It was the door of this large parlour that the housekeeper opened as she announced, “Here is Mrs. Pedvinn come to see you, sir,” and followed the visitor in.
Sitting in a capacious “berceuse,” stuffed and chintz-covered, was the shrunken figure of a more than seventy-year-old man. He was wrapped in a worn grey dressing-gown, with a black velvet skull-cap, napless at the seams, covering his spiritless hair, and he looked out upon his narrow world from dim eyes set in cavernous orbits. In their expression was something of the questioning timidity of a child, contrasting curiously with the querulousness of old age, shown in the thin sucked-in lips, now and again twitched by a movement in unison with the twitching of the withered hands spread out upon his knees.
The sunshine, slanting through the low windows, bathed hands and knees, lean shanks and slippered feet, in mote-flecked streams of gold. It bathed anew rafters and ceiling-beam, as it had done at the same hour and season these last three hundred years; it played over the worm-eaten furniture, and lent transitory colour to the faded samplers on the walls, bringing into prominence one particular sampler, which depicted in silks Adam and Eve seated beneath the fatal tree, and recorded the fact that Marie Hochedé was seventeen in 1808 and put her “trust in God”; and the same ray kissed the check of that very Marie's son, who at the time her girlish fingers pricked the canvas belonged to the enviable myriads of the unthought-of and the unborn.
“Why, how cold you are, Cousin Louis,” said Mrs. Poidevin, taking his passive hand between her two warm ones, and feeling a chill strike from it through the violet kid gloves; “and in spite of all this sunshine too!”
“Ah, I'm not always in the sunshine,” said the old man; “not always, not always in the sunshine.” She was not sure that he recognised her, yet he kept hold of her hand and would not let it go.
“No; you are not always in de sunshine, because de sunshine is not always here,” observed Mrs. Tourtel in a reasonable voice, and with a side glance for the visitor.
“And I am not always here either,” he murmured, half to himself. He took a firmer hold of his cousin's hand, and seemed to gain courage from the comfortable touch, for his thin voice changed from complaint to command. “You can go, Mrs. Tourtel,” he said; “we don't require you here. We want to talk. You can go and set the tea-things in the next room. My cousin will stay and drink tea with me.”
“Why, my cert'nly! of course Mrs. Pedvinn will stay tea. P'r'aps you'd like to put your bonnet off in the bedroom, first, ma'am?”
“No, no,” he interposed testily, “she can lay it off here. No need for you to take her upstairs.”
Servant and master exchanged a mute look; for the moment his old eyes were lighted up with the unforeseeing, unveiled triumph of a child; then they fell before hers. She turned, leaving the room with noiseless tread; although a large-built, ponderous woman, she walked with the softness of a cat.
“Sit down here close beside me,” said Louis Renouf to his cousin, “I've something to tell you, something very important to tell you.” He lowered his voice mysteriously, and glanced with apprehension at window and door, squeezing tight her hand. “I'm being robbed, my dear, robbed of everything I possess.”
Mrs. Poidevin, already prepared for such a statement, answered complacently, “Oh, it must be your fancy, Cousin Louis. Mrs. Tourtel takes too good care of you for that.”
“My dear,” he whispered, “silver, linen, everything is going; even my fine white shirts from the shelves of the wardrobe. Yet everything belongs to poor John, who is in Australia, and who never writes to his father now. His last letter is ten years old—ten years old, my dear, and I don't need to read it over, for I know it by heart.”
Tears of weakness gathered in his eyes, and began to trickle over on to his check.
“Oh, Cousin John will write soon, I'm sure,” said Mrs. Poidevin, with easy optimism; “I shouldn't wonder if he has made a fortune, and is on his way home to you at this moment.”
“Ah, he will never make a fortune, my dear, he was always too fond of change. He had excellent capabilities, Louisa, but he was too fond of change.... And yet I often sit and pretend to myself he has made money, and is as proud to be with his poor old father as he used to be when quite a little lad. I plan out all we should do, and all he would say, and just how he would look ... but that's only my make-believe; John will never make money, never. But I'd be glad if he would come back to the old home, though it were without a penny. For if he don't come soon, he'll find no home, and no welcome.... I raised all the money I could when he went away, and now, as you know, my dear, the house and land go to you and Pedvinn.... But I'd like my poor boy to have the silver and linen, and his mother's furniture and needlework to remember us by.”
“Yes, cousin, and he will have them some day, but not for a great while yet, I hope.”
Louis Renouf shook his head, with the immovable obstinacy of the very old or the very young.
“Louisa, mark my words, he will get nothing, nothing. Everything is going. They'll make away with the chairs and the tables next, with the very bed I lie on.”
“Oh, Cousin Louis, you mustn't think such things,” said Mrs. Poidevin serenely; had not the poor old man accused her to the Tourtels of filching his mattress feathers?
“Ah, you don't believe me, my dear,” said he, with a resignation which was pathetic; “but you'll remember my words when I am gone. Six dozen rat-tailed silver forks, with silver candlesticks, and tray, and snuffers. Besides odd pieces, and piles and piles of linen. Your cousin Marie was a notable housekeeper, and everything she bought was of the very best. The large table-cloths were five guineas apiece, my dear, British money—five guineas apiece.”
Louisa listened with perfect calmness and scant attention. Circumstances too comfortable, and a too abundant diet, had gradually undermined with her all perceptive and reflective powers. Though, of course, had the household effects been coming to her as well as the land, she would have felt more interest in them; but it is only human nature to contemplate the possible losses of others with equanimity.
“They must be handsome cloths, cousin,” she said pleasantly; “I'm sure Pedvinn would never allow me half so much for mine.”
At this moment there appeared, framed in the open window, the hideous vision of an animated gargoyle, with elf-locks of flaming red, and an intense malignancy of expression. With a finger dragging down the under eyelid of either eye, so that the eyeball seemed to bulge out—with a finger pulling back either corner of the wide mouth, so that it seemed to touch the ear—this repulsive apparition leered at the old man in blood-curdling fashion. Then catching sight of Mrs. Poidevin, who sat dumfounded, and with her “heart in her mouth,” as she afterwards expressed it, the fingers dropped from the face, the features sprang back into position, and the gargoyle resolved itself into a buxom red-haired girl, who, bursting into a laugh, impudently stuck her tongue out at them before skipping away.
The old man had cowered down in his chair with his hands over his eyes; now he looked up. “I thought it was the old Judy,” he said, “the old Judy she is always telling me about. But it's only Margot.”
“And who is Margot, cousin?” inquired Louisa, still shaken from the surprise.
“She helps in the kitchen. But I don't like her. She pulls faces at me, and jumps out upon me from behind doors. And when the wind blows and the windows rattle she tells me about the old Judy from Jethou, who is sailing over the sea on a broomstick, to come and beat me to death. Do you know, my dear,” he said piteously, “you'll think I'm very silly, but I'm afraid up here by myself all alone? Do not leave me, Louisa; stay with me, or take me back to town with you. Pedvinn would let me have a room in your house, I'm sure? And you wouldn't find me much trouble, and of course I would bring my own bed linen, you know.”
“You had best take your tea first, sir,” said Mrs. Tourtel from outside the window; she held scissors in her hand, and was busy trimming the roses. She offered no excuse for eavesdropping.
The meal was set out, Island fashion, with abundant cakes and sweets. Louisa saw in the silver tea-set another proof, if need be, of her cousin's unfounded suspicions. Mrs. Tourtel stood in the background, waiting. Renouf desired her to pack his things; he was going into town. “To be sure, sir,” she said civilly, and remained where she stood. He brought a clenched hand down upon the table, so that the china rattled. “Are you master here, or am I?” he cried; “I am going down to my cousin Pedvinn's. To-morrow I shall send my notary to put seals on everything, and to take an inventory. For the future I shall live in town.”
His senility had suddenly left him; he spoke with firmness; it was a flash-up of almost extinct fires. Louisa was astounded. Mrs. Tourtel looked at him steadily. Through the partition wall, Tourtel in the kitchen heard the raised voice, and followed his curiosity into the parlour. Margot followed him. Seen near, and with her features at rest, she appeared a plump touzle-headed girl, in whose low forehead and loose-lipped mouth, crassness, cruelty, and sensuality were unmistakably expressed. Yet freckled cheek, rounded chin, and bare red mottled arms, presented the beautiful curves of youth, and there was a certain sort of attractiveness about her not to be gainsaid.
“Since my servants refuse to pack what I require,” said Renouf with dignity, “I will do it myself. Come with me, Louisa.”
At a sign from the housekeeper, Tourtel and Margot made way. Mrs. Poidevin would have followed her cousin, as the easiest thing to do—although she was confused by the old man's outbreak, and incapable of deciding what course she should take—when the deep vindictive baying of the dog ushered a new personage upon the scene.
This was an individual who made his appearance from the kitchen regions—a tall thin man of about thirty years of age, with a pallid skin, a dark eye and a heavy moustache. His shabby black coat and tie, with the cords and gaiters that clothed his legs, suggested a combination of sportsman and family practitioner. He wore a bowler hat, and was pulling off tan driving gloves as he advanced.
“Ah my good! Doctor Owen, but dat's you?” said Mrs. Tourtel. “But we wants you here badly. Your patient is in one of his tantrums, and no one can't do nuddin wid him. He says he shall go right away into town. Wants to make up again wid Doctor Lelever for sure.”
The new comer and Mrs. Poidevin were examining each other with the curiosity one feels on first meeting a person long known by reputation or by sight. But now she turned to the housekeeper in surprise.
“Has my cousin quarrelled with his old friend Doctor Lelever?” she asked. “I've heard nothing of that.”
“Ah, dis long time. He tought Doctor Lelever made too little of his megrims. He won't have nobody but Dr. Owen now. P'r'aps you know Doctor Owen, ma'am? Mrs. Pedvinn, Doctor; de master's cousin, come up to visit him.”
Renouf was heard moving about overhead; opening presses, dragging boxes.
Owen hung up his hat, putting his gloves inside it. He rubbed his lean discoloured hands lightly together, as a fly cleans its forelegs.
“Shall I just step up to him?” he said. “It may calm him, and distract his thoughts.”
With soft nimbleness, in a moment he was upstairs. “So that's Doctor Owen?” observed Mrs. Poidevin with interest. “A splendid-looking gentleman! He must be very clever, I'm sure. Is he beginning to get a good practice yet?”
“Ah, bah, our people, as you know, ma'am, dey don't like no strangers, specially no Englishmen. He was very glad when Mr. Renouf sent for him.... 'Twas through Margot there. She got took bad one Saturday coming back from market from de heat or de squidge” (crowd), “and Doctor Owen he overtook her on the road in his gig, and druv her home. Den de master, he must have a talk with him, and so de next time he fancy hisself ill, he send for Doctor Owen, and since den he don't care for Dr. Lelever no more at all.”
“I ought to be getting off,” remarked Mrs. Poidevin, remembering the hour at which the omnibus left Vauvert; “had I better go up and bid cousin Louis good-bye?”
Mrs. Tourtel thought Margot should go and ask the Doctor's opinion first, but as Margot had already vanished, she went herself.
There was a longish pause, during which Mrs. Poidevin looked uneasily at Tourtel; he with restless furtive eyes at her. Then the housekeeper reappeared, noiseless, cool, determined as ever.
“Mr. Rennuf is quiet now,” she said; “de Doctor have given him a soothing draught, and will stay to see how it acts. He tinks you'd better slip quietly away.”
On this, Louisa Poidevin left Les Calais; but in spite of her easy superficiality, her unreasoning optimism, she took with her a sense of oppression. Cousin Louis's appeal rang in her ears: “Do not leave me; stay with me, or take me back with you. I am afraid up here, quite alone.” And after all, though his fears were but the folly of old age, why, she asked herself, should he not come and stay with them in town if he wished to do so? She resolved to talk it over with Pedvinn; she thought she would arrange for him the little west room, being the furthest from the nurseries; and in planning out such vastly important trifles as to which easy-chair and which bedroom candlestick she would devote to his use, she forgot the old man himself and recovered her usual stolid jocundity.
When Owen had entered the bedroom, he had found Renouf standing over an open portmanteau, into which he was placing hurriedly whatever caught his eye or took his fancy, from the surrounding tables. His hand trembled from eagerness, his pale old face was flushed with excitement and hope. Owen, going straight up to him, put his two hands on his shoulders, and without uttering a word, gently forced him backwards into a chair. Then he sat down in front of him, so close that their knees touched, and fixing his strong eyes on Renouf's wavering ones, and stroking with his finger-tips the muscles behind the ears, he threw him immediately into an hypnotic trance.
“You want to stay here, don't you?” said Owen emphatically. “I want to stay here,” repeated the old man through grey lips. His face was become the colour of ashes, his hands were cold to the sight. “You want your cousin to go away and not disturb you any more? Answer—answer me.” “I want my cousin to go away,” Renouf murmured, but in his staring, fading eye were traces of the struggle tearing him within.
Owen pressed down the eyelids, made another pass before the face, and rose on his long legs with a sardonic grin. Margot, leaning across a corner of the bed, had watched him with breathless interest.
“I b'lieve you're de Evil One himself,” she said admiringly.
Owen pinched her smooth chin between his tobacco-stained thumb and fingers.
“Pooh! nothing but a trick I learned in Paris,” said he; “it's very convenient to be able to put a person to sleep now and again.”
“Could you put any one to sleep?”
“Any one I wanted to.”
“Do it to me then,” she begged him.
“What use, my girl? Don't you do all I wish without?”
She grimaced, and picked at the bed-quilt laughing, then rose and stood in front of him, her round red arms clasped behind her head. But he only glanced at her with professional interest.
“You should get married, my dear, without delay. Pierre would be ready enough, no doubt?”—“Bah! Pierre or annuder—if I brought a weddin' portion. You don't tink to provide me wid one, I s'pose?”—“You know that I can't. But why don't you get it from the Tourtels? You've earned it before this, I dare swear.”
It was now that the housekeeper came up, and took down to Louisa Poidevin the message given above. But first she was detained by Owen, to assist him in getting his patient into bed.
The old man woke up during the process, very peevish, very determined to get to town. “Well, you can't go till to-morrow den,” said Mrs. Tourtel; “your cousin has gone home, an' now you've got to go to sleep, so be quiet.” She dropped all semblance of respect in her tones. “Come, lie down!” she said sharply, “or I'll send Margot to tickle your feet.” He shivered and whimpered into silence beneath the clothes.
“Margot tells him 'bout witches, an ogres, an scrapels her fingures 'long de wall, till he tinks dere goin' to fly 'way wid him,” she explained to Owen in an aside. “Oh, I know Margot,” he answered laconically, and thought, “May I never lie helpless within reach of such fingers as hers.”
He took a step and stumbled over a portmanteau lying open at his feet. “Put your mischievous paws to some use,” he told the girl, “and clear these things away from the floor;” then remembering his rival Le Lièvre; “if the old fool had really got away to town, it would have been a nice day's work for us all,” he added.
Downstairs he joined the Tourtels in the kitchen, a room situated behind the living-room on the left, with low green glass windows, rafters and woodwork smoke-browned with the fires of a dozen generations. In the wooden racks over by the chimney hung flitches of home-cured bacon, and the kettle was suspended by three chains over the centre of the wide hearth, where glowed and crackled an armful of sticks. So dark was the room, in spite of the daylight outside, that two candles were set in the centre of the table, enclosing in their circles of yellow light the pale face and silver hair of the housekeeper, and Tourtel's rugged head and weather-beaten countenance.
He had glasses ready, and a bottle of the cheap brandy for which the Island is famous. “You'll take a drop of something, eh, Doctor?” he said as Owen seated himself on the joncière, a padded settle—green baize covered, to replace the primitive rushes—fitted on one side of the hearth. He stretched his long legs into the light, and for a moment considered moodily the old gaiters and cobbled boots. “You've seen to the horse?” he asked Tourtel.
“My cert'nly; he's in de stable dis hour back, an' I've given him a feed. I tought maybe you'd make a night of it?”
“I may as well for all the work I have to do,” said Owen with sourness; “a damned little Island this for doctors. Nothing ever the matter with anyone except the 'creeps,' and those who have it spend their last penny in making it worse.”
“Dere's as much illness here as anywhere,” said Tourtel, defending the reputation of his native soil, “if once you gets among de right class, among de people as has de time an' de money to make dereselves ill. But if you go foolin' roun' wid de paysans, what can you expec'? We workin' folks can't afford to lay up an' buy ourselves doctors' stuff.”
“And how am I to get among the right class?” retorted Owen, sucking the ends of his moustache into his mouth and chewing them savagely. “A more confounded set of stuck-up, beggarly aristocrats I never met than your people here.” His discontented eye rested on Mrs. Tourtel. “That Mrs. Pedvinn is the wife of Pedvinn the Jurat, I suppose?”—“Yes, de Pedvinns of Rohais.” “Good people,” said Owen thoughtfully; “in with the de Càterelles, and the Dadderney (d'Aldenois) set. Are there children?”—“Tree.”
He took a drink of the spirit and water; his bad temper passed. Margot came in from upstairs.
“De marster sleeps as dough he'd never wake again,” she announced, flinging herself into the chair nearest Owen.
“It's 'bout time he did,” Tourtel growled.
“I should have thought it more to your interest to keep him alive?” Owen inquired. “A good place, surely?”
“A good place if you like to call it so,” the wife answered him; “but what, if he go to town, as he say to-night? and what, if he send de notary, to put de scellés here?—den he take up again wid Dr. Lelever, dat's certain.” And Tourtel added in his surly key, “Anyway, I've been workin' here dese tirty years now, an' dat's 'bout enough.”
“In fact, when the orange is sucked, you throw away the peel? But are you quite sure it is sucked dry?”
“De house an' de lan' go to de Pedvinns, an' all de money die too, for de little he had left when young John went 'crost de seas, he sunk in a 'nuity. Dere's nuddin' but de lining, an' plate, an' such like, as goes to de son.”
“And what he finds of that, I expect, will scarcely add to his impedimenta?” said Owen grinning. He thought, “The old man is well known in the island, the name of his medical attendant would get mentioned in the papers at least; just as well Le Lièvre should not have the advertisement.” Besides, there were the Poidevins.
“You might say a good word for me to Mrs. Pedvinn,” he said aloud, “I live nearer to Rohais than Lelever does, and with young children she might be glad to have some one at hand.”
“You may be sure you won't never find me ungrateful, sir,” answered the housekeeper; and Owen, shading his eyes with his hand, sat pondering over the use of this word “ungrateful,” with its faint yet perceptible emphasis.
Margot, meanwhile, laid the supper; the remains of a rabbit-pie, a big “pinclos” or spider crab, with thin, red knotted legs, spreading far over the edges of the dish, the apple-gôche, hot from the oven, cider, and the now half-empty bottle of brandy. The four sat down and fell to. Margot was in boisterous spirits; everything she said or did was meant to attract Owen's attention. Her cheeks flamed with excitement; she wanted his eyes to be perpetually upon her. But Owen's interest in her had long ceased. To-night, while eating heartily, he was absorbed in his ruling passion: to get on in the world, to make money, to be admitted into Island society. Behind the pallid, impenetrable mask, which always enraged yet intimidated Margot, he plotted incessantly, schemed, combined, weighed this and that, studied his prospects from every point of view.
Supper over, he lighted his meerschaum; Tourtel produced a short clay, and the bottle was passed between them. The women left them together, and for ten, twenty minutes, there was complete silence in the room. Tourtel let his pipe go out, and rapped it down brusquely upon the table.
“It must come to an end,” he said, with suppressed ferocity; “are we eider to spen' de whole of our lives here, or else be turned off at de eleventh hour after sufferin' all de heat an' burden of de day? Its onreasonable. An' dere's de cottage at Cottu standin' empty, an' me havin' to pay a man to look after de tomato houses, when I could get fifty per cent. more by lookin' after dem myself.... An' what profit is such a sickly, shiftless life as dat? My good! dere's not a man, woman, or chile in de Islan's as will shed a tear when he goes, an' dere's some, I tells you, as have suffered from his whimsies dese tirty years, as will rejoice. Why, his wife was dead already when we come here, an' his on'y son, a dirty, drunken, lazy vaurien too, has never been near him for fifteen years, nor written neider. Dead most likely, in foreign parts.... An' what's he want to stay for, contraryin' an' thwartin' dem as have sweated an' laboured, an' now, please de good God, wan's to sit 'neath de shadow of dere own fig-tree for de short time dat remains to dem?... An' what do we get for stayin'? Forty pound, Island money, between de two of us, an' de little I makes from de flowers, an' poultry, an' such like. An' what do we do for it? Bake, an' wash, an' clean, an' cook, an' keep de garden in order, an' nuss him in all his tantrums.... If we was even on his testament, I'd say nuddin. But everything goes to Pedvinns, an' de son John, and de little bit of income dies wid him. I tell you 'tis 'bout time dis came to an end.”
Owen recognised that Destiny asked no sin more heinous from him than silence, perhaps concealment; the chestnuts would reach him without risk of burning his hand. “It's time,” said he, “I thought of going home. Get your lantern, and I'll help you with the trap. But first, I'll just run up and have another look at Mr. Rennuf.”
For the last time the five personages of this obscure little tragedy found themselves together in the bedroom, now lighted by a small lamp which stood on the wash-hand-stand. Owen, who had to stoop to enter the door, could have touched the low-pitched ceiling with his hand. The bed, with its slender pillars, supporting a canopy of faded damask, took up the greater part of the room. There was a fluted headpiece of the damask, and long curtains of the same material, looped up, on either side of the pillows. Sunken in these lay the head of the old man, crowned with a cotton nightcap, the eyes closed, the skin drawn tight over the skull, the outline of the attenuated form indistinguishable beneath the clothes. The arms lay outside the counterpane, straight down on either side; and the mechanical playing movement of the fingers showed he was not asleep. Margot and Mrs. Tourtel watched him from the bed's foot. Their gigantic shadows thrown forward by the lamp, stretched up the opposite wall, and covered half the ceiling. The old-fashioned mahogany furniture, with its fillets of paler wood, drawn in ovals, upon the doors of the presses, their centrepieces of fruit and flowers, shone out here and there with reflected light; and the looking-glass, swung on corkscrew mahogany pillars between the damask window curtains, gleamed lake-like amidst the gloom.
Owen and Tourtel joined the women at the bedfoot; though each was absorbed entirely in his own egotisms, all were animated by the same secret desire. Yet, to the feeling heart, there was something unspeakably pleading in the sight of the old man lying there, in his helplessness, in the very room, on the very bed, which had seen his wedding-night fifty years before; where as a much-wished-for and welcomed infant, he had opened his eyes to the light more than seventy years since. He had been helpless then as now, but then the child had been held to loving hearts, loving fingers had tended him, a young and loving mother lay beside him, the circumference of all his tiny world, as he was the core and centre of all of hers. And from being that exquisite, well-beloved little child, he had passed thoughtlessly, hopefully, despairfully, wearily, through all the stages of life, until he had come to this—a poor, old, feeble, helpless, worn-out man, lying there where he had been born, but with all those who had loved him carried long ago to the grave: with the few who might have protected him still, his son, his cousin, his old friend Le Lièvre, as powerless to save him as the silent dead.
Renouf opened his eyes, looked in turn at the four faces before him, and read as much pity in them as in masks of stone. He turned himself to the pillow again and to his miserable thoughts.
Owen took out his watch, went round to count the pulse, and in the hush the tick of the big silver timepiece could be heard.
“There is extreme weakness,” came his quiet verdict.
“Sinking?” whispered Tourtel loudly.
“No; care and constant nourishment are all that are required; strong beef-tea, port wine jelly, cream beaten up with a little brandy at short intervals, every hour say. And of course no excitement; nothing to irritate, or alarm him” (Owen's eye met Margot's); “absolute quiet and rest.” He came back to the foot of the bed and spoke in a lower tone. “It's just one of the usual cases of senile decay,” said he, “which I observe every one comes to here in the Islands (unless he has previously killed himself by drink), the results of breeding in. But Mr. Renouf may last months, years longer. In fact, if you follow out my directions there is every probability that he will.”
Tourtel and his wife shifted their gaze from Owen to look into each other's eyes; Margot's loose mouth lapsed into a smile. Owen felt cold water running down his back. The atmosphere of the room seemed to stifle him; reminiscences of his student days crowded on him: the horror of an unperverted mind, at its first spectacle of cruelty, again seized hold of him, as though no twelve callous years were wedged in between. At all costs he must get out into the open air.
He turned to go. Louis Renouf opened his eyes, followed the form making its way to the door, and understood. “You won't leave me, doctor? surely you won't leave me?” came the last words of piercing entreaty.
The man felt his nerve going all to pieces.
“Come, come, my good sir, do you think I am going to stay here all night?” he answered brutally.... Outside the door, Tourtel touched his sleeve. “And suppose your directions are not carried out?” said he in his thick whisper.
Owen gave no spoken answer, but Tourtel was satisfied. “I'll come an' put the horse in,” he said, leading the way through the kitchen to the stables. Owen drove off with a parting curse and cut with the whip because the horse slipped upon the stones. A long ray of light from Tourtel's lantern followed him down the lane. When he turned out on to the high road to St. Gilles, he reined in a moment, to look back at Les Calais. This is the one point from which a portion of the house is visible, and he could see the lighted window of the old man's bedroom plainly through the trees.
What was happening there? he asked himself; and the Tourtel's cupidity and callousness, Margot's coarse cruel tricks, rose before him with appalling distinctness. Yet the price was in his hand, the first step of the ladder gained; he saw himself to-morrow, perhaps in the drawing-room of Rohais, paying the necessary visit of intimation and condolence. He felt he had already won Mrs. Poidevin's favour. Among women, always poor physiognomists, he knew he passed for a handsome man; among the Islanders, the assurance of his address would pass for good breeding; all he had lacked hitherto was the opportunity to shine. This his acquaintance with Mrs. Poidevin would secure him. And he had trampled on his conscience so often before, it had now little elasticity left. Just an extra glass of brandy to-morrow, and to-day would be as securely laid as those other episodes of his past.
While he watched, some one shifted the lamp ... a woman's shadow was thrown upon the white blind ... it wavered, grew monstrous, and spread, until the whole window was shrouded in gloom.... Owen put the horse into a gallop ... and from up at Les Calais, the long-drawn melancholy howling of the dog filled with forebodings the silent night.
By A. S. Hartrick
By Charles Willeby
What little has been written about poor Bizet is not the sort to satisfy. The men who have told of him cannot have written with their best pen. Even those who, one can see, have started well, albeit impelled rather than inspired by a profound admiration for the artist and the man, have fallen all too short of the mark, and ultimately drifted into the dullest of all dull things—the compilation of mere dates and doings. I know of no pamphlet devoted to him in this country. He was much misunderstood in life; he has been, I think, as much sinned against in death. The symbol of posthumous appreciation which asserts itself to the visitor to Père Lachaise, is exponential of compliment only when reckoned by avoirdupois. Neglected in life, they have in death weighed him down with an edifice that would have been obnoxious to every instinct in his sprightly soul—a memorial befitting perhaps to such an one as Johannes Brahms, but repugnant as a memento of the spirit that created “Carmen.” It is an emblem of French formalism in its most determined aspect. And in truth—as Sainte-Beuve said of the Abbé Galiani—“they owed to him an honourable, choice, and purely delicate burial; urna brevis, a little urn which should not be larger than he.” The previous inappreciation of his genius has given place to posthumous laudation, zealous indeed, but so indiscriminating as to be vulgar. Like many another man, he had to take “a thrashing from life”; and although he stood up to it unflinchingly, it was only in his death certificate that he acquired passport to fame.
Just eighteen years before it was that Bizet had written from Rome: “We are indeed sad, for there come to us the tidings of the death of Léon Benouville. Really, one works oneself half crazy to gain this Prix de Rome; then comes the huge struggle for position; and after all, perchance to end by dying at thirty-eight! Truly, the picture is the reverse of encouraging.” Here was his own destiny, nu comme la main, save that the fates begrudged him even the thirty-eight years of his brother artist—called him when he could not but
"contrast
The petty done—the undone vast."
But his early life was not unhappy. He had no pitiful struggle with poverty in childhood, at all events. Some tell us he was precocious—terribly so; but I had rather take my cue from his own words, “Je ne me suis donné qu'à contre-cœur à la musique,” than dwell upon his precocity, real or fictional. It was only hereditarily consistent that he should have a musical organisation. His father was a teacher of music, not without repute; his mother was a sister of François Delsarte, who, although unknown to Grove, has two columns and more devoted to him by Fetis, by whom he is described as an “artiste un peu étrange, quoique d'un mérite incontestable, doué de facultés très diverses et de toutes les qualités nécessaires à l'enseignement.” What there was of music in their son the parents sought to encourage assiduously, and Bizet himself has shown us in his work, more clearly than aught else could, that the true dramatic sense was innate in him. And that he loved his literature too, was well proved by a glance at the little appartement in the Rue de Douai, which he continued to occupy until well-nigh the end.
In 1849—he was just over his tenth year—Delsarte took him to Marmontel of the Conservatoire. “Without being in any sense of the word a prodigy,” says the old pianoforte master, “he played his Mozart with an unusual amount of taste. From the moment I heard him I recognised his individuality, and I made it my object to preserve it.” Then Zimmerman, with whom l'enseignement was a disease, heard of him and sought him for pupil. But Zimmerman seems to have tired of him as he tired of so many and ended by passing him on to Gounod. From entry to exit—an interval of eight years—Bizet's academic career was a series of premiers et deuxièmes prix. They were to him but so many stepping-stones to the coveted Grand Prix de Rome. He longed to secure this—to fly the crowded town and seek the secluded shelter of the Villa Medici. And in the end he had his way. In effect, he commenced to live only after he had taken up his abode on the little Pincian Hill. Even there life was a trifle close to him, and some time passed before he really fixed his focus.
In Italy, more than in any other part of the world, the life of the present rests upon the strata of successive past lives. And although Bizet was no student, carrying in his knapsack a superfluity of culture, this place appealed to him from the moment that he came to it, and the memory of it lingered long in after days.
The villa itself was a revelation to him. The masterpiece of Renaissance façade over which the artist would seem to have exhausted a veritable mine of Greek and Roman bas-reliefs; the garden with its lawns surrounded by hedges breast-high, trimmed to the evenness of a stone-wall; the green alleys overshadowed by ilex trees; the marble statues looking forlornly regretful at Time's defacing treatment; the terrace with its oaks gnarled and twisted with age; the fountains; the roses; the flower-beds; and in the distance, “over the dumb Campagna-sea,” the hills melting into light under the evening sky—all these made an intaglio upon him such as was not readily to be effaced, and which he learned to love. Perhaps because, after all, Italy is even more the land of beauty than of what is venerable in art, he did not feel the want of what Mr. Symonds calls the “mythopœic sense.” It is a land ever young, in spite of age. Its monuments, assertive as they are, so blend with the landscape, are so in harmony with the surroundings, that the yawning gulf of years that would separate us from them is made to vanish, and they come to live with us.
And the place was teeming with tradition. From the time, 1540, when it had been designed by Hannibal Lippi for Cardinal Ricci, passing thence into the hands of Alexandro de' Medici, and later into those of Leo XI., it had been the home of art; and then, on its acquisition by the French Academy in 1804, it became the home of artists. Here had lived and worked and dreamed David, Ingres, Delaroche, Vernet, Hérold, Benoist, Halévy, Berlioz, Thomas, Gounod, and the minor host of them. In truth the list awed Bizet not a little, and had he needed an incentive here it was. For the rest, he was supremely content. As a pensionnaire of the Academy he had two hundred francs a month, and he apportioned them in this wise: Nourriture, 75fr.; vin, 25fr.; retenue, 25fr.; location de piano, 15fr.; blanchissage, 5fr.; bois, chandelles, timbre-poste, &c., 10fr.; gants, 5fr.; perte sur le change de la monnaie, 5fr. Even then he wrote: “I have more than thirty francs pour faire le grand garçon.” In another letter he says: “I seem to cling to Rome more than ever. The longer I know it, the more I love it. Everything is so beautiful. Each street—even the filthiest of them—has its own charm for me. And perhaps what is most astonishing of all, is that those very things which startled me most on my arrival, have now become a part of and necessary to my very existence—the madonnas with their little lamps at every corner; the linen hanging out to dry from the windows; the very refuse of the streets; the beggars—all these things really divert me, and I should cry out if so much as a dung-heap were removed.... More too, every day, do I pity those imbeciles who have not been more fully able to appreciate their good fortune in being pensionnaires of the Academy. But then one cannot help observing that they are the very ones who have achieved nothing. Halévy, Thomas, Gounod, Berlioz, Massé—they all loved and adored their Rome.”
Then on the last day of the same year: “I seem to incline more definitely towards the theatre, for I feel a certain sense of drama, which, if I possessed it, I knew not of till now. So I hope for the best. But that is not all. Hitherto I have vacillated between Mozart and Beethoven, between Rossini and Meyerbeer, and suddenly I know upon what, upon whom to fix my faith. To me there are two distinct kinds of genius: the inspirational and the purely rational, I mean the genius of nature and the genius of erudition; and whilst I have an immense admiration for the second, I cannot deny that the first has all my sympathies. So, mon cher, I have the courage to prefer, and to say I prefer, Raphael to Michael Angelo, Mozart to Beethoven, Rossini to Meyerbeer, which is, I suppose, much the same as saying that if I had heard Rubini I would have preferred him to Duprez. Do not think for a moment that I place one above the other—that would be absurd. All I maintain is that the matter is one of taste, and that the one exercises upon my nature a stronger influence than does the other. When I hear the 'Symphonie Héroïque,' or the fourth act of the 'Huguenots,' I am spell-bound, aghast as it were; I have not eyes, ears, intelligence, enough even to admire. But when I see 'L'École D'Athènes,' or 'La Vierge de Foligno,' when I hear 'Les Noces de Figaro,' or the second act of 'Guillaume Tell,' I am completely happy; I experience a sense of comfort, a complete satisfaction: in effect, I forget everything.”
This, then, is what Rome did for Bizet; but, be it said, for Bizet très jeune encore. For a time the result is patent in his work, but afterwards there comes, although no revulsion, a distinct variation of feeling, which has in it something of compromise. The genius innate in him was inspirational before it was—if it ever was—erudite. Even in his later days there was for him no cowering before his culture. In 1867 he wrote in the Revue Nationale—the only critique, by the way, he ever wrote—under the pseudonym of Gaston de Betzi: “The artist has no name, no nationality. He is inspired or he is not. He has genius or he has not. If he has, we welcome him; if he has not, we can at most respect him, if we do not pity and forget him.”
He was the same in all things: “I have no comrades,” he said, “only friends.” And there is one sentence that he wrote from Rome that might well be held up to the gamins of the French Conservatoire. “Je ne veux rien faire de chic; je veux avoir des idées avant de commencer un morceau.”
In August of his second year Bizet left Rome on a visit to Naples. He carried a letter to Mercadente. On his return good news and bad awaited him. Ernest Guiraud, his good friend and quondam fellow-student in the class of Marmontel, has just been proclaimed Prix de Rome. And this at the very moment Bizet was to leave the Villa; for the Academy would have it that their musical pensionnaires should pass the third year in Germany. The prospect was entirely repugnant to Bizet. So he went to work against it, directing his energies in the first place against Schnetz, “the dear old director” as they called him. Schnetz, owning to a soft spot for his young pensionnaire, was overcome, and through him I fancy the powers that were in Paris. However, Bizet was permitted to remain in his beloved Rome. Delighted, he wrote off to Marmontel: “I am daily expecting Guiraud, and words cannot express how glad I shall be to see him. Would you believe it, it is two years since I have spoken with an intelligent musician? My colleague Z—— bores me frightfully. He speaks to me of Donizetti, of Fesca even, and I reply to him with Mozart, Mendelssohn, and Gounod.”
This last year spent with Guiraud was perhaps the happiest of his life. At the close of it the two set off together on a ramble through the land, with fancy for their only guide. They had got so far as Venice when news of his mother's dangerous illness called Bizet to her side. He arrived in time to say farewell, and he never returned to Italy.
Of work done at the Villa, “Vasco de Gama” is the only tangible sample; “but I have not wasted my time,” he wrote, “I have read a good many volumes of history, and ever so much more literature of all kinds. I have travelled, I have learned something of the history of art, and I really am a bit of a connoisseur in painting and sculpture. All I want now, on my return, are trois jolis actes for the Théâtre Lyrique.”
And shortly we find him in full swing with “Les Pêcheurs des Perles.” It was produced on the 30th September of 1863, and had some eighteen representations. “La Jolie Fille de Perth,” which followed it four years later, had, I think, twenty-one. In between these two works, we are told, Bizet, in a fit of violent admiration for Verdi, strove to emulate him in an opera entitled “Ivan le Terrible.” It is said to have been completed and handed to the management of the Théâtre Lyrique. Then Bizet, recognising as suddenly that he had made a mistake, withdrew the score and burned it.
M. Charles Pigot, who is chiefly responsible for this story, goes on to say that the libretto was the work of MM. Louis Gallet and Edouard Blau. But in that he is not correct, for Gallet himself tells us that he knew Bizet only ever so slightly at the time, and that neither to him nor to Blau is due a single line of this “Ivan.”
Then there were “Griselidis,” of which, in a letter dated February of 1871, Bizet speaks as très avancée; “Clarisse Harlowe”; and the “Calendal” of M. Sardou, to each of which he referred in the same year as à peine commencée. There was also an opera in one act written by M. Carvalho, and actually put into rehearsal at the Opéra Comique. But none of these saw the light, and I have little doubt they all met their fate on a certain eventful day, shortly before he died, when Bizet remorselessly destroyed a whole pile of manuscript. And in truth these early works had little value of themselves. They were but so many rungs of the ladder by which he climbed to the heights of “Djamileh,” of “L'Arlésienne,” and of “Carmen.” No musician ever took longer to know himself than did Georges Bizet. His period of hesitation, of vacillation, was unduly protracted. For why, it is hard to tell; but one cannot help feeling that the terrible lutte pour la vie had a deal to do with it. Those early years in Paris were very hard ones. “Believe me,” he wrote from le Vésinet (always a favourite spot with him), “believe me, it is exasperating to have one's work interrupted for days to write solos de piston. But what would you? I must live. I have just rushed off at a gallop half-a-dozen melodies for Heugel. I trust you may like them. At least I have carefully chosen the verses. ... My opera and my symphony are both of them en train. But when, oh when, shall I finish them? Yet I do nothing but work, and I come only once a week to Paris. Here I am well out of the way of all flaneurs, raseurs, diseurs de riens, du monde enfin, hélas.” Then a few days later: “I am completely prostrate with fatigue. I can do nothing. I have even been obliged to give up orchestrating my symphony; and now I feel it will be too late for this winter. I am going to lie down, for I have not slept for three nights, and all seems so dark to me. To-morrow, too, I have la musique gaie to write.”
Just then time was pressing him hard. He was under contract to produce “La Jolie Fille de Perth” by the end of the year, and he was already well into October. It became a matter of fifteen and sixteen hours work a day; for there were lessons to be given, proofs to be corrected, piano transcriptions to be made, and the rest. And, truth to tell, he was terribly lacking in method. He was choke-full of ideas, he was indeed borne along by a very torrent of them; and if only he could have stopped to collect himself it would have been well for him. But no; before he realised it, “La Jolie Fille” was finished and in rehearsal. Then for the time he was able to put enough distance between himself and his work to value it. And it seems to have pleased him. “The final rehearsal,” he writes to Galabert (by this time his confidant in most things), “has produced a great effect. The piece is really highly interesting, the interpretation is excellent, and the costumes are splendid. The scenery is new and the orchestra and the artists are full of enthusiasm. But more than all this, cher ami, the score of 'La Jolie Fille' is une bonne chose. The orchestra lends to all a colour and relief for which, I confess, I never dared to hope. I think I have arrived this time. Now, il faut monter, monter, monter, toujours.”
Shortly after this he married Geneviève Halévy, the daughter of the composer of “La Juive,” and lived almost exclusively at le Vésinet. There, at 8, Rue des Cultures, a rustic place enough, one might find Georges Bizet, seated in his favourite corner of the lovely garden, en chapeau de canotier, smoking his pipe and chatting to his friends. It had been the home of Jacques Halévy, and Bizet had been wont to do his courting there. Now the old man was no more, and in the long summer days, the daughter and the son—for Halévy had been as a father to Bizet—missed sorely the familiar figure hard at work with rake or hoe at his beloved flower-beds. They were the passion of his later days, and they well repaid his care. Even in the middle of a lesson—and he taught up to well-nigh the last weeks of his life—would he rush out to uproot a noxious weed that might chance to catch his eye. “How well I remember my first day there,” says Louis Gallet. "The war was not long finished, and the traces of it were with us yet. True, Paris had resumed her lovely girdle of green; but beneath this verdure reflected in the tardy waters of the Seine, there was enough still to tell the terrible tale of ruin. One could not go to Pecq or le Vésinet without some difficulty. Bizet, to save me trouble, had taken care to meet me at Rueil, whence we made for the little place where he was staying for the summer. The day was lovely, and 'Djamileh' made great strides as we talked and paced the pretty garden walks. This habit of discussing while walking, what was uppermost in his mind, was always, to me, a powerful characteristic of Georges Bizet. I do not remember any important discussion between us that did not take place during a stroll, or at all events whilst walking, if only to and from his study. We talked long that afternoon—of the influence of Wagner on the future of musical art, of the reception in store for 'Djamileh,' both by the public and by the Opéra Comique itself. This latter, indeed, was no light matter. The Direction was then undertaken by two parties: that of Du Locle, tending towards advancement in every form; that of De Leuven, clinging with all the force of tradition to the past.
"Then in the evening nothing would do but Bizet should see me well on my way to Paris. The bridges were not yet restored. So we set off on foot, in company with Madame Bizet, to find the ferry-boat. How delicious was that walk by the little islets in the cool of the twilight; along the towing-path so narrow and overrun with growth that we were obliged to proceed in Indian file. And how merry we were, until perchance we stumbled on the fragment of a shell lying hidden in the grass, or came face to face with some majestic tree, still smarting from its wounds, when there would rise before us in all its vividness the terrible scene so recently enacted on that spot. Then we talked of the war and all its sorrows; and we tried to descry there on the right, in the shade of Mount Valerien, the spot where Henri Regnault fell.
“At length we found the ferry, and reached the other bank. There at the end of the path we could see the lights of the station; so we separated. And although I made many after visits, none remained so firmly fixed in my memory, or left me so happy an impression as did this, my first to Bizet's summer home.”
During the siege itself, he had been forced to remain in Paris. But it was much against his will, and he seems to have chafed sorely at it. Yet it is difficult to picture Bizet bellicose. “Dear friend,” he writes to Guiraud, who was stationed at some outpost, “the description you give of the palace you are living in makes us all believe that luck is with you. But every day we think of the cold, the damp, the ice, the Prussians, and all the other horrors that surround you. As for me, I continue to reproach myself with my inaction, for in truth my conscience is anything but at rest; but you know well what keeps me here. We really cannot be said to eat any longer. Suzanne has just brought in some horse bones, which I believe are to form our meal. Geneviève dreams nightly of chickens and lobsters.”
Not till the following year, during the days of the Commune, do we find him at le Vésinet. Then he writes (also to Guiraud): “Here we are without half our things, without our books, without anything in fact, and absolutely there are no means of getting into Paris.... So, dear friend, if you have any news, do, I pray you, let us have it. I read the Versailles papers, but they tell their wretched readers (and expect them to believe it) that France is 'très tranquille,' Paris alone excepted (sic). The day before yesterday was anything but tranquil. For twelve hours there was nothing but a continuous cannonade.... But we are safe enough, for although the Prussian patrols continue to increase in number we are not inconvenienced by them, and they will not, in all probability, occupy le Vésinet. But it seems quite impossible to say how all this is going to end. I am absolutely discouraged, and what is more, I fear, dear friend, there is worse trouble ahead of us. I am off now to the village to look at a piano; I must work and try to forget it all.”
He finished “Djamileh” at le Vésinet. It was produced at the Opéra Comique in May of 1872. Gallet tells us that he did not write the book specially for Bizet. Under the title of “Namouna,” it had been given by M. du Locle to Jules Duprato, a musician and a “prix de Rome.” But Duprato paressait agréablement, and never got much further with it than the composition of a certain air de danse to the verses commencing: “Indolente, grave et lente,” which are to be found also in Bizet's score. Then there came a time when the Opéra Comique, truly one of the most good-natured of institutions in its own peculiar way, so far belied its reputation as to tire of this idling on the part of M. Duprato. So the work passed on to Bizet. He suggested change of title, and “Namouna” became “Djamileh.” But it remained nevertheless the poem of Musset.