The Old Wives' Tale

by Arnold Bennett

  She sighed as she straightened her back. A clock struck in another room. It seemed to invite her towards discoveries. She had been in no other room of the flat. She knew nothing of the rest of the flat save by sound. For neither of the other women had ever described it, nor had it occurred to them that Sophia might care to leave her room though she could not leave the house.

  She opened her door, and glanced along the dim corridor, with. which she was familiar. She knew that the kitchen lay next to her little room, and that next to the kitchen came the front-door. On the opposite side of the corridor were four double-doors. She crossed to the pair of doors facing her own little door, and quietly turned the handle, but the doors were locked; the same with the next pair. The third pair yielded, and she was in a large bedroom, with three windows on the street. She saw that the second pair of doors, which she had failed to unfasten, also opened into this room. Between the two pairs of doors was a wide bed. In front of the central window was a large dressing-table. To the left of the bed, half hiding the locked doors, was a large screen. On the marble mantelpiece, reflected in a huge mirror, that ascended to the ornate cornice, was a gilt-and-basalt clock, with pendants to match. On the opposite side of the room from this was a long wide couch. The floor was of polished oak, with a skin on either side of the bed. At the foot of the bed was a small writing-table, with a penny bottle of ink on it. A few coloured prints and engravings—representing, for example, Louis Philippe and his family, and people perishing on a raft—broke the tedium of the walls. The first impression on Sophia’s eye was one of sombre splendour. Everything had the air of being richly ornamented, draped, looped, carved, twisted, brocaded into gorgeousness. The dark crimson bed-hangings fell from massive rosettes in majestic folds. The counterpane was covered with lace. The window-curtains had amplitude beyond the necessary, and they were suspended from behind fringed and pleated valances. The green sofa and its sateen cushions were stiff with applied embroidery. The chandelier hanging from the middle of the ceiling, modelled to represent cupids holding festoons, was a glittering confusion of gilt and lustres: the lustres tinkled when Sophia stood on a certain part of the floor. The cane-seated chairs were completely gilded. There was an effect of spaciousness. And the situation of the bed between the two double-doors, with the three windows in front and other pairs of doors communicating with other rooms on either hand, produced in addition an admirable symmetry.

  But Sophia, with the sharp gaze of a woman brought up in the traditions of a modesty so proud that it scorns ostentation, quickly tested and condemned the details of this chamber that imitated every luxury. Nothing in it, she found, was “good.” And in St Luke’s Square “goodness” meant honest workmanship, permanence, the absence of pretence. All the stuffs were cheap and showy and shabby; all the furniture was cracked, warped or broken. The clock showed five minutes past twelve at five o’clock. And further, dust was everywhere, except in those places where even the most perfunctory cleaning could not have left it. In the obscurer pleatings of draperies it lay thick. Sophia’s lip curled, and instinctively she lifted her peignoir. One of her mother’s phrases came into her head: “a lick and a promise.” And then another: “If you want to leave dirt, leave it where everybody can see it, not in the corners.”

  She peeped behind the screen, and all the horrible welter of a cabinet de toilette met her gaze: a repulsive medley of foul waters, stained vessels and cloths, brushes, sponges, powders, and pastes. Clothes were hung up in disorder on rough nails; among them she recognized a dressing-gown of Madame Foucault’s, and, behind affairs of later date, the dazzling scarlet cloak in which she had first seen Madame Foucault, dilapidated now. So this was Madame Foucault’s room! This was the bower from which that elegance emerged, the filth from which had sprung the mature blossom!

  She passed from that room direct to another, of which the shutters were closed, leaving it in twilight. This room too was a bedroom, rather smaller than the middle one, and having only one window, but furnished with the same dubious opulence. Dust covered it everywhere, and small footmarks were visible in the dust on the floor. At the back was a small door, papered to match the wall, and within this door was a cabinet de toilette, with no light and no air; neither in the room nor in the closet was there any sign of individual habitation. She traversed the main bedroom again and found another bedroom to balance the second one, but open to the full light of day, and in a state of extreme disorder; the double-pillowed bed had not even been made; clothes and towels draped all the furniture; shoes were about the floor, and on a piece of string tied across the windows hung a single white stocking, wet. At the back was a cabinet de toilette, as dark as the other one, a vile malodorous mess of appliances whose familiar forms loomed vague and extraordinarily sinister in the dense obscurity. Sophia turned away with the righteous disgust of one whose preparations for the gaze of the world are as candid and simple as those of a child. Concealed dirt shocked her as much as it would have shocked her mother; and as for the trickeries of the toilette table, she contemned them as harshly as a young saint who has never been tempted contemns moral weakness. She thought of the strange flaccid daily life of those two women, whose hours seemed to slip unprofitably away without any result of achievement. She had actually witnessed nothing; but since the beginning of her convalescence her ears had heard, and she could piece the evidences together. There was never any sound in the flat, outside the kitchen, until noon. Then vague noises and smells would commence. And about one o’clock Madame Foucault, disarrayed, would come to inquire if the servant had attended to the needs of the invalid. Then the odours of cookery would accentuate themselves; bells rang; fragments of conversations escaped through doors ajar; occasionally a man’s voice or a heavy step; then the fragrance of coffee; sometimes the sound of a kiss, the banging of the front door, the noise of brushing, or of the shaking of a carpet, a little scream as at some trifling domestic contretemps. Laurence, still in a dressing-gown, would lounge into Sophia’s room, dirty, haggard, but polite with a curious stiff ceremony, and would drink her coffee there. This wandering in peignoirs would continue till three o’clock, and then Laurence might say, as if nerving herself to an unusual and immense effort: “I must be dressed by five o’clock. I have not a moment.” Often Madame Foucault did not dress at all; on such days she would go to bed immediately after dinner, with the remark that she didn’t know what was the matter with her, but she was exhausted. And then the servant would retire to her seventh floor, and there would be silence until, now and then, faint creepings were heard at midnight or after. Once or twice, through the chinks of her door, Sophia had seen a light at two o’clock in the morning, just before the dawn.

  Yet these were the women who had saved her life, who between them had put her into a cold bath every three hours night and day for weeks. Surely it was impossible after that to despise them for shiftlessness and talkative idling in peignoirs; impossible to despise them for anything whatever! But Sophia, conscious of her inheritance of strong and resolute character, did despise them as poor things. The one point on which she envied them was their formal manners to her, which seemed to become more dignified and graciously distant as her health improved. It was always “Madame,” “Madame,” to her, with an intonation of increasing deference. They might have been apologizing to her for themselves.

  She prowled into all the corners of the flat; but she discovered no more rooms, nothing but a large cupboard crammed with Madame Foucault’s dresses. Then she went back to the large bedroom, and enjoyed the busy movement and rattle of the sloping street, and had long, vague yearnings for strength and for freedom in wide, sane places. She decided that on the morrow she would dress herself “properly,” and never again wear a peignoir; the peignoir, and all that it represented, disgusted her. And while looking at the street she ceased to see it and saw Cook’s office and Chirac helping her into the carriage. Where was he? Why had he brought her to this impossible abode? What did he mean by such conduct? . . . But could he
have acted otherwise? He had done the one thing that he could do . . . Chance! . . . Chance! And why an impossible abode? Was one place more impossible than another? . . . All this came of running away from home with Gerald. It was remarkable that she seldom thought of Gerald. He had vanished from her life as he had come into it—madly, preposterously. She wondered what the next stage in her career would be. She certainly could not forecast it. Perhaps Gerald was starving, or in prison . . . Bah! That exclamation ex pressed her appalling disdain of Gerald and of the Sophia who had once deemed him the paragon of men. Bah!

  A carriage stopping in front of the house awakened her from her meditation. Madame Foucault and a man very much younger than Madame Foucault got out of it. Sophia fled. After all, this prying into other people’s rooms was quite inexcusable. She dropped on to her own bed and picked up a book, in case Madame Foucault should come in.

  III

  In the evening, just after night had fallen, Sophia on the bed heard the sound of raised and acrimonious voices in Madame Foucault’s room. Nothing except dinner had happened since the arrival of Madame Foucault and the young man. These two had evidently dined informally in the bedroom on a dish or so prepared by Madame Foucault, who had herself served Sophia with her invalid’s repast. The odours of cookery still hung in the air.

  The noise of virulent discussion increased and continued, and then Sophia could hear sobbing, broken by short and fierce phrases from the man. Then the door of the bedroom opened brusquely. “J’en ai soupé!” exclaimed the man, in tones of angry disgust. “Laisse-moi, je te prie!” And then a soft muffled sound, as of a struggle, a quick step, and the very violent banging of the front door. After that there was a noticeable silence, save for the regular sobbing. Sophia wondered when it would cease, that monotonous sobbing.

  “What is the matter?” she called out from her bed.

  The sobbing grew louder, like the sobbing of a child who has detected an awakening of sympathy and instinctively begins to practise upon it. In the end Sophia arose and put on the peignoir which she had almost determined never to wear again.

  The broad corridor was lighted by a small, smelling oil-lamp with a crimson globe. That soft, transforming radiance seemed to paint the whole corridor with voluptuous luxury: so much so that it was impossible to believe that the smell came from the lamp. Under the lamp lay Madame Foucault on the floor, a shapeless mass of lace, frilled linen, and corset; her light brown hair was loose and spread about the floor. At the first glance, the creature abandoned to grief made a romantic and striking picture, and Sophia thought for an instant that she had at length encountered life on a plane that would correspond to her dreams of romance. And she was impressed, with a feeling somewhat akin to that of a middling commoner when confronted with a viscount. There was, in the distance, something imposing and sensational about that prone, trembling figure. The tragic works of love were therein apparently manifest, in a sort of dignified beauty. But when Sophia bent over Madame Foucault, and touched her flabbiness, this illusion at once vanished; and instead of being dramatically pathetic the woman was ridiculous. Her face, especially as damaged by tears, could not support the ordeal of inspection; it was horrible; not a picture, but a palette; or like the coloured design of a pavement artist after a heavy shower. Her great, relaxed eyelids alone would have rendered any face absurd; and there were monstrous details far worse than the eyelids. Then she was amazingly fat; her flesh seemed to be escaping at all ends from a corset strained to the utmost limit And above her boots—she was still wearing dainty, high-heeled, tightly laced boots—the calves bulged suddenly out.

  As a woman of between forty and fifty, the obese sepulchre of a dead vulgar beauty, she had no right to passions and tears and homage, or even the means of life; she had no right to expose herself picturesquely beneath a crimson glow in all the panoply of ribboned garters and lacy seductiveness. It was silly; it was disgraceful. She ought to have known that only youth and slimness have the right to appeal to the feelings by indecent abandonments.

  Such were the thoughts that mingled with the sympathy of the beautiful and slim Sophia as she bent down to Madame Foucault. She was sorry for her landlady, but at the same time she despised her, and resented her woe.

  “What is the matter?” she asked quietly.

  “He has chucked me!” stammered Madame Foucault. “And he’s the last. I have no one now!”

  She rolled over in the most grotesque manner, kicking up her legs, with a fresh outburst of sobs. Sophia felt quite ashamed for her.

  “Come and lie down. Come now!” she said, with a touch of sharpness. “You mustn’t lie there like that.”

  Madame Foucault’s behaviour was really too outrageous. Sophia helped her, morally rather than physically, to rise, and then persuaded her into the large bedroom. Madame Foucault fell on the bed, of which the counterpane had been thrown over the foot. Sophia covered the lower part of her heaving body with the counterpane.

  “Now, calm yourself, please!”

  This room too was lit in crimson, by a small lamp that stood on the night-table, and though the shade of the lamp was cracked, the general effect of the great chamber was incontestably romantic. Only the pillows of the wide bed and a small semicircle of floor were illuminated, all the rest lay in shadow. Madame Foucault’s head had dropped between the pillows. A tray containing dirty plates and glasses and a wine-bottle was speciously picturesque on the writing-table.

  Despite her genuine gratitude to Madame Foucault for astounding care during her illness, Sophia did not like her landlady, and the present scene made her coldly wrathful. She saw the probability of having another’s troubles piled on the top of her own. She did not, in her mind, actively object, because she felt that she could not be more hopelessly miserable than she was; but she passively resented the imposition. Her reason told her that she ought to sympathize with this ageing, ugly, disagreeable, undignified woman; but her heart was reluctant; her heart did not want to know anything at all about Madame Foucault, nor to enter in any way into her private life.

  “I have not a single friend now,” stammered Madame Foucault.

  “Oh, yes, you have,” said Sophia, cheerfully. “You have Madame Laurence.”

  “Laurence—that is not a friend. You know what I mean.”

  “And me! I am your friend!” said Sophia, in obedience to her conscience.

  “You are very kind,” replied Madame Foucault, from the pillow. “But you know what I mean.”

  The fact was that Sophia did know what she meant. The terms of their intercourse had been suddenly changed. There was no pretentious ceremony now, but the sincerity that disaster brings. The vast structure of make-believe, which between them they had gradually built, had crumbled to nothing.

  “I never treated badly any man in my life,” whimpered Madame Foucault. “I have always been a good girl. There is not a man who can say I have not been a good girl. Never was I a girl like the rest. And everyone has said so. Ah! when I tell you that once I had a hotel in the Avenue de la Reine Hortense. Four horses . . . I have sold a horse to Madame Musard . . . You know Madame Musard . . . But one cannot make economies. Impossible to make economies! Ah! In ’fifty-six I was spending a hundred thousand francs a year. That cannot last. Always I have said to myself: ‘That cannot last.’ Always I had the intention . . . But what would you? I installed myself here, and borrowed money to pay for the furniture. There did not remain to me one jewel. The men are poltroons, all! I could let three bedrooms for three hundred and fifty francs a month, and with serving meals and so on I could live.”

  “Then that,” Sophia interrupted, pointing to her own bedroom across the corridor, “is your room?”

  “Yes,” said Madame Foucault. “I put you in it because at the moment all these were let. They are so no longer. Only one—Laurence—and she does not pay me always. What would you? Tenants—that does not find itself at the present hour . . . I have nothing, and I owe. And he quits me. He chooses this moment to quit
me! And why? For nothing. For nothing. That is not for his money that I regret him. No, no! You know, at his age—he is twenty-five—and with a woman like me—one is not generous! No. I loved him. And then a man is a moral support, always. I loved him. It is at my age, mine, that one knows how to love. Beauty goes always, but not the temperament! Ah, that—No! . . . I loved him. I loved him.”

  Sophia’s face tingled with a sudden emotion caused by the repetition of those last three words, whose spell no usage can mar. But she said nothing.

  “Do you know what I shall become? There is nothing but that for me. And I know of such, who are there already. A charwoman! Yes, a charwoman! More soon or more late. Well, that is life. What would you? One exists always.” Then in a different tone: “I demand your pardon, madame, for talking like this. I ought to have shame.”

  And Sophia felt that in listening she also ought to be ashamed. But she was not ashamed. Everything seemed very natural, and even ordinary. And, moreover, Sophia was full of the sense of her superiority over the woman on the bed. Four years ago, in the Restaurant Sylvain, the ingenuous and ignorant Sophia had shyly sat in awe of the resplendent courtesan, with her haughty stare, her large, easy gestures, and her imperturbable contempt for the man who was paying. And now Sophia knew that she, Sophia, knew all that was to be known about human nature. She had not merely youth, beauty, and virtue, but knowledge—knowledge enough to reconcile her to her own misery. She had a vigorous, clear mind, and a clean conscience. She could look anyone in the face, and judge everyone too as a woman of the world. Whereas this obscene wreck on the bed had nothing whatever left. She had not merely lost her effulgent beauty, she had become repulsive. She could never have had any common sense, nor any force of character. Her haughtiness in the day of glory was simply fatuous, based on stupidity. She had passed the years in idleness, trailing about all day in stuffy rooms, and emerging at night to impress nincompoops; continually meaning to do things which she never did, continually surprised at the lateness of the hour, continually occupied with the most foolish trifles. And here she was at over forty writhing about on the bare floor because a boy of twenty-five (who must be a worthless idiot) had abandoned her after a scene of ridiculous shoutings and stampings. She was dependent on the caprices of a young scamp, the last donkey to turn from her with loathing! Sophia thought: “Goodness! If I had been in her place I shouldn’t have been like that. I should have been rich. I should have saved like a miser. I wouldn’t have been dependent on anybody at that age. If I couldn’t have made a better courtesan than this pitiable woman, I would have drowned myself.”