The Imitator Part 1

The Imitator.

by Percival Pollard.

CHAPTER I.

"The thing is already on the wane," said young Orson Vane, making a wry face over the entree, and sniffing at his gla.s.s, "and, if you ask me, I think the general digestion of society will be the better for it."

"Yes, there is nothing, after all, so tedious as the sham variety of a table d'hote. Though it certainly wasn't the fare one came to this hole for."

Luke Moncreith turned his eyes, as he said that, over the place they sat in, smiling at it with somewhat melancholy contempt. Its sanded floor, its boisterously exposed wine-barrels, the meaningless vivacity of its Hungarian orchestra, evidently stirred him no more.

"No; that was the last detail. It was the notion of dining below stairs, as the servants do. It had, for a time, the charm of an imitation.

Nothing is so delightful as to imitate others; yet to be mistaken for them is always dreadful. Of course, n.o.body would mistake us here for servants."

The company, motley as it was, could not logically have come under any such suspicion. Though it was dining in a cellar, on a sanded floor, amid externals that were illegitimate offsprings of a _Studenten Kneipe_ and a crew of Christy minstrels, it still had, in the main, the air of being recruited from the smart world. At every other table there were people whom not to know was to argue oneself unknown. These persons obviously treated the place, and their being there, as an elaborate effort at gaiety; the others, the people who were plainly there for the first time, took it with the bewildered manner of those whom each new experience leaves mentally exhausted. The touch of rusticity, here and there, did not suffice to spoil the sartorial sparkle of the smart majority. The champagne that the sophisticated were wise enough to oppose to the Magyar vintages sparkled into veins that ran beautifully blue under skin that held curves the most aristocratic, tints the most sh.e.l.l-like. Tinkling laughter, vocative of insincerity, rang between the restless pa.s.sion of the violins.

"When it is not below stairs," continued Vane, "it is up on the roof.

One might think we were a society without houses of our own. It is, I suppose, the human craving for opposites. When we have stored our sideboards with the finest gla.s.s you can get in Vienna or Carlsbad, we turn our backs on it and go to drinking from pewter in a cellar. We pay abominable wages to have servants who shall be noiseless, and then go to places where the service is as guttural as a wilderness of monkeys.

Fortunately, these fancies do not last. Presently, I dare say, it will be the fas.h.i.+on to dine at home. That will make us feel quite like the original Puritans." He laughed, and took his gla.s.s of wine at a gulp.

"The fact of the matter is that variety has become the vice of life. We have not, as a society, any inner steadfastness of soul; we depend upon externals, and the externals pall with fearful speed. Think of seeing in the mirror the face of the same butler for more than thirty days!" He shuddered and shook his head.

"We are a restless lot," sighed the other, "but why discompose yourself about it? Thank your stars you have nothing more important to worry over!"

"My dear Luke, there is nothing more important than the att.i.tude of society at large. It is the only thing one should allow oneself to discuss. To consider one's individual life is to be guilty of as bad form as to wear anything that is conspicuous. Society admires us chiefly only as we sink ourselves in it. If we let the note of personality rise, our social position is sure to suffer. Imitation is the keynote of smartness. The rank and file imitate the leaders consciously, and the leaders unconsciously imitate the average. We frequent cellars, and roofs, and such places, because in doing so we imagine we are imitating the days of the Hanging Gardens and the Catacombs. We abhor the bohemian taint, but we are willing to give a champagne and chicken imitation of it. We do not really care for music and musicians, but we give excellent imitations of doing so. At present we are giving the most lifelike imitation of being pa.s.sionately fond of outdoor life; I suppose England feels flattered. I am afraid I have forgotten whose the first fas.h.i.+onable divorce in our world was; it is far easier to remember the names of the people who have never been divorced; at any rate those pioneers ought to feel proud of the hugeness of their following. We have adopted a vulgarity from Chicago and made it a fas.h.i.+onable inst.i.tution; divorce used to be a shuttlec.o.c.k for the comic papers, and now it makes the bulk of the social register."

Moncreith tapped his friend on the arm. "Drop it, Orson, drop it!" he said. "I know this is a beastly bad dinner, but you shouldn't let it make you maudlin. You know you don't really believe half you're saying.

Drop it, I say. These infernal poses make me ill." He attacked the morsel of game on his plate with a zest that was beautiful to behold.

"If you go on in that biliously philosophic strain of yours, I shall crunch this bird until I hear nothing but the grinding of bones. It is really not a bad bit of quail. It is so small, and the ca.s.serole so large, that you need an English setter to mark it, but once you've got it,"--he wiped his lips with a flip of his napkin, "it's really worth the search. Try it, and cheer up. The woman in rose, over there, under the pseudo-palm, looks at you every time she sips her champagne; I have no doubt she is calculating how untrue you could be to her. I suppose your gloom strikes her as poetic; it strikes me as very absurd. You really haven't a care in the world, and you sit here spouting insincerity at a wasteful rate. If there's anything really and truly the matter--tell me!"

Orson Vane dropped, as if it had been a mask, the ironical smile his lips had worn. "You want sincerity," he said, "well, then I shall be sincere. Sincerity makes wrinkles, but it is the privilege of our friends to make us old before our time. Sincerely, then, Luke, I am very, very tired."

"A fas.h.i.+onable imitation," mocked Moncreith.

"No; a personal aversion, to myself, to the world I live in. I wish the dear old governor hadn't been such a fine fellow; if he had been of the newer generation of fathers I suppose I wouldn't have had an ideal to bless myself with."

Moncreith interrupted.

"Good Lord, Luke, did you say ideals? I swear I never knew it was as bad as that." He beckoned to the waiter and ordered a Dominican. "It is so ideal a liquor that when you have tasted it you crave only for brutalities. Poor Orson! Ideals!" He sighed elaborately.

"If you imitate my manner of a while ago, I shall not say what I was going to say. If I am to be sincere, so must you." He took the scarlet drink the man set before him, and let it gurgle gently down his throat.

"It smacks of sin and I scent lies in it. I wish I had not taken it. It is hard to be sincere after a drink that stirs the imagination. But I shall try. And you are not to interrupt any more than you can help. If we both shed the outer skin we wear for society, I believe we are neither of us such bad sorts. That is just what I am getting at: I am not quite bad enough to be blind to my own futility. Here I am, Luke, young, decently looking, with money, position, and bodily health, and yet I am cursed with thought of my own futility. When people have said who I am, they have said it all; I have done nothing: I merely am. I know others would sell their souls to be what I am; but it does not content me. I have spent years considering my way. The arts have called to me, but they have not held me. All arts are imitative, except music, and music is not human enough for me; no people are so unhuman as musical people, and no art is so entirely a creation of a self-centred inventor. There can be no such thing as realism in music; the voices of Nature can never be equalled on any humanly devised instruments or notes. Painting and sculpture are mere imitations of what nature does far better. When you see a beautiful woman as G.o.d made her you do not care whether the Greeks colored their statues or not. Any average sunset stamps the painted imitation as absurd. These arts, in fact, can never be really great, since they are man's feeble efforts to copy G.o.d's finest creations; between them and the ideal there must always be the same distance as between man and his Creator. Then there is the art of literature. It has the widest scope of them all. Whether it is imitative or creative depends on the temperament of the individual; some men set down what they see and hear, others invent a world of their own and busy themselves with it. I believe it is the most human of the arts. Its devotees not infrequently set themselves the task of discovering just how their fellows think and live; they try to attune their souls to other souls; they strive for an understanding of the larger humanity.

They--"

Moncreith interrupted with a gesture.

"Orson, you're not going to turn novelist? Don't tell me that! Your enthusiasms fill me with melancholy forebodings."

"Not at all. But, as you know, I've seen much of this sort of thing lately. In the first place I had my own temperamental leanings; in the next place, you'll remember, we've had a season or two lately when clever people have been the rage. To invite painters and singers and writers to one's house has been the smart thing to do. We have had the spectacle of a society, that goes through a flippant imitation of living, engaged in being polite to people who imitate at second hand, in song, and color, and story. Some smart people have even taken to those arts, thus imitating the professional imitators. As far as the smart point of view goes, I couldn't do anything better than go in for the studio, or novelistic business. The dull people whom smartness has rubbed to a thin polish would conspire in calling me clever. Is there anything more dreadful than being called clever?"

"Nothing. It is the most d.a.m.ning adjective in the language. Whenever I hear that a person is clever I am sure he will never amount to much.

There is only one word that approaches it in deadly significance. That is 'rising.' I have known men whom the puffs have referred to as 'a rising man' for twenty years. Can you imagine anything more dismal than being called constantly by the same epithet? The very amiability in the general opinion, permitting 'clever' and 'rising' to remain unalterable, shows that the wearer of these terms is hopeless; a strong man would have made enemies. I am glad you are wise enough to resist the temptation of the Muses. Society's blessing would never console you for anything short of a triumph. The triumphs are fearfully few; the clever people--well, this cellar's full of them. There's Abbott Moore, for instance."

"You're right; there he is. He's a case in point. One of the best cases; a man who has really, in the worldly sense, succeeded tremendously. His system of give and take is one of the most lovely schemes imaginable; we all know that. When a mining millionaire with marriageable daughters comes to town his first hostage to the smart set is to order a palace near Central Park and to give Abbott Moore the contract for the decorations. In return Abbott Moore asks the millionaire's womenfolk to one of his studio carnivals. That section of the smart set which keeps itself constantly poised on the border between smart and tart is awfully keen on Abbott Moore's studio affairs. It has never forgotten the famous episode when he served a tart within a tart, and it is still expecting him to outdo that feat. To be seen at one of these affairs, especially if you have millions, is to have got in the point of the wedge. I call it a fair exchange; the millionaire gets his foot just inside the magic portal; Moore gets a slice of the millions. All the world counts Moore a success from every point of view, the smart, the professional, the financial. Yet that isn't my notion of a full life. It's only a replica of the very thing I'm tired of, my own life."

"Your life, my dear fellow, is generally considered a most enviable article."

"Of course. I suppose it does have a glamour for the un.o.bserving. Yet, at the best, what am I?"

Moncreith laughed. "Another Dominican!" he said to the waiter. "The liqueur," he said, "may enable me to rise to my subject." He smiled at Vane over the gla.s.s, when it was brought to him, drained it under closed eyes, and then settled himself well back into his chair.

CHAPTER II.

"I will tell you what you are," began Moncreith, "to I the eye of the average beholder. Here, in the most splendid town of the western world, at the turning of two centuries, you are possessed of youth, health and wealth. That really tells the tale. Never in the history of the world have youth and health and wealth meant so much as they do now. These three open the gates to all the earthly paradise. Your forbears did their duty by you so admirably that you wear a distinguished name without any sacrifice to poverty. You are good to look at. You are a young man of fas.h.i.+on. If you chose you could lead the mode; you have the instincts of a beau, though neither the severe suppression of Brummell nor the obtrusive splendor of D'Aurevilly would suit you. Our age seems to have come to too high an average in man's apparel to permit of any single dictator; to be singled out is to be lowered. Yet there can be no denying that you have often, unwittingly, set the fas.h.i.+on in waistcoats and cravats. That aping has not hurt you, because the others never gave their raiment the fine note of personal distinction that you wear. You are a favorite in the clubs; people never go out when you come in; you listen to the most stupid talk with the most graceful air imaginable; that is one of the sure roads to popularity in clubdom. When it is the fas.h.i.+on to be artistic, you can be so as easily as the others; when sport is the watchword your fine physique forbids you no achievement.

You play tennis and golf and polo quite well enough to make women split their gloves in applause, and not too well to make men sneer at you for a 'pro.' When you are riding to hounds in Virginia you are never far from the kill, and there is no automobilist whom the Newport villagers are happier to fine for fast driving. You are equally at home in a cotillon and on the deck of a racing yacht. You could marry whenever you liked. Your character is unspotted either by the excessive vice that shocks the mob, or the excessive virtue that tires the smart. You have means, manners and manner. Finally, you have the two cardinal qualities of smartness, levity and tolerance." He paused, and gave a smile of satisfaction. "There, do you like the portrait?"

"It is abominable," said Vane, "it is what I see in my most awful dreams. And the horror of it is that it is so frightfully true. I am merely one of the figures in the elaborate masquerade we call society. I make no progress in life; I learn nothing except new fas.h.i.+ons and foibles. I am weary of the masquerade and the masks. Life in the smart world is a game with masks; one shuffles them as one does cards. As for me, I want to throw the whole pack into the fire. Everyone wears these masks; n.o.body ever penetrates to the real soul behind the make-up."

"It is a game you play perfectly. One should hesitate long about giving up anything that one has brought to perfection. These others dabble and squabble in what you call the secondary imitations of life; you, at any rate, are giving your imitation at first hand."

"Yes, but it no longer satisfies me. Listen, Luke. You must promise not to laugh and not to frown. It will seem absurd to you; yet I am terribly in earnest about it. When first I came out of college I went in for science. When I gave it up, it was because I found it was leading me away from the human interest. There is the b.u.t.terfly I want to chase; the human interest. I attempted all the arts; not one of them took me far on my way. My failure, Luke, is an ironic sentence upon the vaunted knowledge of the world."

"Your failure? My dear Orson; come to the point. What do you mean by the human interest?"

"I mean that neither scientist nor scholar has yet shown the way to one man's understanding of another's soul. The surgeon can take a body and dissect its every fraction, arguing and proving each function of it. The painter tries, with feeble success, to reach what he calls the spirit of his subject. So does the author. He tries to put himself into the place of each of his characters; he aims, always, for the nearest possible approach to the lifelike. And, above all the others, there is the actor.

In this, as in its other qualities, the art of acting is the crudest, the most obvious of them all; yet, in certain moments, it comes nearest to the ideal. The actor in his mere self is--well, we all know the story of the famous player being met by this greeting: 'And what art thou to-night?' But he goes behind a door and he can come forth in a series of selves. A trick or so with paint; a change of wig; a twist of the face-muscles, and we have the same man appearing as _Napoleon_, as _Richelieu_, as _Falstaff_. The thing is external, of course. Whether there shall be anything more than the mere bodily mask depends upon the actor's intelligence and his imagination. The supreme artist so succeeds, by virtue of much study, much skill in imitating what he has conceived to be the soul of his subject, in almost giving us a lifelike portrait. And yet, and yet--it is not the real thing; the real soul of his subject is as much a mystery to that actor as it is to you or me.

That is what I mean when I say that science fails us at the most important point of all; the soul of my neighbor is as profound a mystery to me as the soul of a man that lived a thousand years ago. I can know your face, Luke, your clothes, your voice, the outward mask you wear; but--can I reach the secrets of your soul? No. And if we cannot know how others feel and think, how can we say we know the world? Bah! The world is a realm of shadows in which all walk blindly. We touch hands every day, but our souls are hidden in a veil that has not been pa.s.sed since G.o.d made the universe."

"You cry for the moon," said Moncreith. "You long for the unspeakable.

Is it not terrible enough to know your neighbor's face, his voice, his coat, without burdening yourself with knowledge of his inner self? It is merely an egoistic curiosity, my dear Orson; you cannot prove that the human interest, as you term it, would benefit by the extension in wisdom you want."

"Oh, you are wrong, you are wrong. The whole world of science undergoes revolution, once you gain the point I speak of. Doctors will have the mind as well as the body to diagnose; lovers will read each others hearts as well as their voices; lies will become impossible, or, at least, futile; oh--it would be a better world altogether. At any rate, until this avenue of knowledge is opened to me, I shall call all the rest a failure. I imitate; you imitate; we imitate; that is the conjugation of life. When I think of the hopelessness of the thing,--do you wonder I grow bitter? I want communion with real beings, and I meet only masks. I tell you, Luke, it is abominable, this wall that stands between each individual and the rest of the world. How can I love my neighbor if I do not understand him? How can I understand him if I cannot think his thoughts, dream his dreams, spell out his soul's secrets?"

Moncreith smiled at his friend, and let his eyes wander a trifle ironically about his figure. "One would not think, to look at you, that you were possessed of a mania, an itch! If you take my advice you will content yourself with living life as you find it. It is really a very decent world. It has good meat and drink in it, and some sweet women, and a strong man or two. Most of us are quite ignorant of the fact that we are merely engaged in incomplete imitations of life, or that there is a Chinese wall between us and the others; the chances are we are all the happier for our innocence. Consider, for instance, that rosy little face behind us--you can see it perfectly in that mirror--can you deny that it looks all happiness and innocence?"

Vane looked, and presently sighed a little. The face of the girl, as he found it in the gla.s.s, was the color of roses lying on a pool of clear water. It was one of those faces that one scarce knows whether to think finer in profile or in full view; the features were small, the hair glistened with a tint of that burnish the moon sometimes wears on summer nights, and the figure was a mere fillip to the imagination. A cl.u.s.ter of lilies of the valley lay upon her hair; they seemed like countless little cups pouring frost upon a copper glow. All about her radiated an ineffable gentleness, a tenderness; she made all the other folk about her seem garish and ugly and cruel. One wondered what she did in that gallery.

"To the outer eye," said Vane, as he sighed, "she is certainly a flower, a thing of daintiness and delight. But--do you suppose I believe it, for a moment? I have no doubt she is merely one of those creatures whom G.o.d has made for the destruction of our dreams; her mind is probably as corrupt as her body seems fair. She is perhaps--"

He stopped, for the face in the mirror had its eyes thrown suddenly in his direction. The eyes, in that reflex fas.h.i.+on, met, and something akin to a smile, oh, an ever so wistful, wonderful a smile, crept upon the lips and the eyes of the girl, while to the man there came only a sudden silence.

"She is," continued Vane, in another voice altogether, and as if he were thinking of distant affairs, "very beautiful."