Vandover and the Brute Part 20

"Yes," answered Vandover absently, "I guess so--perhaps."

A few days later Vandover was in the reading-room of the Mechanics Library, listlessly turning over the pages of a volume of _l'Art_. It was Sat.u.r.day morning and the place was full of ladies who were downtown for their shopping and marketing, and who had come in either to change their books or to keep appointments with each other. On a sudden Vandover saw Turner just pa.s.sing into the Biography alcove. He got up and followed her. She was standing at the end of the dim book-lined tunnel, searching the upper shelves, her head and throat bent back, and her gloved finger on her lip. The faint odour of the perfume she always affected came to him mingled with the fragrance of the jonquils at her belt and the smell of leather and of books that exhaled from the shelves on either side. He did not offer to take her hand, but came up slowly, speaking in a low voice.

It was the last time that Vandover ever met Turner Ravis. They talked for upward of an hour, leaning against the opposite book-shelves, Vandover with his fists in his pockets, his head bent down, and the point of his shoe tracing the pattern in the linoleum carpet; Turner, her hands clasped in front of her, looking him squarely in the face, speaking calmly and frankly.

"Now, I hope you see just how it is, Van," she said at length. "What has happened hasn't made me cease to care for you, because if I had really cared for you the way I thought I did, the way a girl ought to care for the man she wants to marry, I would have stood by you through everything, no matter what you did. I don't do so now, because I find I don't care for you as much as I thought I did. What has happened has only shown me that. I'm sorry, oh, so sorry to be disappointed in you, but it's because I only think of you as being once a very good friend of mine, not because I love you as you think I did. Once--a long time ago--when we first knew each other, then, perhaps--things were different then. But somehow we seem to have grown away from that. Since then we have both been mistaken; you thought I cared for you in that way, and I thought so, too, and I thought you cared for me; but it was only that we were keeping up appearances, pretending to ourselves just for the sake of old times. We don't love each other now; you know it. But I have never intentionally deceived you or tried to lead you on; when I told you I cared for you I really thought I did. I meant to be sincere; I always thought so until this happened, and then when I saw how easily I could let you go, it only proved to me that I did not care for you as I thought I did. It was wrong of me, I know, and I should have known my own mind before, but I didn't, I didn't. You talk about Dolly Haight; but it is not Dolly Haight at all who has changed my affection for you.

I will be just as frank as I can with you, Van. I may learn really to love Dolly Haight; I don't know, I think perhaps I will, but it isn't that I care for him _just_ because I don't care for you. Can't you see, it's just as if I had never met you. You know it's very hard for me to say this to you, Van, and I suppose it's all mixed up, but I can't help it. You don't know how sorry I am, because we have been such old friends--because I really did care for you as a friend; it's a proof of it, that there is no other man in the world I could talk to like this. I think, too, Van, that was the only way you cared for me, just as a good friend--except perhaps at first, when we first knew each other. You know yourself that is so. We really haven't loved each other at all for a long time, and now we have found it out before it was too late. And even if everything were different, Van, don't you know how it is with girls?

They really love the man who loves them the most. Half the time they're just in love with being loved. That's the way most girls love nowadays, and you know yourself, Van, that Dolly Haight really loves me more than you do." She gathered up her books and went on after a pause, straightening up, ready to go: "If I should let myself think of what you have done, I feel--as if--as if--why, dreadful--I--that I should hate you, loathe you; but I try not to do that. I have been thinking it all over since the other night. I shall always try to think of you at your best; I have tried to forget everything else, and in forgetting it I forgive you. I can honestly say that," she said, holding out her hand, "I forgive you, and you must forgive me because once, by deceiving myself, I deceived you, and made you think that I cared for you in that way when I didn't." As their hands fell apart Turner faced him and added, with tears in her eyes: "You know this must be good-bye for good.

You don't know how it hurts me to tell you. I know it looks as if I were deserting you when you were alone in the world and had most need of some one to influence you for the good. But, Van, won't you be better now?

Won't you break from it all and be your own self again? I have faith in you. I believe it's in you to become a great man and a good man. It isn't too late to begin all over again. Just be your better self; live up to the best that's in you; if not for your own sake, then for the sake of that other girl that's coming into your life some time; that other girl who is good and sweet and pure, whom you will really, really love and who will really, really love you."

All the rest of that month Vandover was wretched. So great was his shame and humiliation over this fresh disaster that he hardly dared to show himself out of doors. His grief was genuine and it was profound. Yet he took his punishment in the right spirit. He did not blame any one but himself; it was only a just retribution for the thing he had done. Only what made it hard to bear was the fact that the chastis.e.m.e.nt had fallen upon him long after he had repented of the crime, long after he had resolved to lead a new and upright life; but with shut teeth he determined still to carry out that resolve; he would devote all his future life to living down the past. It might be hard; it might be one long struggle through many, many years, but he would do it. Ah, yes, he would show them; they had cast him off, but he would go away to Paris now as he had always intended. As invariably happened when he was deeply moved, he turned to his art, blindly and instinctively. He would go to Paris now and study his paintings, five, ten years, and come back at last a great artist, when these same people who had cast him off would be proud to receive him. Turner was right in saying that he had in him the making of a great man. He _knew_ that she was right; knew that if he only gave the better part of him, the other Vandover, the chance, that he would become a great artist. Well, he would do so, and then when he came back again, when all the world was at his feet, and there were long articles in the paper announcing his arrival, these people would throng around him; he would show them what a great and n.o.ble nature he really had; he would forgive them; he would ignore what they had done. He even dramatized a little scene between himself and Turner, then Mrs. Haight.

They would both be pretty old then and he would take her children on his lap and look at her over their heads--he could almost see those heads, white, silky and very soft--and he would nod at her thoughtfully, and say, "Well, I have taken your advice, do you remember?" and she was to answer, "Yes, I remember." There were actually tears in his eyes as he saw the scene.

At the very first he thought that he could not live without Turner; that he loved her too much to be able to give her up. But in a little while he saw that this was not so. She was right, too, in saying that he had long since outlived his first sincere affection for her. He had felt for a long time that he did not love her well enough to marry her; that he did not love her as young Haight did, and he acknowledged to himself that this affair at least had ended rightly. The two loved each other, he could see that; at last he even told himself that he would be glad to see Turner married to Dolly Haight, who was his best friend. But for all that, it came very hard at first to give up Turner altogether; never to see her or speak to her again.

As the first impressions of the whole affair grew dull and blunt by the lapse of time, this humble penitential mood of Vandover's pa.s.sed away and was succeeded by a feeling of gloomy revolt, a sullen rage at the world that had cast him off _only_ because he had been found out. He thought it a matter of self-respect to resent the insult they had put upon him. But little by little he ceased to regret his exile; the new life was not so bad as he had at first antic.i.p.ated, and his relations with the men whom he knew best, Ellis, Geary, and young Haight, were in nowise changed. He was no longer invited anywhere, and the girls he had known never saw him when he pa.s.sed them on the street. It was humiliating enough at first, but he got used to it after a while, and by dint of thrusting the disagreeable subject from his thoughts, by refusing to let the disgrace sink deep in his mind, by forgetting the whole business as much as he could, he arrived after a time to be pa.s.sably contented. His pliable character had again rearranged itself to suit the new environment.

Along with this, however, came a sense of freedom. Now he no longer had anything to fear from society; it had shot its bolt, it had done its worst, there was no longer anything to restrain him, now he could do anything.

He was in precisely this state of mind when he received the cards for the opening of the roadhouse, the "resort" out on the Almshouse drive, about which Toby, the waiter at the Imperial, had spoken to him.

Vandover attended it. It was a debauch of forty-eight hours, the longest and the worst he had ever indulged in. For a long time the brute had been numb and dormant; now at last when he woke he was raging, more insatiable, more irresistible than ever.

The affair at the roadhouse was but the beginning. All at once Vandover rushed into a career of dissipation, consumed with the desire of vice, the perverse, blind, and reckless desire of the male. Drunkenness, sensuality, gambling, debauchery, he knew them all. He rubbed elbows with street walkers, with bookmakers, with saloonkeepers, with the exploiters of lost women. The bartenders of the city called him by his first name, the policemen, the night detail, were familiar with his face, the drivers of the nighthawks recognized his figure by the street lamps, paling in the light of many an early dawn. At one time and another he was a.s.sociated with all the different types of people in the low "sporting set," acquaintances of an evening, whose names grew faint to his recollection amidst the jingle of gla.s.ses and the popping of corks, whose faces faded from his memory in the haze of tobacco smoke and the fumes of whisky; young men of the city, rich without apparent means of livelihood, women and girls "recently from the East" with rooms over the fast restaurants; owners of trotting horses, actresses without engagements, billiard-markers, pool-sellers and the sons of the proprietors of halfway houses and "resorts." With all these Vandover kept the pace at the Imperial, at the race-track, at the gambling tables in the saloons and bars along Kearney and Market streets, and in the disreputable houses amid the strong odours of musk and the rustle of heavy silk dresses. It lasted for a year; by the end of that time he had about forgotten his determination to go to Paris and had grown out of touch with his three old friends, Ellis, Geary, and Haight. He seldom saw them now; occasionally he met them in one of the little rooms of the Imperial over their beer and Welsh rabbits, but now he always went on to the larger rooms where one had champagne and terrapin. He felt that he no longer was one of them.

That year the opera came to San Francisco, and Vandover hired a messenger boy to stand in line all night at the door of the music store where the tickets were to be sold. Vandover could still love music. In the wreckage of all that was good that had been going on in him his love for all art was yet intact. It was the strongest side of his nature and it would be the last to go.

Chapter Fourteen

The house was crowded to the doors; there was no longer any standing room and many were even sitting on the steps of the aisles. In the boxes the gentlemen were standing up behind the chairs of large plain ladies in showy toilets and diamonds. The atmosphere was heavy with the smell of gas, of plush upholstery, of wilting bouquets and of sachet. A fine vapour as of the visible exhalation of many breaths pervaded the house, blurring the lowered lights and dimming the splendour of the great gla.s.s chandelier.

It was warm to suffocation, a dry, irritating warmth that perspiration did not relieve, while the air itself was stale and close as though fouled by being breathed over and over again. In the topmost galleries, banked with tiers of watching faces, the heat must have been unbearable.

The only movement perceptible throughout the audience was the little swaying of gay-coloured fans like the balancing of b.u.t.terflies about to light. Occasionally there would be a vast rustling like the sound of wind in a forest, as the holders of librettos turned the leaves simultaneously.

The orchestra thundered; the French horns snarling, the first violins wailing in unison, while all the bows went up and down together like parts of a well-regulated machine; the kettle-drums rolled sonorously at exact intervals, and now and then one heard the tinkling of the harp like the pattering of raindrops between peals of thunder. The leader swayed from side to side in his place, beating time with his baton, his hand, and his head.

On the stage itself the act was drawing to a close. There had just been a duel. The baritone lay stretched upon the floor at left centre, his sword fallen at some paces from him. On the left of the scene, front, stood the tenor who had killed him, singing in his highest register, very red in the face, continually striking his hand upon his breast and pointing with his sword toward his fallen enemy. Next him on the extreme left was his friend the ba.s.so, in high leather boots, growling from time to time during a sustained chord, "_Mon honneur et ma foi._" In the centre of the stage, the soprano, the star, the prima donna chanted a fervid but ineffectual appeal to the tenor who cried, "_Jamais, jamais!_" striking his breast and pointing with his sword. The prima donna cried, "_Ah, mon Dieu, ayez pitie de moi._" Her confidante, the mezzo-soprano, came to her support, repeating her words with an impersonal meaning, "_Ayez pitie d'elle._" "_Mon honneur et ma foi_,"

growled the ba.s.so. The contralto, dressed as a man, turned toward the audience on the extreme right, bringing out her notes with a wrench and a twist of her body and neck, and intoning, "_Ah, malheureuse! Mon Dieu, ayez pitie d'elle._"

The leader of the chorus, costumed as the captain of the watch, leaned over the dead baritone and sang, "_Il est mort, il est mort. Mon Dieu, ayez pitie de lui._" The soldiers of the watch were huddled together immediately back of him. They wore tin helmets, much too large, and green peplums, and repeated his words continually.

The chorus itself was made up of citizens of the town; it was in a semicircle at the back of the stage--the men on one side, the women on the other. They made all their gestures together and chanted without ceasing: "_O horreur, O mystere! Il est mort. Mon Dieu, ayez pitie de nous!_"

"_De Grace!_" cried the prima donna.

"_Jamais, jamais!_" echoed the tenor, striking his breast and pointing with his sword.

"_O mystere!_" chanted the chorus, while the ba.s.so struck his hand upon his sword hilt, growling "_Mon honneur et ma foi._"

The orchestra redoubled. The finale began; all the pieces of the orchestra, all the voices on the stage, commenced over again very loud.

They all took a step forward, and the rhythm became more rapid, till it reached a climax where the prima donna's voice jumped to a C in alt, holding it long enough for the ba.s.so to thunder, "_Mon honneur et ma foi_" twice. Then they all struck the att.i.tudes for the closing tableau and in one last burst of music sang all together, "_Mon Dieu, ayez pitie de moi_" and "_de lui_" and "_d'elle_" and "_de nous_." Then the orchestra closed with a long roll of the kettle-drums, and the prima donna fainted into the arms of her confidante. The curtain fell.

There was a roar of applause. The gallery whistled and stamped. Every one relaxed his or her position, drawing a long breath, looking about.

There was a general stir; the lights in the great gla.s.s chandelier clicked and blazed up, and a murmur of conversation arose. The footlights were lowered and the orchestra left their places and disappeared underneath the stage, leaving the audience with the conviction that they had gone out after beer. All over the house one heard the shrill voices of boys crying out, "Op'ra books--books for the op'ra--words and music for the op'ra."

Throughout the boxes a great coming and going took place and an interchange of visits. The gentlemen out in the foyer stood about conversing in groups or walked up and down smoking cigarettes, often pausing in front of the big floral piece that was to be given to the prima donna at the end of the great scene in the fourth act.

There was a little t.i.tter of an electric bell. The curtain was about to go up, and a great rush for seats began. The orchestra were coming back and tuning up. They sent up a prolonged medley of sounds, little minor chirps and cries from the violins, liquid runs and mellow gurgles from the oboes, flutes, and wood-wind instruments, and an occasional deep-toned purring from the ba.s.s viols. A bell rang faintly from behind the wings, the house lights sank, and the footlights blazed up. The leader tapped with his baton; a great silence fell upon the house, while here and there one heard an energetic "Ss.h.!.+ ss.h.!.+" The fourth act was about to begin.

When the curtain rose on the fourth act one saw the prima donna standing in a very dejected pose in the midst of a vast apartment that might have been a bedchamber, a council hall, or a hall of audience. She was alone.

She wore a loose cream-coloured gown knotted about the waist; her arms were bare, and her hair unbound and flowing loose over her shoulders to her girdle. She was to die in this act; it promised to be harrowing; and the first few notes she uttered recurred again later on as the motif for the famous quartet in the "great scene."

But for all this, the music had little by little taken possession of Vandover, and little by little he had forgotten his surroundings, the stifling air of the house, the blinding glitter of the stage and the discomfort of his limbs cramped into the narrow orchestra chair. All music was music to him; he loved it with an unreasoned, uncritical love, enjoying even the barrel organs and hand pianos of the streets.

For the present the slow beat and cadence of the melodies of the opera had cradled all his senses, carrying him away into a kind of exalted dream. The quartet began; for him it was wonderfully sweet, the long-sustained chords breathing over the subdued orchestral accompaniment, like some sweet south wind pa.s.sing in long sighs over the pulse of a great ocean. It seemed to him infinitely beautiful, infinitely sad, subdued minor plaints recurring persistently again and again like sighs of parting, but could not be restrained, like voices of regret for the things that were never to be again. Or it was a pathos, a joy in all things good, a vast tenderness, so sweet, so divinely pure that it could not be framed in words, so great and so deep that it found its only expression in tears. There came over him a vague sense of those things which are too beautiful to be comprehended, of a n.o.bility, a self-oblivion, an immortal eternal love and kindness, all goodness, all benignity, all pity for sin, all sorrow for grief, all joy for the true, the right, and the pure.

To be better, to be true and right and pure, these were the only things that were worth while, these were the things that he seemed to feel in the music. It was as if for the moment he had become a little child again, not ashamed to be innocent, ignorant of vice, still believing in all his illusions, still near to the great white gates of life.

The appeal had been made directly to what was best and strongest in Vandover, and the answer was quick and over-powering. All the good that still survived in him leaped to life again in an instant, clamouring for recognition, pleading for existence. The other Vandover, the better Vandover, wrestled with the brute in him once more, never before so strong, never so persistent. He had not yet destroyed all that was good in him; now it had turned in one more revolt, crying out against him, protesting for the last time against its own perversion and destruction.

Vandover felt that he was at the great crisis of his life.

After all was over he walked home through the silent streets, proceeding slowly, his hands in his pockets, his head bent down, his mind very busy. Once in his rooms he threw off his things and, having stirred up the drowsing fire in the tiled stove, sat down before it in his s.h.i.+rt-sleeves, the bosom of his full dress s.h.i.+rt bulging from his vest and faintly creaking as from time to time he drew a long breath. He had been lured into a mood where he was himself at his very best, where the other Vandover, the better Vandover, drew apart with eyes turned askance, looking inward and downward into the depths of his own character, shuddering, terrified. Far down there in the darkest, lowest places he had seen the brute, squat, deformed, hideous; he had seen it crawling to and fro dimly, through a dark shadow he had heard it growling, chafing at the least restraint, restless to be free. For now at last it was huge, strong, insatiable, swollen and distorted out of all size, grown to be a monster, glutted yet still ravenous, some fearful b.e.s.t.i.a.l satyr, grovelling, perverse, horrible beyond words.

And with the eyes of this better self he saw again, little by little, the course of his whole life, and witnessed again the eternal struggle between good and evil that had been going on within him since his very earliest years. He was sure that at the first the good had been the strongest. Little by little the brute had grown, and he, pleasure-loving, adapting himself to every change of environment, luxurious, self-indulgent, shrinking with the shrinking of a sensuous artist-nature from all that was irksome and disagreeable, had shut his ears to the voices that shouted warnings of the danger, and had allowed the brute to thrive and to grow, its abominable famine gorged from the store of that in him which he felt to be the purest, the cleanest, and the best, its bulk fattened upon the rot and the decay of all that was good, growing larger day by day, noisome, swollen, poddy, a filthy inordinate ghoul, gorged and bloated by feeding on the good things that were dead.

Besides this he saw how one by one he had wrenched himself free from all those influences that had tended to foster and to cultivate all the better part of him.

First of all, long ago it seemed now, he had allowed to be destroyed that first instinctive purity, that fragile, delicate innocence which dies young in almost every human being, and that one sees evaporating under the earliest taint of vice with a smile partly of contempt, partly of pity, partly of genuine regret.

Next it had been his father. The Old Gentleman had exerted a great influence over Vandover; he had never forgotten that scene the morning after he had told him of his measure of responsibility in Ida Wade's suicide, the recovery from the first shock of dazed bewilderment and then the forgiveness, the solicitude and the encouragement to begin over again, to live it down and to do that which was right and good and true.

Not only had he stopped his ears to this voice, but also, something told him, he had done much to silence it forever. Despite the Old Gentleman's apparent fort.i.tude the blow must have carried home. What must he not have suffered during those long weeks while Vandover was away, what lonely broodings in the empty house; and then the news of the wreck, the days of suspense!

It all must have told; the Old Gentleman was not strong; Vandover could not but feel that he had hastened his death, and that in so doing he had destroyed another influence which would have cultivated and fostered his better self, would have made it strong against the attacks of the brute.

The other person who had helped to bring out all that was best in Vandover had been Turner Ravis. There was no denying that when he had first known her he had loved her sincerely. Things were vastly different with him when Turner had been his companion; things that were unworthy, that were low, that were impure and vicious, did not seem worth while then; not only did they have no attraction for him, but he even shunned and avoided them. He knew he was a better man for loving her; invariably she made him wish to be better. But little by little as he frequented the society of such girls as Ida Wade, Grace Irving, and Flossie, his affection for Turner faded. As the habits of pa.s.sionate and unhealthy excitement grew upon him he lost first the taste and then the very capacity for a calm, pure feeling. His affection for her he frittered away with fast girls and abandoned women, strangled it in the foul musk-laden air of disreputable houses, dragged and defiled it in the wine-lees of the Imperial. In the end he had quite destroyed it, wilfully, wantonly killed it. As Turner herself had said, she could only be in love with being loved; her affection for him had dwindled as well; at last they had come to be indifferent to each other, she no longer inspired him to be better, and thus he had shaken off this good influence as well.

Public opinion had been a great check upon him, the fear of scandal, the desire to stand well with the world he knew. Trivial though he felt it to be, the dread of what people would say had to a great extent held Vandover back. He had a position to maintain, a reputation to keep up in the parlours and at the dinner tables where he was received. It could not be denied that society had influenced Vandover for good. But this, too, like all the others, he had cast from him. Now he was ostracized, society cared no longer what he did, his position was gone, his reputation was destroyed. There was no one now to stand in his way.

Vandover could not fall back on any religious influence. Religion had never affected him very deeply. It was true that he had been baptized, confirmed, and had gone to church with considerable regularity. If he had been asked if he was a Christian and believed in G.o.d he would have answered "Certainly, certainly." Until the time of his father's death he had even said his prayers every night, the last thing before turning out the gas, sitting upon the edge of his bed in his night-gown, his head in both his hands. He added to the Lord's Prayer certain other pet.i.tions as to those who were in trouble, sorrow, poverty, or any other privations; he asked for blessings upon his father and upon himself, praying for the former's health and prosperity, and for himself, that he might become a great artist, that the "Last Enemy" might be admitted to the Salon when he had painted it, and that it might make him famous. But, as a rule, Vandover thought very little about religious matters and when he did, told himself that he was too intelligent to believe in a literal heaven, a literal h.e.l.l, and a personal G.o.d personally interfering in human affairs like any Jove or Odin. But the moment he rejected a concrete religion Vandover was almost helpless. He was not mystic enough to find any meaning in signs or symbols, nor philosophic enough to grasp vague and immense abstractions. Infinities, Presences, Forces, could not help him withstand temptation, could not strengthen him against the brute. He felt that somewhere, some time, there was punishment for evildoing, but, as happened in the case of Ida Wade's death, to dwell on such thoughts disturbed and terrified him. He did not dare to look long in that direction. Conscience, remorse, repentance, all these had been keen enough at first, but he had so persistently kicked against the p.r.i.c.ks that little by little he had ceased to feel them at all.

Then an immense and overwhelming terror seized upon him. Was there nothing, then--nothing left which he could lay hold of to save him? He knew that he could not deliver himself by his own exertions. Religion could not help him, he had killed his father, estranged the girl he might have loved, outraged the world, and at a single breath blighted the fine innate purity of his early years. It was as if he had entered into his life in the world as into some vast labyrinth, wandering on aimlessly, flinging from him one by one the threads, the clues, that might have led him again to a safe exit, going down deeper and deeper until, when near the centre, he had suddenly felt the presence of the brute, had heard its loathsome muttering growl, had at last seen it far down at the end of a pa.s.sage, dimly and in a dark shadow; terrified, he had started back, looking wildly about for any avenue of escape, searching with frantic haste and eagerness for any one of those clues he had so carelessly cast from him, realizing that without such guidance he would inevitably tend down again to that fatal central place where the brute had its lair.