65 Short Stories Part 45

'You have known my brother Ferdinand for many years, is it not so?' she said, rolling a guttural R 'My brother Ferdinand has always moved in very good society. Where is Sir Adolphus, Muriel? Does he know your guest is arrived? And will you not send for George? If he does not know his pieces by now he will not know them by tomorrow'

Muriel explained that Freddy was finis.h.i.+ng a round of golf with his secretary and that she had had George told I was there. Lady Bland looked as though she thought Muriel's replies highly unsatisfactory and turned again to me. 'My daughter-in-law tells me you have been in Italy?'

'Yes, I've only just come back.'

'It is a beautiful country. How is the King?'

I said I did not know 'I used to know him when he was a little boy. He was not very strong then. His mother, Queen Margherita, was a great friend of mine. They thought he would never marry. The d.u.c.h.ess of Aosta was very angry when he fell in love with that Princess of Montenegro.'

She seemed to belong to some long-past period of history, but she was very alert and I imagine that little escaped her beady eyes. Freddy, very spruce in plus-fours, presently came in. It was amusing and yet a little touching to see this grey-bearded man, as a rule somewhat domineering, so obviously on his best behaviour with the old lady. He called her Mamma. Then George came in. He was as fat as ever, but he had taken my advice and had his hair cut; he was losing his boyish looks, but he was a powerful and well-set-up young man. It was good to see the pleasure he took in his tea. He ate quant.i.ties of sandwiches and great hunks of cake. He had still a boy's appet.i.te. His father watched him with a tender smile and as I looked at him I could not be surprised at the attachment which they all so obviously felt for him. He had an ingenuousness, a charm, and an enthusiasm which were certainly very pleasant. There was about him a generosity of demeanour, a frankness, and a natural cordiality which could not but make people take to him. I do not know whether it was owing to a hint from his grandmother or merely of his own good nature, but it was plain that he was going out of his way to be nice to his father; and in his father's soft eyes, in the way he hung upon the boy's words, in his pleased, proud, and happy look, you felt how bitterly the estrangement of the last two years had weighed on him. He adored George.

We played golf in the morning, a three-ball match, since Muriel, having to go to Ma.s.s, could not join us, and at one Ferdy arrived in Lea Makart's car. We sat down to luncheon. Of course Lea Makart's reputation was well known to me. She was acknowledged to be the greatest woman pianist in Europe. She was a very old friend of Ferdy's, who with his interest and patronage had greatly helped her at the beginning of her career, and it was he who had arranged for her to come and give her opinion of George's chances. At one time I went as often as I could to hear her play. She had no affectations; she played as a bird sings, without any appearance of effort, very naturally, and the silvery notes dripped from her light fingers in a curiously spontaneous manner, so that it gave you the impression that she was improvising those complicated rhythms. They used to tell me that her technique was wonderful. I could never make up my mind how much the delight her playing gave me was due to her person. In those days she was the most ethereal thing you could imagine, and it was surprising that a creature so sylphlike should be capable of so much power. She was very slight, pale, with enormous eyes and magnificent black hair, and at the piano she had a childlike wistfulness that was most appealing. She was very beautiful in a hardly human way and when she played, a little smile on her closed lips, she seemed to be remembering things she had heard in another world. Now, however, a woman in the early forties, she was sylphlike no more; she was stout and her face had broadened; she had no longer that lovely remoteness, but the authority of her long succession of triumphs. She was brisk, business-like, and somewhat overwhelming. Her vitality lit her with a natural spotlight as his sanct.i.ty surrounds the saint with a halo. She was not interested in anything very much but her own affairs, but since she had humour and knew the world she was able to invest them with gaiety. She held the conversation, but did not absorb it. George talked little. Every now and then she gave him a glance, but did not try to draw him in. I was the only Gentile at the table. All but old Lady Bland spoke perfect English, yet I could not help feeling that they did not speak like English people; I think they rounded their vowels more than we do, they certainly spoke louder, and the words seemed not to fall, but to gush from their lips. I think if I had been in another room where I could hear the tone but not the words of their speech I should have thought it was in a foreign language that they were conversing. The effect was slightly disconcerting.

Lea Makart wished to set out for London at about six, so it was arranged that George should play at four. Whatever the result of the audition, I felt that I, a stranger in the circle which her departure must render exclusively domestic, would be in the way and so, pretending an early engagement in town next morning, I asked her if she would take me with her in her car.

At a little before four we all wandered into the drawing-room. Old Lady Bland sat on a sofa with Ferdy; Freddy, Muriel, and I made ourselves comfortable in arm-chairs; and Lea Makart sat by herself She chose instinctively a high-backed Jacobean chair that had somewhat the air of a throne, and in a yellow dress, with her olive skin, she looked very handsome. She had magnificent eyes. She was very much made up and her mouth was scarlet.

George gave no sign of nervousness. He was already seated at the piano when I went in with his father and mother, and he watched us quietly settling ourselves down. He gave me the shadow of a smile. When he saw that we were all at our ease he began to play. He played Chopin. He played two waltzes that were familiar to me, a polonaise and an Etude. He played with a great deal of brio. I wish I knew music well enough to give an exact description of his playing. It had strength, and a youthful exuberance, but I felt that he missed what to me is the peculiar charm of Chopin, the tenderness, the nervous melancholy, the wistful gaiety and the slightly faded romance that reminds me always of an Early Victorian keepsake. And again I had the vague sensation, so slight that it almost escaped me, that the two hands did not quite synchronize. I looked at Ferdy and saw him give his sister a look of faint surprise. Muriel's eyes were fixed on the pianist, but presently she dropped them and for the rest of the time stared at the floor. His father looked at him too, and his eyes were steadfast, but unless I was much mistaken he went pale and his face betrayed something like dismay. Music was in the blood of all of them, all their lives they had heard the greatest pianists in the world, and they judged with instinctive precision. The only person whose face betrayed no emotion was Lea Makart. She listened very attentively. She was as still as an image in a niche.

At last he stopped and turning round on his seat faced her. He did not speak. 'What is it you want me to tell you?' she asked.

They looked into one another's eyes.

'I want you to tell me whether I have any chance of becoming in time a pianist in the first rank.'

'Not in a thousand years.'

For a moment there was dead silence. Freddy's head sank and he looked down at the carpet at his feet. His wife put out her hand and took his. But George continued to look steadily at Lea Makart.

Terdy has told me the circ.u.mstances,' she said at last. 'Don't think I'm influenced by them. Nothing of this is very important.' She made a great sweeping gesture that took in the magnificent room with the beautiful things it contained and all of us. 'If I thought you had in you the makings of an artist I shouldn't hesitate to beseech you to give up everything for art's sake. Art is the only thing that matters. In comparison with art, wealth and rank and power are not worth a straw' She gave us a look so sincere that it was void of insolence. 'We are the only people who count. We give the world significance. You are only our raw material.'

I was not too pleased to be included with the rest under that heading, but that is neither here nor there.

'Of course I can see that you've worked very hard. Don't think it's been wasted. It will always be a pleasure to you to be able to play the piano and it will enable you to appreciate great playing as no ordinary person can hope to do. Look at your hands. They're not a pianist's hands.'

Involuntarily I glanced at George's hands. I had never noticed them before. I was astounded to see how podgy they were and how short and stumpy the fingers.

'Your ear is not quite perfect. I don't think you can ever hope to be more than a very competent amateur. In art the difference between the amateur and the professional is immeasurable.'

George did not reply. Except for his pallor no one would have known that he was listening to the blasting of all his hopes. The silence that fell was quite awful. Lea Makart's eyes suddenly filled with tears.

'But don't take my opinion alone,' she said. 'After all, I'm not infallible. Ask somebody else. You know how good and generous Paderewski is. I'll write to him about you and you can go down and play to him. I'm sure he'll hear you.'

George now gave a little smile. He had very good manners and whatever he was feeling did not want to make the situation too difficult for others. 'I don't think that's necessary, I am content to accept your verdict. To tell you the truth it's not so very different from my master's in Munich.'

He got up from the piano and lit a cigarette. It eased the strain. The others moved a little in their chairs. Lea Makart smiled at George.

'Shall I play to you?' she said.

'Yes, do.'

She got up and went to the piano. She took off the rings with which her fingers were laden. She played Bach. I do not know the names of the pieces, but I recognized the stiff ceremonial of the frenchified little German courts and the sober, thrifty comfort of the burghers, and the dancing on the village green, the green trees that looked like Christmas trees, and the sunlight on the wide German country, and a tender cosiness; and in my nostrils there was a warm scent of the soil and I was conscious of a st.u.r.dy strength that seemed to have its roots deep in mother earth, and of an elemental power that was timeless and had no home in s.p.a.ce. She played beautifully, with a soft brilliance that made you think of the full moon s.h.i.+ning at dusk in the summer sky. With another part of me I watched the others and I saw how intensely they were conscious of the experience. They were rapt. I wished with all my heart that I could get from music the wonderful exaltation that possessed them. She stopped, a smile hovered on her lips, and she put on her rings. George gave a little chuckle.

'That clinches it, I fancy,' he said.

The servants brought in tea and after tea Lea Makart and I bade the company farewell and got into the car. We drove up to London. She talked all the way, if not brilliantly at all events with immense gusto; she told me of her early years in Manchester and of the struggle of her beginnings. She was very interesting. She never even mentioned George; the episode was of no consequence, it was finished and she thought of it no more.

We little knew what was happening at Tilby. When we left George went out on the terrace and presently his father joined him. Freddy had won the day, but he was not happy. With his more than feminine sensitiveness he felt all that George was feeling, and George's anguish simply broke his heart. He had never loved his son more than then. When he appeared George greeted him with a little smile. Freddy's voice broke. In a sudden and overwhelming emotion he found it in him to surrender the fruits of his victory.

'Look here, old boy,' he said, 'I can't bear to think that you've had such a disappointment. Would you like to go back to Munich for another year and then see?'

George shook his head.

'No, it wouldn't be any good. I've had my chance. Let's call it a day.'

'Try not to take it too hard.'

'You see, the only thing in the world I want is to be a pianist. And there's nothing doing. It's a bit thick if you come to think of it'

George, trying so hard to be brave, smiled wanly.

'Would you like to go round the world? You can get one of your Oxford pals to go with you and I'll pay all the expenses. You've been working very hard for a long time.'

'Thanks awfully, daddy, we'll talk about it. I'm just going for a stroll now'

'Shall I come with you?'

'I'd rather go alone.'

Then George did a strange thing. He put his arm round his father's neck, and kissed him on the lips. He gave a funny little moved laugh and walked away. Freddy went back to the drawing-room. His mother, Ferdy, and Muriel were sitting there.

'Freddy, why don't you marry the boy?' said the old lady. 'He is twenty-three. It would take his mind off his troubles and when he is married and has a baby he will soon settle down like everybody else.'

'Whom is he to marry, mamma?' asked Sir Adolphus, smiling.

'That's not so difficult. Lady Frielinghausen came to see me the other day with her daughter Violet. She is a very nice maiden and she will have money of her own. Lady Frielinghausen gave me to understand that her Sir Jacob would come down very handsome if Violet made a good match.'

Muriel flushed.

'I hate Lady Frielinghausen. George is much too young to marry. He can afford to marry anyone he likes.'

Old Lady Bland gave her daughter a strange look.

'You are a very foolish girl, Miriam,' she said, using the name Muriel had long discarded. 'As long as I am here I shall not allow you to commit a foolishness.' She knew as well as if Muriel had said it in so many words that she wanted George to marry a Gentile, but she knew also that so long as she was alive neither Freddy nor his wife would dare to suggest it.

But George did not go for a walk. Perhaps because the shooting season was about to open he took it into his head to go into the gun-room. He began to clean the gun that his mother had given him on his twentieth birthday. No one had used it since he went to Germany. Suddenly the servants were startled by a report. When they went into the gun-room they found George lying on the floor shot through the heart. Apparently the gun had been loaded and George while playing about with it had accidentally shot himself One reads of such accidents in the paper often.

THE CREATIVE IMPULSE.

I suppose that very few people know how Mrs Albert Forrester came to write The Achilles Statue; and since it has been acclaimed as one of the great novels of our time I cannot but think that a brief account of the circ.u.mstances that gave it birth must be of interest to all serious students of literature; and indeed, if, as the critics say, this is a book that will live, the following narrative, serving a better purpose than to divert an idle hour, may be regarded by the historian of the future as a curious footnote to the literary annals of our day.

Everyone of course remembers the success that attended the publication of The Achilles Statue. Month after month printers were kept busy printing, binders were kept busy binding, edition after edition; and the publishers, both in England and America, were hard put to it to fulfil the pressing orders of the booksellers. It was promptly translated into every European tongue and it has been recently announced that it will soon be possible to read it in j.a.panese and in Urdu. But it had previously appeared serially in magazines on both sides of the Atlantic and from the editors of these Mrs Albert Forrester's agent had wrung a sum that can only be described as thumping. A dramatization of the work was made, which ran for a season in New York, and there is little doubt that when the play is produced in London it will have an equal success. The film rights have been sold at a great price. Though the amount that Mrs Albert Forrester is reputed (in literary circles) to have made is probably exaggerated, there can be no doubt that she will have earned enough money from this one book to save her for the rest of her life from any financial anxiety.

It is not often that a book meets with equal favour from the public and the critics, and that she, of all persons, had (if I may so put it) squared the circle must have proved the more gratifying to Mrs Albert Forrester, since, though she had received the commendation of the critics in no grudging terms (and indeed had come to look upon it as her due) the public had always remained strangely insensible to her merit Each work she published, a slender volume beautifully printed and bound in white buckram, was hailed as a masterpiece, always to the length of a column, and in the weekly reviews which you see only in the dusty library of a very long-established club even to the extent of a page; and well-read persons read and praised it. But well-read persons apparently do not buy books, and she did not sell. It was indeed a scandal that so distinguished an author, with an imagination so delicate and a style so exquisite, should remain neglected of the vulgar. In America she was almost completely unknown; and though Mr Carl van Vechten had written an article berating the public for its obtuseness, the public remained callous. Her agent, a warm admirer of her genius, had blackmailed an American publisher into taking two of her books by refusing, unless he did so, to let him have others (trashy novels doubtless) that he badly wanted, and they had been duly published. The reception they received from the press was flattering and showed that in America the best minds were sensitive to her talent; but when it came to the third book the American publisher (in the coa.r.s.e way publishers have) told the agent that any money he had to spare he preferred to spend on synthetic gin.

Since The Achilles Statue Mrs Albert Forrester's previous books have been republished (and Mr Carl van Vechten has written another article pointing out sadly, but firmly, that he had drawn the attention of the reading world to the merits of this exceptional writer fully fifteen years ago), and they have been so widely advertised that they can scarcely have escaped the cultured reader's attention. It is unnecessary, therefore, for me to give an account of them; and it would certainly be no more than cold potatoes after those two subtle articles by Mr Carl van Vechten. Mrs Albert Forrester began to write early. Her first work (a volume of elegies) appeared when she was a maiden of eighteen; and from then on she published, every two or three years, for she had too exalted a conception of her art to hurry her production, a volume either of verse or prose. When The Achilles Statue was written she had reached the respectable age of fifty-seven, so that it will be readily surmised that the number of her works was considerable. She had given the world half a dozen volumes of verse, published under Latin t.i.tles, such as Felicitas, Pax Maris, and Aes Triplex, all of the graver kind, for her muse, disinclined to skip on a light, fantastic toe, trod a somewhat solemn measure. She remained faithful to the Elegy, and the Sonnet claimed much of her attention; but her chief distinction was to revive the Ode, a form of poetry that the poets of the present day somewhat neglect; and it may be a.s.serted with confidence that her Ode to President Fallieres will find a place in every anthology of English verse. It is admirable not only for the n.o.ble sonority of its rhythms, but also for its felicitous description of the pleasant land of France. Mrs Albert Forrester wrote of the valley of the Loire with its memories of du Bellay, of Chartres and the jewelled windows of its cathedral, of the sun-swept cities of Provence, with a sympathy all the more remarkable since she had never penetrated further into France than Boulogne, which she visited shortly after her marriage on an excursion steamer from Margate. But the physical mortification of being extremely seasick and the intellectual humiliation of discovering that the inhabitants of that popular seaside resort could not understand her fluent and idiomatic French made her determine not to expose herself a second time to experiences that were at once undignified and unpleasant; and she never again embarked on the treacherous element which she, however, sang (Pax Maris) in numbers both grave and sweet There are some fine pa.s.sages too in the Ode to Woodrow Wilson, and I regret that, owing to a change in her sentiments towards that no doubt excellent man, the author decided not to reprint it. But I think it must be admitted that Mrs Albert Forrester's most distinguished work was in prose. She wrote several volumes of brief, but perfectly constructed, essays on such subjects as Autumn in Suss.e.x, Queen Victoria, Death, Spring in Norfolk, Georgian Architecture, Monsieur de Diaghileff, and Dante; she also wrote works, both erudite and whimsical, on the Jesuit Architecture of the Seventeenth Century and on the Literary Aspect of the Hundred Years War. It was her prose that gained her that body of devoted admirers, fit though few, as with her rare gift of phrase she herself put it that proclaimed her the greatest master of the English language that this century has seen. She admitted herself that it was her style, sonorous yet racy, polished yet eloquent, that was her strong point; and it was only in her prose that she had occasion to exhibit the delicious, but restrained, humour that her readers found so irresistible. It was not a humour of ideas, nor even a humour of words; it was much more subtle than that, it was a humour of punctuation: in a flash of inspiration she had discovered the comic possibilities of the semi-colon, and of this she had made abundant and exquisite use. She was able to place it in such a way that if you were a person of culture with a keen sense of humour, you did not exactly laugh through a horse-collar, but you giggled delightedly, and the greater your culture the more delightedly you giggled. Her friends said that it made every other form of humour coa.r.s.e and exaggerated. Several writers had tried to imitate her; but in vain: whatever else you might say about Mrs Albert Forrester you were bound to admit that she was able to get every ounce of humour out of the semi-colon and no one else could get within a mile of her.

Mrs Albert Forrester lived in a flat not far from the Marble Arch, which combined the advantage of a good address and a moderate rent. It had a handsome drawing-room on the street and a large bedroom for Mrs Albert Forrester, a darkish dining-room at the back, and a small poky bedroom, next door to the kitchen, for Mr Albert Forrester, who paid the rent It was in the handsome drawing-room that Mrs Albert Forrester every Tuesday afternoon received her friends. It was a severe and chaste apartment. On the walls was a paper designed by William Morris himself, and on this, in plain black frames, mezzotints collected before mezzotints grew expensive; the furniture was of the Chippendale period, but for the roll-top desk, vaguely Louis XVI in character, at which Mrs Albert Forrester wrote her works. This was pointed out to visitors the first time they came to see her, and there were few who looked at it without emotion. The carpet was thick and the lights discreet Mrs Albert Forrester sat in a straight-backed grandfather's chair covered with red damask. There was nothing ostentatious about it, but since it was the only comfortable chair in the room it set her apart as it were and above her guests. Tea was dispensed by a female of uncertain age, silent and colourless, who was never introduced to anyone but who was known to look upon it as a privilege to be allowed to save Mrs Albert Forrester from the irksome duty of pouring out tea. She was thus able to devote herself entirely to conversation, and it must be admitted that her conversation was excellent. It was not sprightly; and since it is difficult to indicate punctuation in speech it may have seemed to some slightly lacking in humour, but it was of wide range, solid, instructive, and interesting. Mrs Albert Forrester was well acquainted with social science, jurisprudence, and theology. She had read much and her memory was retentive. She had a pretty gift for quotation, which is a serviceable subst.i.tute for wit, and having for thirty years known more or less intimately a great many distinguished people she had a great many interesting anecdotes to tell, which she placed with tact and which she did not repeat more than was pardonable. Mrs Albert Forrester had the gift of attracting the most varied persons and you were liable at one and the same time to meet in her drawing-room an ex-Prime Minister, a newspaper proprietor, and the amba.s.sador of a First Cla.s.s Power. I always imagined that these great people came because they thought that here they rubbed shoulders with Bohemia, but with a Bohemia sufficiently neat and clean for them to be in no danger that the dirt would come off on them. Mrs Albert Forrester was deeply interested in politics and I myself heard a Cabinet Minister tell her frankly that she had a masculine intelligence. She had been opposed to Female Suffrage, but when it was at last granted to women she began to dally with the idea of going into Parliament. Her difficulty was that she did not know which party to choose.

'After all,' she said, with a playful shrug of her somewhat ma.s.sive shoulders, 'I cannot form a party of one.'

Like many serious patriots, in her inability to know for certain which way the cat would jump she held her political opinions in suspense; but of late she had been definitely turning towards Labour as the best hope of the country, and if a safe seat were offered her it was felt fairly certain that she would not hesitate to come out into the open as a champion of the oppressed proletariat.

Her drawing-room was always open to foreigners, to Czecho-Slovaks, Italians, and Frenchmen, if they were distinguished, and to Americans even if they were obscure. But she was not a sn.o.b and you seldom met there a duke unless he was of a peculiarly serious turn and a peeress only if in addition to her rank she had the pa.s.sport of some small social solecism such as having been divorced, written a novel, or forged a cheque, which might give her claim to Mrs Albert Forrester's catholic sympathies. She did not much care for painters, who were shy and silent; and musicians did not interest her: even if they consented to play, and if they were celebrated they were too often reluctant, their music was a hindrance to conversation: if people wanted music they could go to a concert; for her part she preferred the more subtle music of the soul. But her hospitality to writers, especially if they were promising and little known, was warm and constant. She had an eye for budding talent and there were few of the famous writers who from time to time drank a dish of tea with her whose first efforts she had not encouraged and whose early steps she had not guided. Her own position was too well a.s.sured for her to be capable of envy, and she had heard the word genius attached to her name too often to feel a trace of jealousy because the talents of others brought them a material success that was denied to her.

Mrs Albert Forrester, confident in the judgement of posterity, could afford to be disinterested. With these elements then it is no wonder that she had succeeded in creating something as near the French salon of the eighteenth century as our barbarous nation has ever reached. To be invited to 'eat a bun and drink a cup of tea on Tuesday' was a privilege that few failed to recognize; and when you sat on your Chippendale chair in the discreetly lit but austere room, you could not but feel that you were living literary history. The American Amba.s.sador once said to Mrs Albert Forrester: 'A cup of tea with you, Mrs Forrester, is one of the richest intellectual treats which it has ever been my lot to enjoy.'

It was indeed on occasion a trifle overwhelming. Mrs Albert Forrester's taste was so perfect, she so inevitably admired the right thing and made the just observation about it, that sometimes you almost gasped for air. For my part I found it prudent to fortify myself with a c.o.c.ktail or two before I exposed myself to the rarefied atmosphere of her society. Indeed, I very nearly found myself for ever excluded from it, for one afternoon, presenting myself at the door, instead of asking the maid who opened it: 'Is Mrs Forrester at home?' I asked: 'Is there Divine Service today?'

Of course it was said in pure inadvertence, but it was unfortunate that the maid sn.i.g.g.e.red, and one of Mrs Albert Forrester's most devoted admirers, Ellen Hannaway, happened to be at the moment in the hall taking off her goloshes. She told my hostess what I had said before I got into the drawing-room, and as I entered Mrs Albert Forrester fixed me with an eagle eye.

'Why did you ask if there was Divine Service today?' she inquired.

I explained that I was absent-minded, but Mrs Albert Forrester held me with a gaze that I can only describe as compelling.

'Do you mean to suggest that my parties are ...' she searched for a word. 'Sacramental?'

I did not know what she meant, but did not like to show my ignorance before so many clever people, and I decided that the only thing was to seize my trowel and the b.u.t.ter.

'Your parties are like you, dear lady, perfectly beautiful and perfectly divine.' A little tremor pa.s.sed through Mrs Albert Forrester's substantial frame. She was like a man who enters suddenly a room filled with hyacinths; the perfume is so intoxicating that he almost staggers. But she relented.

'If you were trying to be facetious,' she said, 'I should prefer you to exercise your facetiousness on my guests rather than on my maids .... Miss Warren will give you some tea.'

Mrs Albert Forrester dismissed me with a wave of the hand, but she did not dismiss the subject, since for the next two or three years whenever she introduced me to someone she never failed to add: 'You must make the most of him, he only comes here as a penance. When he comes to the door he always asks: Is there Divine Service today? So amusing, isn't he?'

But Mrs Albert Forrester did not confine herself to weekly tea-parties: every Sat.u.r.day she gave a luncheon of eight persons; this according to her opinion being the perfect number for general conversation and her dining-room conveniently holding no more. If Mrs Albert Forrester flattered herself upon anything it was not that her knowledge of English prosody was unique, but that her luncheons were celebrated. She chose her guests with care, and an invitation to one of them was more than a compliment, it was a consecration. Over the luncheon-table it was possible to keep the conversation on a higher level than in the mixed company of a tea-party and few can have left her dining-room without taking away with them an enhanced belief in Mrs Albert Forrester's ability and a brighter faith in human nature. She only asked men, since, stout enthusiast for her s.e.x as she was and glad to see women on other occasions, she could not but realize that they were inclined at table to talk exclusively to their next-door neighbours and thus hinder the general exchange of ideas that made her own parties an entertainment not only of the body but of the soul. For it must be said that Mrs Albert Forrester gave you uncommonly good food, excellent wine, and a first-rate cigar. Now to anyone who has partaken of literary hospitality this must appear very remarkable, since literary persons for the most part think highly and live plainly; their minds are occupied with the things of the spirit and they do not notice that the roast mutton is underdone and the potatoes cold: the beer is all right, but the wine has a sobering effect, and it is unwise to touch the coffee. Mrs Albert Forrester was pleased enough to receive compliments on the fare she provided.

'If people do me the honour to break bread with me,' she said, 'it is only fair that I should give them as good food as they can get at home.'

But if the flattery was excessive she deprecated it.

'You really embarra.s.s me when you give me a meed of praise which is not my due. You must praise Mrs Bulfinch.'

'Who is Mrs Bulfinch?'

'My cook.'

'She's a treasure then, but you're not going to ask me to believe that she's responsible for the wine.'

'Is it good? I'm terribly ignorant of such things; I put myself entirely in the hands of my wine merchant.'

But if mention was made of the cigars Mrs Albert Forrester beamed.

Ah, for them you must compliment Albert. It is Albert who chooses the cigars and I am given to understand that no one knows more about a cigar than Albert'

She looked at her husband, who sat at the end of the table, with the proud bright eyes of a pedigree hen (a Buff Orpington for choice) looking at her only chick. Then there was a quick flutter of conversation as the guests, anxious to be civil to their host and relieved at length to find an occasion, expressed their appreciation of his peculiar merit.

'You're very kind,' he said. 'I'm glad you like them.'

Then he would give a little discourse on cigars, explaining the excellencies he sought and regretting the deterioration in quality which had followed on the commercialization of the industry. Mrs Albert Forrester listened to him with a complacent smile, and it was plain that she enjoyed this little triumph of his. Of course you cannot go on talking of cigars indefinitely and as soon as she perceived that her guests were growing restive she broached a topic of more general, and it may be of more significant, interest. Albert subsided into silence. But he had had his moment.

It was Albert who made Mrs Forrester's luncheons to some less attractive than her tea-parties, for Albert was a bore; but though without doubt perfectly conscious of the fact, she made a point that he should come to them and in fact had fixed upon Sat.u.r.days (for the rest of the week he was busy) in order that he should be able to. Mrs Albert Forrester felt that her husband's presence on these festive occasions was an unavoidable debt that she paid to her own self-respect. She would never by a negligence admit to the world that she had married a man who was not spiritually her equal, and it may be that in the silent watches of the nights she asked herself where indeed such could have been found. Mrs Albert Forrester's friends were troubled by no such reticence and they said it was dreadful that such a woman should be burdened with such a man. They asked each other how she had ever come to marry him and (being mostly celibate) answered despairingly that no one ever knew why anybody married anybody else.

It was not that Albert was a verbose and aggressive bore; he did not b.u.t.tonhole you with interminable stories or pester you with pointless jokes; he did not crucify you on a plat.i.tude or hamstring you with a commonplace; he was just dull. A cipher. Clifford Boyleston, for whom the French Romantics had no secrets and who was himself a writer of merit, had said that when you looked into a room into which Albert had just gone there was n.o.body there. This was thought very clever by Mrs Albert Forrester's friends, and Rose Waterford, the well-known novelist and the most fearless of women, had ventured to repeat it to Mrs Albert Forrester. Though she pretended to be annoyed, she had not been able to prevent the smile that rose to her lips. Her behaviour towards Albert could not but increase the respect in which her friends held her. She insisted that whatever in their secret hearts they thought of him, they should treat him with the decorum that was due to her husband. Her own demeanour was admirable. If he chanced to make an observation she listened to him with a pleasant expression and when he fetched her a book that she wanted or gave her his pencil to make a note of an idea that had occurred to her, she always thanked him. Nor would she allow her friends pointedly to neglect him, and though, being a woman of tact, she saw that it would be asking too much of the world if she took him about with her always, and she went out much alone, yet her friends knew that she expected them to ask him to dinner at least once a year. He always accompanied her to public banquets when she was going to make a speech, and if she delivered a lecture she took care that he should have a seat on the platform.

Albert was, I believe, of average height, but perhaps because you never thought of him except in connexion with his wife (of imposing dimensions) you only thought of him as a little man. He was spare and frail and looked older than his age. This was the same as his wife's. His hair, which he kept very short, was white and meagre, and he wore a stubby white moustache; his was a face, thin and lined, without a noticeable feature; and his blue eyes, which once might have been attractive, were now pale and tired. He was always very neatly dressed in pepper-and-salt trousers, which he chose always of the same pattern, a black coat, and a grey tie with a small pearl pin in it. He was perfectly un.o.btrusive, and when he stood in Mrs Albert Forrester's drawing-room to receive the guests whom she had asked to luncheon you noticed him as little as you noticed the quiet and gentlemanly furniture. He was well mannered and it was with a pleasant, courteous smile that he shook hands with them.

'How do you do? I'm very glad to see you,' he said if they were friends of some standing. 'Keeping well, I hope?'

But if they were strangers of distinction coming for the first time to the house, he went to the door as they entered the drawing-room, and said: 'I am Mrs Albert Forrester's husband. I will introduce you to my wife.'

Then he led the visitor to where Mrs Albert Forrester stood with her back to the light, and she with a glad and eager gesture advanced to make the stranger welcome.

It was agreeable to see the demure pride he took in his wife's literary reputation and the self-effacement with which he furthered her interests. He was always there when he was wanted and never when he wasn't. His tact, if not deliberate, was instinctive. Mrs Albert Forrester was the first to acknowledge his merits.

'I really don't know what I should do without him,' she said. 'He's invaluable to me. I read him everything I write and his criticisms are often very useful.'

'Moliere and his cook,' said Miss Waterford.

'Is that funny, dear Rose?' asked Mrs Forrester, somewhat acidly.

When Mrs Albert Forrester did not approve of a remark, she had a way that put many persons to confusion of asking you whether it was a joke which she was too dense to see. But it was impossible to embarra.s.s Miss Waterford. She was a lady who in the course of a long life had had many affairs, but only one pa.s.sion, and this was for printer's ink. Mrs Albert Forrester tolerated rather than approved her.

'Come, come, my dear,' she replied, 'you know very well that he wouldn't exist without you. He wouldn't know us. It must be wonderful to him to come in contact with all the best brains and the most distinguished people of our day.'

'It may be that the bee would perish without the hive which shelters it, but the bee nevertheless has a significance of its own.'

And since Mrs Albert Forrester's friends, though they knew all about art and literature, knew little about natural history, they had no reply to this observation. She went on: 'He doesn't interfere with me. He knows subconsciously when I don't want to be disturbed and, indeed, when I am following out a train of thought I find his presence in the room a comfort rather than a hindrance to me.'

'Like a Persian cat,' said Miss Waterford.