Doctor Claudius, A True Story Part 35

"_P.S._--Answer all my questions, please."

There was an indistinctness about the last word; it might have been "your," or "yours." The "tearing haste" resolved itself into ringing the bell to know what time it was, for Margaret had banished the hideous hotel clock from the room. On finding it was yet early, she sat down in a deep chair, and warmed her toes at the small wood fire, which was just enough to be enjoyable and not enough to be hot. It was now the beginning of October, for Claudius's letter, begun on the 15th of September, had not been posted until the 21st, and had been a long time on the way. She wondered when he would get the letter she had just written. It was not much of a letter, but she remembered the last paragraph, and thought it was quite affectionate enough. As for Claudius, when he received it he was as much delighted as though it had been six times as long and a hundred times more expansive. "Thanks, dear, for your loving letter,"--that phrase alone acknowledged everything, accepted everything, and sanctioned everything.

In the evening, as she had said in writing to the Doctor, she went with Miss Skeat and sat in the front box of the theatre, which the great actor had placed at her disposal. The play was _Oth.e.l.lo_. Mr. Barker had ascertained that she was going, and had accordingly procured himself a seat in the front of the orchestra. He endeavoured to catch a look from Margaret all through the first part of the performance, but she was too entirely absorbed in the tragedy to notice him. At length, in the interval before the last act, Mr. Barker took courage, and, leaving his chair, threaded his way out of the lines of seats to the entrance. Then he presented himself at the door of the Countess's box.

"May I come in for a little while?" he inquired with an affectation of doubt and delicacy that was unnatural to him.

"Certainly," said Margaret indifferently, but smiling a little withal.

"I have ventured to bring you some _marrons glaces_," said Barker, when he was seated, producing at the same time a neat _bonbonniere_ in the shape of a turban. "I thought they would remind you of Baden. You used to be very fond of them."

"Thanks," said she, "I am still." And she took one. The curtain rose, and Barker was obliged to be silent, much against his will. Margaret immediately became absorbed in the doings on the stage. She had witnessed that terrible last act twenty times before, but she never wearied of it. Neither would she have consented to see it acted by any other than the great Italian. Whatever be the merits of the play, there can be no question as to its supremacy of horror in the hands of Salvini. To us of the latter half of this century it appears to stand alone; it seems as if there could never have been such a scene or such an actor in the history of the drama. Horrible--yes! beyond all description, but, being horrible, of a depth of horror unrealised before. Perhaps no one who has not lived in the East can understand that such a character as Salvini's _Oth.e.l.lo_ is a possible, living reality. It is certain that American audiences, even while giving their admiration, withhold their belief. They go to see _Oth.e.l.lo_, that they may shudder luxuriously at the sight of so much suffering; for it is the moral suffering of the Moor that most impresses an intelligent beholder, but it is doubtful whether Americans or English, who have not lived in Southern or Eastern lands, are capable of appreciating that the character is drawn from the life.

The great criticism to which all modern tragedy, and a great deal of modern drama, are open is the undue and illegitimate use of horror.

Horror is not terror. They are two entirely distinct affections. A man hurled from a desperate precipice, in the living act to fall, is properly an object of terror, sudden and quaking. But the same man, reduced to a mangled ma.s.s of lifeless humanity, broken to pieces, and ghastly with the gaping of dead wounds--the same man, when his last leap is over and hope is fled, is an object of horror, and as such would not in early times have been regarded as a legitimate subject for artistic representation, either on the stage or in the plastic or pictorial arts.

It may be that in earlier ages, when men were personally familiar with the horrors of a barbarous ethical system, while at the same time they had the culture and refinement belonging to a high development of aesthetic civilisation, the presentation of a great terror immediately suggested the concomitant horror; and suggested it so vividly that the visible definition of the result--the bloodshed, the agony, and the death-rattle--would have produced an impression too dreadful to be a.s.sociated with any pleasure to the beholder There was no curiosity to behold violent death among a people accustomed to see it often enough in the course of their lives, and not yet brutalised into a love of blood for its own sake. The Romans presented an example of the latter state; they loved horror so well that they demanded real horror and real victims. And that is the state of the populations of England and America at the present day. Were it not for the tremendous power of modern law, there is not the slightest doubt that the ma.s.s of Londoners or New Yorkers would flock to-day to see a gladiatorial show, or to watch a pack of lions tearing, limb from limb, a dozen unarmed convicts. Not the "cultured" cla.s.ses--some of them would be ashamed, and some would really feel a moral incapacity for witnessing so much pain--but the ma.s.ses would go, and would pay handsomely for the sport; and, moreover, if they once tasted blood they would be strong enough to legislate in favour of tasting more. It is not to the discredit of the Anglo-Saxon race that it loves savage sports. The blood is naturally fierce, and has not been cowed by the tyranny endured by European races. There have been more free men under England's worst tyrants than under France's most liberal kings.

But, failing gladiators and wild beasts, the people must have horrors on the stage, in literature, in art, and, above all, in the daily press.

Shakspere knew that, and Michelangelo, who is the Shakspere of brush and chisel, knew it also, as those two unrivalled men seem to have known everything else. And so when Michelangelo painted the _Last Judgment_, and Shakspere wrote _Oth.e.l.lo_ (for instance), they both made use of horror in a way the Greeks would not have tolerated. Since we no longer see daily enacted before us scenes of murder, torture, and public execution, our curiosity makes us desire to see those scenes represented as accurately as possible. The Greeks, in their tragedies, did their slaughter behind the scenes, and occasionally the cries of the supposed victims were heard. But theatre-goers of to-day would feel cheated if the last act of Oth.e.l.lo were left to their imagination. When Salvini thrusts the crooked knife into his throat, with that ghastly sound of death that one never forgets, the modern spectator would not understand what the death-rattle meant, did he not see the action that accompanies it.

"It is too realistic," said Mr. Barker in his high thin voice when it was over, and he was helping Margaret with her silken wrappings.

"It is not realistic," said she, "it is real. It may be an unhealthy excitement, but if we are to have it, it is the most perfect of its kind."

"It is very horrible," said Miss Skeat; and they drove away.

Margaret would not stay to see the great man after the curtain fell. The disillusion of such a meeting is too great to be pleasurable. Oth.e.l.lo is dead, and the idea of meeting Oth.e.l.lo in the flesh ten minutes later, smiling and triumphant, is a death-blow to that very reality which Margaret so much enjoyed. Besides, she wanted to be alone with her own thoughts, which were not entirely confined to the stage, that night.

Writing to Claudius had brought him vividly into her life again, and she had caught herself more than once during the evening wondering how her fair Northern lover would have acted in Oth.e.l.lo's place. Whether, when the furious general takes Iago by the throat in his wrath, the Swede's grip would have relaxed so easily on one who should dare to whisper a breath against the Countess Margaret. She so lived in the thought for a moment that her whole face glowed in the shade of the box, and her dark eyes shot out fire. Ah me! Margaret, will he come back to stand by your side and face the world for you? Who knows. Men are deceivers ever, says the old song.

Home through the long streets, lighted with the pale electric flame that gives so deathly a tinge to everything that comes within the circling of its discolour; home to her rooms with the pleasant little fire smouldering on the hearth, and flowers--Barker's flowers--scenting the room; home to the cares of Clementine, to lean back with half-closed eyes, thinking, while the deft French fingers uncoil and smooth and coil again the jet-black tresses; home to the luxury of sleep unbroken by ill ease of body, though visited by the dreams of a far-away lover--dreams not always hopeful, but ever sweet; home to a hotel! Can a hostelry be dignified with that great name? Yes. Wherever we are at rest and at peace, wherever the thought of love or dream of lover visits us, wherever we look forward to meeting that lover again--that is home. For since the cold steel-tipped fingers of science have crushed s.p.a.ce into a nut-sh.e.l.l, and since the deep-mouthed capacious present has swallowed time out of sight, there is no landmark left but love, no hour but the hour of loving, no home but where our lover is.

The little G.o.d who has survived ages of sword-play and centuries of peace-time, survives also science the leveller, and death the destroyer.

And in the night, when all are asleep, and the chimes are m.u.f.fled with the thick darkness, and the wings of the dream-spirits caress the air, then the little Red Mouse comes out and meditates on all these things, and wonders how it is that men can think there is any originality in their lives or persons or doings. The body may have changed a little, men may have grown stronger and fairer, as some say, or weaker and more puny, as others would have it, but the soul of man is even as it was from the beginning.

CHAPTER XVIII.

A month has pa.s.sed since Margaret went to see _Oth.e.l.lo_, and New York is beginning to wake to its winter round of amus.e.m.e.nts. There are dinners and dances and much leaving of little pasteboard chips with names and addresses.

Mr. Barker had made progress, in his own opinion, since the day when he so unfortunately roused Margaret's anger by his story. He bethought him one day that Claudius's influence had begun with the reading of books, and he determined to try something of the kind himself. He was no scholar as Claudius was, but he knew men who were. He cultivated the acquaintance of Mr. Horace Bellingham, and spent studious hours in ascertaining the names of quaint and curious volumes, which he spared no expense in procuring. He read books he had never heard of before, and then talked about them to Margaret; and when he hit upon anything she did not know he was swift to bring it to her, and sometimes she would even listen while he read a few pages aloud.

Margaret encouraged Barker in this new fancy unconsciously enough, for she thought it an admirable thing that a man whose whole life was devoted to business pursuits should develop a taste for letters; and when he had broken the ice on the sea of literature she talked more freely with him than she had ever done before. It was not Barker who interested her, but the books he brought, which were indeed rare and beautiful. He, on the other hand, quick to a.s.similate any knowledge that might be of use to him, and cautious of exposing the weaker points of his ignorance, succeeded in producing an impression of considerable learning, so that by and by he began to think he was taking Claudius's place in her daily pursuits, as he hoped to take it in her heart.

Meanwhile no one had heard from the Doctor, for his correspondence with Margaret was unknown to Barker, and the latter began to cherish a hope that, after all, there might be overwhelming difficulties in the way of proving Claudius's right to the estate. He had more than once talked over the matter with Mr. Screw, and they came to the conclusion that this silence was prognostic of the Doctor's defeat. Screw thought it probable that, had Claudius immediately obtained from Heidelberg the necessary papers, he would have sent a triumphant telegram over the cable, announcing his return at the shortest possible interval. But the time was long. It was now the first week in November and nearly two months had pa.s.sed since he had sailed. Mr. Barker had avoided speaking of him to the Countess, at first because he did not wish to recall him to her memory, and later because he observed that she never mentioned the Doctor's name. Barker had inquired of Mr. Bellingham whether he knew anything of his friend's movements, to which Uncle Horace had replied, with a grim laugh, that he had quite enough to do with taking care of distinguished foreigners when they were in New York, without looking after them when they had gone elsewhere.

One evening before dinner Vladimir brought Margaret a telegram. She was seated by the fire as usual and Miss Skeat, who had been reading aloud until it grew too dark, was by her side warming her thin hands, which always looked cold, and bending forward towards the fire as she listened to Margaret's somewhat random remarks about the book in hand. Margaret had long since talked with Miss Skeat about her disturbed affairs, and concerning the prospect that was before her of being comparatively poor.

And Miss Skeat, in her high-bred old-fas.h.i.+oned way, had laid her hand gently on the Countess's arm in token of sympathy.

"Dear Countess," she had said, "please remember that it will not make any difference to me, and that I will never leave you. Poverty is not a new thing to me, my dear." The tears came into Margaret's eyes as she pressed the elder lady's hand in silence. These pa.s.sages of feeling were rare between them, but they understood each other, for all that. And now Margaret was speaking despondently of the future. A few days before she had made up her mind at last to write the necessary letters to Russia, and she had now despatched them on their errand. Not that she had any real hope of bettering things, but a visit from Nicholas had roused her to the fact that it was a duty she owed to him as well as to herself to endeavour to recover what was possible of her jointure.

At last she opened the telegram and uttered an exclamation of surprise.

"What in the world does it mean?" she cried, and gave it to Miss Skeat, who held it close to the firelight.

The message was from Lord Fitzd.o.g.g.i.n, Her British Majesty's Amba.s.sador at St. Petersburg, and was an informal statement to the effect that his Excellency was happy to communicate to the Countess Margaret the intelligence that, by the untiring efforts and great skill of a personal friend, the full payment of her jointure was now secured to her in perpetuity. It stated, moreover, that she would shortly receive official information of the fact through the usual channels.

Miss Skeat beamed with pleasure; for though she had been willing to make any sacrifice for Margaret, it would not have been an agreeable thing to be so very poor again.

"I never met Lord Fitzd.o.g.g.i.n," said Margaret, "and I do not understand in the least. Why should he, of all people, inform me of this, if it is really true?"

"The Duke must have written to him," said Miss Skeat, still beaming, and reading the message over again.

Margaret paused a moment in thought, then lighting the gas herself, she wrote a note and despatched Vladimir in hot haste.

"I have asked Mr. Bellingham to dine," she said, in answer to Miss Skeat's inquiring look. "He will go to the party with me afterwards, if he is free."

It chanced that Mr. Bellingham was in his rooms when Margaret's note came, and he immediately threw over an engagement he had previously made, and sent word he would be at the Countess's disposal. Punctual to the minute he appeared. Margaret showed him the telegram.

"What does this mean, Mr. Bellingham?" she asked, smiling, but scrutinising his face closely.

"My dear Countess," cried the old gentleman, delighted beyond measure at the result of his policy, and corruscating with smiles and twinkles, "my dear Countess, allow me to congratulate you."

"But who is the 'personal friend' mentioned? Is it the Duke? He is in the far West at this moment."

"No," answered Mr. Bellingham, "it is not the Duke. I am inclined to think it is a manifestation of some great cosmic force, working silently for your welfare. The lovely spirits," continued the old gentleman, looking up from under his brows, and gesticulating as though he would call down the mystic presence he invoked--"the lovely spirits that guard you would be loth to allow anything so fair to suffer annoyance from the rude world. You are well taken care of, Countess, believe me."

Margaret smiled at Uncle Horace's way of getting out of the difficulty, for she suspected him of knowing more than he would acknowledge. But all she could extract from him was that he knew Lord Fitzd.o.g.g.i.n slightly, and that he believed the telegram to be perfectly genuine. He had played his part in the matter, and rubbed his hands as though was.h.i.+ng them of any further responsibility. Indeed he had nothing to tell, save that he had advised Claudius to get an introduction from the Duke. He well knew that the letters he had given Claudius had been the real means of his success; but as Margaret only asked about the telegram, he was perfectly safe in denying any knowledge of it. Not that such a consideration would have prevented his meeting her question with a little fib, just to keep the secret.

"Will you not go to this dance with me this evening?" asked Margaret after dinner, as they sat round the fireplace.

"What ball is that?" inquired Mr. Bellingham.

"I hardly know what it is. It is a party at the Van Sueindell's and there is 'dancing' on the card. Please go with me; I should have to go alone."

"I detest the pomp and circ.u.mstance of pleasure," said Uncle Horace, "the Persian appurtenances, as my favourite poet calls them; but I cannot resist so charming an invitation. It will give me the greatest pleasure. I will send word to put off another engagement."

"Do you really not mind at all?"

"Not a bit of it. Only three or four old fogies at the club. _Est mihi nonum superantis annum plenus Albani cadus_," continued Mr. Bellingham, who never quoted Horace once without quoting him again in the next five minutes. "I had sent a couple of bottles of my grandfather's madeira to the club, 1796, but those old boys will enjoy it without me. They would talk me to death if I went."

"It is too bad," said Margaret, "you must go to the club. I would not let you break an engagement on my account."

"No, no. Permit me to do a good deed without having to bear the infernal consequences in this life, at all events. The chatter of those people is like the diabolical screaming of the peac.o.c.k on the terrace of the Emir's chief wife, made memorable by Thackeray the prophet." He paused a moment, and stroked his snowy pointed beard. "Forgive my strong language," he added; "really, they are grand adjectives those, 'diabolical' and 'infernal.' They call up the whole of Dante to my mind." Margaret laughed.