and I had drunk absinthe when I had gone over to Paris to see him. The fact that he had never changed suggested a sluggishness of habit which seemed to me characteristic.
"There he is," said Stroeve, as we reached the cafe.
Though it was October, the evening was warm, and the tables on the pavement were crowded. I ran my eyes over them, but did not see Strickland.
"Look. Over there, in the corner. He's playing chess."
I noticed a man bending over a chess-board, but could see only a large felt hat and a red beard. We threaded our way among the tables till we came to him.
"Strickland."
He looked up.
"Hulloa, fatty. What do you want?"
"I've brought an old friend to see you."
Strickland gave me a glance, and evidently did not recognise me. He resumed his scrutiny of the chess-board.
"Sit down, and don't make a noise," he said.
He moved a piece and straightway became absorbed in the game. Poor Stroeve gave me a troubled look, but I was not disconcerted by so little. I ordered something to drink, and waited quietly till Strickland had finished. I welcomed the opportunity to examine him at my ease. I certainly should never have known him. In the first place his red beard, ragged and untrimmed, hid much of his face, and his hair was long; but the most surprising change in him was his extreme thinness. It made his great nose protrude more arrogantly; it emphasized his cheekbones; it made his eyes seem larger. There were deep hollows at his temples. His body was cadaverous. He wore the same suit that I had seen him in five years before; it was torn and stained, threadbare, and it hung upon him loosely, as though it had been made for someone else. I noticed his hands, dirty, with long nails; they were merely bone and sinew, large and strong; but I had forgotten that they were so shapely. He gave me an extraordinary impression as he sat there, his attention riveted on his game -an impression of great strength; and I could not understand why it was that his emaciation somehow made it more striking.
Of Human Bondage Page 7