"But you're English."

"I'm Irish. I'm from Dublin."

And thinking of a girl reared in its Dublin conventions, but whom the romance of destiny had cast upon this ultimate cafe, I asked her how she had found her way here; and she told me she had left Dublin when she was sixteen; she had come to Paris six years ago to take a situation as nursery governess. She used to go with the children into the Luxembourg Gardens and talk to them in English. One day a student had sat on the bench beside her. The rest of the story is easily guessed. But he had no money to keep her, and she had to come to this cafe to earn her living.

"It doesn't suit me, but what am I to do? One must live, and the tobacco smoke makes me cough." I sat looking at her, and she must have guessed what was passing in my mind, for she told me that one lung was gone; and we spoke of health, of the South, and she said that the doctor had advised her to go away south.

Seeing that Gervex and Mademoiselle D'Avary were engaged in conversation, I leaned forward and devoted all my attention to this wistful Irish girl, so interesting in her phthisis, in her red Medicis gown, her thin arms showing in the long rucked sleeves. I had to offer her drink; to do so was the custom of the place. She said that drink harmed her, but she would get into trouble if she refused drink; perhaps I would not mind paying for a piece of beef-steak instead. She had been ordered raw steak! I have only to close my eyes to see her going over to the corner of the cafe and cutting a piece and putting it away. She said she would eat it before going to bed, and that would be two hours hence, about three. While talking to her I thought of a cottage in the South amid olive and orange trees, an open window full of fragrant air, and this girl sitting by it.

"I should like to take you south and attend upon you."

"I'm afraid you would grow weary of nursing me. And I should be able to give you very little in return for your care. The doctor says I'm not to love any one."

We must have talked for some time, for it was like waking out of a dream when Gervex and Mademoiselle D'Avary got up to go, and, seeing how interested I was, he laughed, saying to Mademoiselle D'Avary that it would be kind to leave me with my new friend. His pleasantry jarred, and though I should like to have remained, I followed them into the street, where the moon was shining over the Luxembourg Gardens. And as I have said before, I dearly love to walk by a perambulator in which Love is wheeling a pair of lovers: but it is sad to find oneself alone on the pavement at midnight. Instead of going back to the cafe I wandered on, thinking of the girl I had seen, and of her certain death, for she could not live many months in that cafe. We all want to think at midnight, under the moon, when the city looks like a black Italian engraving, and poems come to us as we watch a swirling river. Not only the idea of a poem came to me that night, but on the Pont Neuf the words began to sing together, and I jotted down the first lines before going to bed. Next morning I continued my poem, and all day was passed in this little composition.

We are alone! Listen, a little while, And hear the reason why your weary smile And lute-toned speaking are so very sweet, And how my love of you is more complete Than any love of any lover. They Have only been attracted by the grey Delicious softness of your eyes, your slim And delicate form, or some such other whim, The simple pretexts of all lovers;—I For other reason. Listen whilst I try To say. I joy to see the sunset slope Beyond the weak hours' hopeless horoscope, Leaving the heavens a melancholy calm Of quiet colour chaunted like a psalm, In mildly modulated phrases; thus Your life shall fade like a voluptuous Vision beyond the sight, and you shall die Like some soft evening's sad serenity.... I would possess your dying hours; indeed My love is worthy of the gift, I plead For them. Although I never loved as yet, Methinks that I might love you; I would get From out the knowledge that the time was brief, That tenderness, whose pity grows to grief, And grief that sanctifies, a joy, a charm Beyond all other loves, for now the arm Of Death is stretched to you-ward, and he claims You as his bride. Maybe my soul misnames Its passion; love perhaps it is not, yet To see you fading like a violet, Or some sweet thought, would be a very strange And costly pleasure, far beyond the range Of formal man's emotion. Listen, I Will chose a country spot where fields of rye And wheat extend in rustling yellow plains, Broken with wooded hills and leafy lanes, To pass our honeymoon; a cottage where The porch and windows are festooned with fair Green leaves of eglantine, and look upon A shady garden where we'll walk alone In the autumn summer evenings; each will see Our walks grow shorter, till to the orange tree, The garden's length, is far, and you will rest From time to time, leaning upon my breast Your languid lily face, then later still Unto the sofa by the window-sill Your wasted body I shall carry, so That you may drink the last left lingering glow Of evening, when the air is filled with scent Of blossoms; and my spirits shall be rent The while with many griefs. Like some blue day That grows more lovely as it fades away, Gaining that calm serenity and height Of colour wanted, as the solemn night Steals forward you will sweetly fall asleep For ever and for ever; I shall weep A day and night large tears upon your face, Laying you then beneath a rose-red place Where I may muse and dedicate and dream Volumes of poesy of you; and deem It happiness to know that you are far From any base desires as that fair star Set in the evening magnitude of heaven. Death takes but little, yea, your death has given Me that deep peace and immaculate possession Which man may never find in earthly passion.

Good poetry of course not, but good verse, well turned every line except the penultimate. The elision is not a happy one, and the mere suppression of the "and" does not produce a satisfying line.

Death takes but little, Death I thank for giving Me a remembrance, and a pure possession Of unrequited love.

And mumbling the last lines of the poem, I hastened to the cafe near the Luxembourg Gardens, wondering if I should find courage to ask the girl to come away to the South and live, fearing that I should not, fearing it was the idea rather than the deed that tempted me; for the soul of a poet is not the soul of Florence Nightingale. I was sorry for this wistful Irish girl, and was hastening to her, I knew not why; not to show her the poem—the very thought was intolerable. Often did I stop on the way to ask myself why I was going, and on what errand. Without discovering an answer in my heart I hastened on, feeling, I suppose, in some blind way that my quest was in my own heart. I would know if it were capable of making a sacrifice; and sitting down at one of her tables I waited, but she did not come, and I asked the student by me if he knew the girl generally in charge of these tables. He said he did, and told me about her case. There was no hope for her; only a transfusion of blood could save her; she was almost bloodless. He described how blood could be taken from the arm of a healthy man and passed into the veins of the almost bloodless. But as he spoke things began to get dim and his voice to grow faint; I heard some one saying, "You're very pale," and he ordered some brandy for me. The South could not save her; practically nothing could; and I returned home thinking of her.

Twenty years have passed, and I am thinking of her again. Poor little Irish girl! Cast out in the end by a sudden freshet on an ultimate cafe. Poor little heap of bones! And I bow my head and admire the romance of destiny which ordained that I, who only saw her once, should be the last to remember her. Perhaps I should have forgotten her had it not been that I wrote a poem, a poem which I now inscribe and dedicate to her nameless memory.



CHAPTER IV

THE END OF MARIE PELLEGRIN

Octave Barres liked his friends to come to his studio, and a few of us who believed in his talent used to drop in during the afternoon, and little by little I got to know every picture, every sketch; but one never knows everything that a painter has done, and one day, coming into the studio, I caught sight of a full-length portrait I had never seen before on the easel.

"It was in the back room turned to the wall," he said. "I took it out, thinking that the Russian prince who ordered the Pegasus decoration might buy it," and he turned away, not liking to hear my praise of it; for it neither pleases a painter to hear his early works praised nor abused. "I painted it before I knew how to paint," and standing before me, his palette in his hand, he expounded his new aestheticism: that up to the beginning of the nineteenth century all painting had been done first in monochrome and then glazed, and what we know as solid painting had been invented by Greuze. One day in the Louvre he had perceived something in Delacroix, something not wholly satisfactory; this something had set him thinking. It was Rubens, however, who had revealed the secret! It was Rubens who had taught him how to paint! He admitted that there was danger in retracing one's steps, in beginning one's education over again; but what help was there for it, since painting was not taught in the schools.

I had heard all he had to say before, and could not change my belief that every man must live in the ideas of his time, be they good or bad. It is easy to say that we must only adopt Rubens's method and jealously guard against any infringement on our personality; but in art our personality is determined by the methods we employ, and Octave's portrait interested me more than the Pegasus decoration, or the three pink Venuses holding a basket of flowers above their heads. The portrait was crude and violent, but so was the man that had painted it; he had painted it when he was a disciple of Manet's, and the methods of Manet were in agreement with my friend's temperament. We are all impressionists to-day; we are eager to note down what we feel and see; and the carefully prepared rhetorical manner of Rubens was as incompatible with Octave's temperament as the manner of John Milton is with mine. There was a thought of Goya in the background, in the contrast between the grey and the black, and there was something of Manet's simplifications in the face, but these echoes were faint, nor did they matter, for they were of our time. In looking at his model he had seen and felt something; he had noted this harshly, crudely, but he noted it; and to do this, is after all the main thing. His sitter had inspired him. The word "inspired" offended him; I withdrew it; I said that he had been fortunate in his model, and he admitted that: to see that thin, olive-complexioned girl with fine delicate features and blue-black hair lying close about her head like feathers—she wore her hair as a blackbird wears his wing—compelled one to paint; and after admiring the face I admired the black silk dress he had painted her in, a black silk dress covered with black lace. She wore grey pearls in her ears, and pearls upon her neck.

I was interested in the quality of the painting, so different from Octave's present painting, but I was more interested in the woman herself. The picture revealed to me something in human nature that I had never seen before, something that I had never thought of. The soul in this picture was so intense that I forgot the painting, and began to think of her. She was unlike any one I had ever met in Octave Barres's studio; a studio beloved of women; the women one met there seemed to be of all sorts, but in truth they were all of a sort. They began to arrive about four o'clock in the afternoon, and they stayed on until they were sent away. He allowed them to play the piano and sing to him; he allowed them, as he would phrase it, to grouiller about the place, and they talked of the painters they had sat to, of their gowns, and they showed us their shoes and their garters. He heeded them hardly at all, walking to and fro thinking of his painting, of his archaic painting. I often wondered if his appearance counted for anything in his renunciation of modern methods, and certainly his appearance was a link of association; he did not look like a modern man, but like a sixteenth-century baron; his beard and his broken nose and his hierarchial air contributed to the resemblance; the jersey he wore reminded one of a cuirass, a coat of mail. Even in his choice of a dwelling-place he seemed instinctively to avoid the modern; he had found a studio in the street, the name of which no one had ever heard before; it was found with difficulty; and the studio, too, it was hidden behind great crumbling walls, in the middle of a plot of ground in which some one was growing cabbages. Octave was always, as he would phrase it, dans une deche epouvantable, but he managed to keep a thoroughbred horse in the stable at the end of the garden, and this horse was ordered as soon as the light failed. He would say, "Mes amis et mes amies, je regrette, mais mon cheval m'attend." And the women liked to see him mount, and many thought, I am sure, that he looked like a Centaur as he rode away.

But who was this refined girl? this—a painting tells things that cannot be translated into words—this olive-skinned girl who might have sat to Raphael for a Virgin, so different from Octave's usual women? They were of the Montmartre kin; but this woman might be a Spanish princess. And remembering that Octave had said he had taken out the portrait hoping that the Russian who had ordered the Pegasus might buy it, the thought struck me that she might be the prince's mistress. His mistress! Oh, what fabulous fortune! What might her history be? I burned to hear it, and wearied of Octave's seemingly endless chatter about his method of painting; I had heard all he was saying many times before, but I listened to it all again, and to propitiate him I regretted that the picture was not painted in his present manner, "for there are good things in the picture," I said, "and the model—you seem to have been lucky with your model."

"Yes, she was nice to paint from, but it was difficult to get her to sit. A concierge's daughter—you wouldn't think it, would you?" My astonishment amused him, and he began to laugh. "You don't know her?" he said. "That is Marie Pellegrin," and when I asked him where he had met her he told me, at Alphonsine's; but I did not know where Alphonsine's was.

"I'm going to dine there to-night. I'm going to meet her; she's going back to Russia with the prince; she has been staying in the Quartier Breda on her holiday. Sacre nom! Half-past five, and I haven't washed my brushes yet!"

In answer to my question, what he meant by going to the Quartier Breda for a holiday, he said:

"I'll tell you all about that in the carriage."

But no sooner had we got into the carriage than he remembered that he must leave word for a woman who had promised to sit to him, and swearing that a message would not delay us for more than a few minutes he directed the coachman. We were shown into a drawing-room, and the lady ran out of her bedroom, wrapping herself as she ran in a peignoir, and the sitting was discussed in the middle of a polished parquet floor. We at last returned to the carriage, but we were hardly seated when he remembered another appointment. He scribbled notes in the lodges of the concierges, and between whiles told me all he knew of the story of Marie Pellegrin. This delicate woman that I had felt could not be of the Montmartre kin was the daughter of a concierge on the Boulevard Exterieur. She had run away from home at fifteen, had danced at the Elysee Montmartre.

Sa jupe avait des trous, Elle aimait des voyous, Ils ont des yeux si doux.

But one day a Russian prince had caught sight of her, and had built her a palace in the Champs Elysees; but the Russian prince and his palace bored her.

The stopping of the carriage interrupted Octave's narrative. "Here we are," he said, seizing a bell hanging on a jangling wire, and the green door in the crumbling wall opened, and I saw an undersized woman—I saw Alphonsine! And her portrait, a life-sized caricature drawn by Octave, faced me from the white-washed wall of the hen-coop. He had drawn her two cats purring about her legs, and had written under it, "Ils viennent apres le mou." Her garden was a gravelled space; I think there was one tree in it. A tent had been stretched from wall to wall; and a seedy-looking waiter laid the tables (there were two), placing bottles of wine in front of each knife and fork, and bread in long sticks at regular intervals. He was constantly disturbed by the ringing of the bell, and had to run to the door to admit the company. Here and there I recognised faces that I had already seen in the studio; Clementine, who last year was studying the part of Elsa and this year was singing, "La femme de feu, la cui, la cui, la cuisiniere," in a cafe chantant; and Margaret Byron, who had just retreated from Russia—a disastrous campaign hers was said to have been. The greater number were hors concours, for Alphonsine's was to the aged courtesan what Chelsea Hospital is to the aged soldier. It was a sort of human garden full of the sound and colour of October.

I scrutinised the crowd. How could any one of these women interest the woman whose portrait I had seen in Barres's studio? That one, for instance, whom I saw every morning in the Rue des Martyres, in a greasy peignoir, going marketing, a basket on her arm. Search as I would I could not find a friend for Marie among the women nor a lover among the men—neither of those two stout middle-aged men with large whiskers, who had probably once been stockbrokers, nor the withered journalist whom I heard speaking to Octave about a duel he had fought recently; nor the little sandy Scotchman whose French was not understood by the women and whose English was nearly unintelligible to me; nor the man who looked like a head-waiter— Alphonsine's lover; he had been a waiter, and he told you with the air of Napoleon describing Waterloo that he had "created" a certain fashionable cafe on the Boulevard. I could not attribute any one of these men to Marie; and Octave spoke of her with indifference; she had interested him to paint, and now he hoped she would get the Russian to buy her picture.

"But she's not here," I said.

"She'll be here presently," Octave answered, and he went on talking to Clementine, a fair pretty woman whom one saw every night at the Rat Mort. It was when the soup-plates were being taken away that I saw a young woman dressed in black coming across the garden.

It was she, Marie Pellegrin.

She wore a dress similar to the one she wore in her portrait, a black silk covered with lace, and her black hair was swathed about her shapely little head. She was her portrait and something more. Her smile was her own, a sad little smile that seemed to come out of a depth of her being, and her voice was a little musical voice, irresponsible as a bird's, and during dinner I noticed how she broke into speech abruptly as a bird breaks into song, and she stopped as abruptly. I never saw a woman so like herself, and sometimes her beauty brought a little mist into my eyes, and I lost sight of her or very nearly, and I went on eating mechanically. Dinner seemed to end suddenly, and before I knew that it was over we were getting up from table.

As we went towards the house where coffee was being served, Marie asked me if I played cards, but I excused myself, saying that I would prefer to sit and look at her; and just then a thin woman with red hair, who had arrived at the same time as Marie and who had sat next her at dinner, was introduced to me, and I was told that she was Marie's intimate friend, and that the two lived together whenever Marie returned to Montmartre. She was known as La Glue, her real name was Victorine, she had sat for Manet's picture of Olympe, but that was years ago. The face was thinner, but I recognised the red hair and the brown eyes, small eyes set closely, reminding one of des petits verres de cognac. Her sketch-book was being passed round, and as it came into my hands I noticed that she did not wear stays and was dressed in old grey woollen. She lit cigarette after cigarette, and leaned over Marie with her arm about her shoulder, advising her what cards to play. The game was baccarat, and in a little while I saw that Marie was losing a great deal of money, and a little later I saw La Glue trying to persuade her away from the card-table.

"One more deal." That deal lost her the last louis she had placed on the table. "Some one will have to pay my cab," she said.

We were going to the Elysee Montmartre, and Alphonsine lent her a couple of louis, pour passer sa soiree, and we all went away in carriages, the little horses straining up the steep streets; the plumes of the women's hats floating over the carriage hoods. Marie was in one of the front carriages, and was waiting for us on the high steps leading from the street to the bal.

"It's my last night," she said, "the last night I shall see the Elysee for many a month."

"You'll soon be back again?"

"You see, I have been offered five hundred thousand francs to go to Russia for three years. Fancy three years without seeing the Elysee," and she looked round as an angel might look upon Paradise out of which she is about to be driven. "The trees are beautiful," she said, "they're like a fairy tale," and that is exactly what they were like, rising into the summer darkness, unnaturally green above the electric lights. In the middle of a circle of white globes the orchestra played upon an estrade, and everyone whirled his partner as if she were a top. "I always sit over there under the trees in the angle," she said; and she was about to invite me to come and sit with her when her attention was distracted from me; for the people had drawn together into groups, and I heard everybody whispering: "That's Marie Pellegrin." Seeing her coming, her waiter with much ostentation began to draw aside tables and chairs, and in a few minutes she was sitting under her tree, she and La Glue together, their friends about them, Marie distributing absinthe, brandy, and cigarettes. A little procession suddenly formed under the trees and came towards her, and Marie was presented with a great basket of flowers, and all her company with bouquets; and a little cheer went up from different parts of the bal, "Vive Marie Pellegrin, la reine de l'Elysee."

The music began again, the people rushed to see a quadrille where two women, with ease, were kicking off men's hats; and while watching them I heard that a special display of fireworks had been arranged in Marie's honour, the news having got about that this was her last night at the Elysee. A swishing sound was heard; the rocket rose to its height high up in the thick sky. Then it dipped over, the star fell a little way and burst: it melted into turquoise blue, and changed to ruby red, beautiful as the colour of flowers, roses or tulips. The falling fire changed again and again. And Marie stood on a chair and watched till the last sparks vanished.

"Doesn't she look like my picture now?" said Octave.

"You seemed to have divined her soul."

He shrugged his shoulders contemptuously. "I'm not a psychologist; I am a painter. But I must get a word with her," and with a carelessness that was almost insolence, he pushed his way into the crowd and called her, saying he wanted to speak to her; and they walked round the bal together. I could not understand his indifference to her charm, and asked myself if he had always been so indifferent. In a little while they returned.

"I'll do my best," I heard her say; and she ran back to join her companions.

"I suppose you've seen enough of the Elysee?"

"Ah! qu'elle est jolie ce soir; et elle ferait joliment marcher le Russe."

We walked on in silence. Octave did not notice that he had said anything to jar my feelings; he was thinking of his portrait, and presently he said that he was sorry she was going to Russia.

"I should like to begin another portrait, now that I have learned to paint."

"Do you think she'll go to Russia?"

"Yes, she'll go there; but she'll come back one of these days, and I'll get her to sit again. It is extraordinary how little is known of the art of painting; the art is forgotten. The old masters did perfectly in two days what we spend weeks fumbling at. In two days Rubens finished his grisaille, and the glazing was done with certainty, with skill, with ease in half an hour! He could get more depth of colour with a glaze than any one can to-day, however much paint is put on the canvas. The old masters had method; now there's none. One brush as well as another, rub the paint up or down, it doesn't matter so long as the canvas is covered. Manet began it, and Cezanne has—well, filed the petition: painting is bankrupt."

I listened to him a little wearily, for I had heard all he was saying many times before; but Octave always talked as he wanted to talk, and this evening he wanted to talk of painting, not of Marie, and I was glad when we came to the spot where our ways parted.

"You know that the Russian is coming to the studio to-morrow; I hope he'll buy the portrait."

"I hope he will," I said. "I'd buy it myself if I could afford it."

"I'd prefer you to have something I have done since, unless it be the woman you're after ... but one minute. You're coming to sit to me the day after to-morrow?"

"Yes," I said, "I'll come."

"And then I'll be able to tell you if he has bought the picture."

Three days afterwards I asked Octave on the threshold if the Russian had bought the portrait, and he told me nothing had been definitely settled yet.

Marie had gone to St. Petersburg with the prince, and this was the last news I had of her for many months. But a week rarely passed without something happening to remind me of her. One day a books of travels in Siberia opened at a passage telling how a boy belonging to a tribe of Asiatic savages had been taken from his deserts, where he had been found deserted and dying, and brought to Moscow. The gentleman who had found him adopted and educated him, and the reclaimed savage became in time a fashionable young man about town, betraying no trace of his origin until one day he happened to meet one of his tribe. The man had come to Moscow to sell skins; and the smell of the skins awoke a longing for the desert. The reclaimed savage grew melancholy; his adopted father tried in vain to overcome the original instinct; presents of money did not soothe his homesickness. He disappeared, and was not heard of for years until one day a caravan came back with the news of a man among the savages who had betrayed himself by speaking French. On being questioned, he denied any knowledge of French; he said he had never been to St. Petersburg, nor did he wish to go there. And what was this story but the story of Marie Pellegrin, who, when weary of Russian princes and palaces, returned for her holiday to the Quartier Breda?

A few days afterwards I heard in Barres's studio that she had escaped from Russia; and that evening I went to Alphonsine's to dinner, hoping to see her there. But she was not there. There was no one there except Clementine and the two stockbrokers; and I waited eagerly for news of her. I did not like to mention her name, and the dreary dinner was nearly over before her name was mentioned. I heard that she was ill; no, not dying, but very ill. Alphonsine gave me her address; a little higher up on the same side as the Cirque Fernando, nearly facing the Elysee Montmartre. The number I could inquire out, she said, and I went away in a cab up the steep and stony Rue des Martyres, noticing the cafe and then the brasserie and a little higher up the fruit-seller and the photographer. When the mind is at stress one notices the casual, and mine was at stress, and too agitated to think. The first house we stopped at happened to be the right one, and the concierge said, "The fourth floor." As I went upstairs I thought of La Glue, of her untidy dress and her red hair, and it was she who answered the bell and asked me into an unfurnished drawing-room, and we stood by the chimneypiece.

"She's talking of going to the Elysee to-night. Won't you come in? She'd like to see you. There are three or four of us here. You know them. Clementine, Margaret Byron?" And she mentioned some other names that I did not remember, and opening a door she cried: "Marie, here's a visitor for you, a gentleman from Alphonsine's. You know, dear, the Englishman, Octave Barres's friend."

She gave me her hand, and I held it a long while.

"Comme les Anglais sont gentils. Des qu'on est malade—"

I don't think Marie finished the sentence, if she did I did not hear her; but I remember quite well that she spoke of my distaste for cards.

"You didn't play that night at Alphonsine's when I lost all my money. You preferred to look at Victorine's drawings. She has done some better ones. Go and look at them, and let's finish our game. Then I'll talk to you. So you heard about me at Alphonsine's? They say I'm very ill, don't they? But now that I've come back I'll soon get well. I'm always well at Montmartre, amn't I, Victorine?" "Nous ne sommes pas installes encore," Marie said, referring to the scarcity of furniture, and to the clock and candelabra which stood on the floor. But if there were too few chairs, there was a good deal of money and jewellery among the bed-clothes; and Marie toyed with this jewellery during the games. She wore large lace sleeves, and the thin arms showed delicate and slight when she raised them to change her ear-rings. Her small beauty, fashioned like an ivory, contrasted with the coarse features about her, and the little nose with beautifully shaped nostrils, above all the mouth fading at the ends into faint indecisions. Every now and then a tenderness came over her face; Octave had seen the essential in her, whatever he might say; he had painted herself—her soul; and Marie's soul rose up like a water-flower in her eyes, and then the soul sank out of sight, and I saw another Marie, une grue, playing cards with five others from Alphonsine's, losing her money and her health. A bottle of absinthe stood on a beautiful Empire table that her prince had given her, and Bijou, Clementine's little dog, slept on an embroidered cushion. Bijou was one of those dear little Japanese or Chinese spaniels, those dogs that are like the King Charles. She was going to have puppies, and I was stroking her silky coat thinking of her coming trouble, when I suddenly heard Clementine's voice raised above the others, and looking up I saw a great animation in her face; I heard that the cards had not been fairly dealt, and then the women threw their cards aside, and La Glue told Clementine that she was not wanted, that elle ferait bien de debarrasser les planches, that was the expression she used. I heard further accusations, and among them the plaintive voice of Marie begging of me not to believe what they said. The women caught each other by the hair, and tore at each other's faces, and Marie raised herself up in bed and implored them to cease; and then she fell back crying. For a moment it seemed as if they were going to sit down to cards again, but suddenly everybody snatched her own money and then everybody snatched at the money within her reach; and, calling each other thieves, they struggled through the door, and I heard them quarrelling all the way down the staircase. Bijou jumped from her chair and followed her mistress.

"Help me to look," Marie said; and looking I saw her faint hands seeking through the bed-clothes. Some jewellery was missing, a bracelet and some pearls, as well as all her money. Marie fell back among the pillows unable to speak, and every moment I dreaded a flow of blood. She began to cry, and the little lace handkerchief was soon soaking. I had to find her another. The money that had been taken had been paid her by a fournisseur in the Quartier, who had given her two thousand francs for her garniture de cheminee. A few francs were found among the bed-clothes, and these few francs, she said, were sufficient pour passer sa soiree, and she begged me to go the dressmaker to inquire for the gown that had been promised for ten o'clock.

"I shall be at the Elysee by eleven. Au revoir, au revoir! Let me rest a little now. I shall see you to-night. You know where I always sit, in the left-hand corner; they always keep those seats for me."

Her eyes closed, I could see that she was already asleep, and her calm and reasonable sleep reminded me of her agitated and unreasonable life; and I stood looking at her, at this poor butterfly who was lying here all alone, robbed by her friends and associates. But she slept contentedly, having found a few francs that they had overlooked amid the bedclothes, enough to enable her to pass her evening at the Elysee! The prince might be written to; but he, no doubt, was weary of her inability to lead a respectable life, and knew, no doubt, that if he were to send her money, it would go as his last gift had gone. If she lived, Marie would one day be selling fried potatoes on the streets. And this decadence—was it her fault? Octave would say: "Qu'est ce que cela peut nous faire, une fille plus ou moins fichue ... si je pouvais reussir un peu dans ce sacre metier!" This was how he talked, but he thought more profoundly in his painting; his picture of her was something more than mere sarcasm.

She was going to the Elysee to-night. It was just six o'clock, so she wanted her dress by ten. I must hasten away to the dressmaker at once; it might be wiser not—she lay in bed peaceful and beautiful; at the Elysee she would be drinking absinthe and smoking cigarettes until three in the morning. But I had promised: she wouldn't forgive me if I didn't, and I went.

The dressmaker said that Madame Pellegrin would have her dress by nine, and at half-past ten I was at the Elysee waiting for her.

How many times did I walk round the gravel path, wearying of the unnatural green of the chestnut leaves and of the high kicking in the quadrilles? Now and then there would be a rush of people, and then the human tide would disperse again under the trees among the zinc chairs and tables, for the enjoyment of bocks and cigars. I noticed that Marie's friends spent their evening in the left-hand corner; but they did not call me to drink with them, knowing well that I knew the money they were spending was stolen money.

I left the place discontented and weary, glad in a way that Marie had not come. No doubt the dressmaker had disappointed her, or maybe she had felt too ill. There was no time to go to inquire in the morning, for I was breakfasting with Octave, and in the afternoon sitting to him.

We were in the middle of the sitting, he had just sketched in my head, when we heard footsteps on the stairs.

"Only some women," he said; "I've a mind not to open the door."

"But do," I said, feeling sure the women were Marie's friends bringing news of her. And it was so. She had been found dead on her balcony dressed in the gown that had just come home from the dressmaker.

I hoped that Octave would not try to pass the matter off with some ribald jest, and I was surprised at his gravity. "Even Octave," I said, "refrains, on ne blague pas la mort."

"But what was she doing on the balcony?" he asked. "What I don't understand is the balcony."

We all stood looking at her picture, trying to read the face.

"I suppose she went out to look at the fireworks; they begin about eleven."

It was one of the women who had spoken, and her remark seemed to explain the picture.



CHAPTER V

LA BUTTE

To-morrow I shall drive to breakfast, seeing Paris continuously unfolding, prospect after prospect, green swards, white buildings, villas engarlanded; to-day I drive to breakfast through the white torridities of Rue Blanche. The back of the coachman grows drowsier, and would have rounded off into sleep long ago had it not been for the great paving stones that swing the vehicle from side to side, and we have to climb the Rue Lepic, and the poor little fainting animal will never be able to draw me to the Butte. So I dismiss my carriage, half out of pity, half out of a wish to study the Rue Lepic, so typical is it of the upper lower classes. In the Rue Blanche there are portes-cocheres, but in Rue Lepic there are narrow doors, partially grated, open on narrow passages at the end of which, squeezed between the wall and the stairs, are small rooms where concierges sit, eternally en camisole, amid vegetables and sewing. The wooden blinds are flung back on the faded yellow walls, revealing a portion of white bed-curtain and a heavy middle-aged woman, en camisole, passing between the cooking stove, in which a rabbit in a tin pail lies steeping, and the men sitting at their trades in the windows. The smell of leather follows me for several steps; a few doors farther a girl sits trimming a bonnet, her mother beside her. The girl looks up, pale with the exhausting heat. At the corner of the next street there is the marchand de vins, and opposite the dirty little charbonnier, and standing about a little hole which he calls his boutique a group of women in discoloured peignoirs and heavy carpet slippers. They have baskets on their arms. Everywhere traces of meagre and humble life, but nowhere do I see the demented wretch common in our London streets—the man with bare feet, the furtive and frightened creature, gnawing a crust and drawing a black, tattered shirt about his consumptive chest.

The asphalt is melting, the reverberation of the stones intolerable, my feet ache and burn. At the top of the street I enter a still poorer neighbourhood, a still steeper street, but so narrow that the shadow has already begun to draw out on the pavements. At the top of the street is a stairway, and above the stairway a grassy knoll, and above the knoll a windmill lifts its black and motionless arms. For the mill is now a mute ornament, a sign for the Bal du Moulin de la Galette.

As I ascend the street grows whiter, and at the Butte it is empty of everything except the white rays of noon. There are some dusty streets, and silhouetting against the dim sky a dilapidated facade of some broken pillars. Some stand in the midst of ruined gardens, circled by high walls crumbling and white, and looking through a broken gateway I see a fountain splashing, but nowhere the inhabitants that correspond to these houses—only a workwoman, a grisette, a child crying in the dust. The Butte Montmartre is full of suggestion; grand folk must at some time have lived there. Could it be that this place was once country? To-day it is full of romantic idleness and abandonment.

On my left an iron gateway, swinging on rusty hinges, leads on to a large terrace, at the end of which is a row of houses. It is in one of these houses that my friend lives, and as I pull the bell I think that the pleasure of seeing him is worth the ascent, and my thoughts float back over the long time I have known Paul. We have known each other always, since we began to write. But Paul is not at home. The servant comes to the door with a baby in her arms, another baby! and tells me that Monsieur et Madame are gone out for the day. No breakfast, no smoke, no talk about literature, only a long walk back—cabs are not found at these heights—a long walk back through the roasting sun. And it is no consolation to be told that I should have written and warned them I was coming.

But I must rest, and ask leave to do so, and the servant brings me in some claret and a siphon. The study is better to sit in than the front room, for in the front room, although the shutters are closed, the white rays pierce through the chinks, and lie like sword-blades along the floor. The study is pleasant and the wine refreshing. The house seems built on the sheer hillside. Fifty feet—more than that—a hundred feet under me there are gardens, gardens caught somehow in the hollow of the hill, and planted with trees, tall trees, for swings hang out of them, otherwise I should not know they were tall. From this window they look like shrubs, and beyond the houses that surround these gardens Paris spreads out over the plain, an endless tide of bricks and stone, splashed with white when the sun shines on some railway station or great boulevard: a dim reddish mass, like a gigantic brickfield, and far away a line of hills, and above the plain a sky as pale and faint as the blue ash of a cigarette.

I can never look upon this city without strong emotion; it has been all my life to me. I came here in my youth, I relinquished myself to Paris, never extending once my adventure beyond Bas Meudon, Ville d'Avray, Fontainebleau—and Paris has made me. How much of my mind do I owe to Paris? And by thus acquiring a fatherland more ideal than the one birth had arrogantly imposed, because deliberately chosen, I have doubled my span of life. Do I not exist in two countries? Have I not furnished myself with two sets of thoughts and sensations? Ah! the delicate delight of owning un pays ami—a country where you may go when you are weary to madness of the routine of life, sure of finding there all the sensations of home, plus those of irresponsible caprice. The pleasure of a literature that is yours without being wholly your own, a literature that is like an exquisite mistress, in whom you find consolation for all the commonplaces of life! The comparison is perfect, for although I know these French folk better than all else in the world, they must ever remain my pleasure, and not my work in life. It is strange that this should be so, for in truth I know them strangely well. I can see them living their lives from hour to hour; I know what they would say on any given occasion.

There is Paul. I understand nothing more completely than that man's mind. I know its habitual colour and every varying shade, and yet I may not make him the hero of a novel when I lay the scene in Montmartre, though I know it so well. I know when he dresses, how long he takes to dress, and what he wears. I know the breakfast he eats, and the streets down which he passes—their shape, their colour, their smell. I know exactly how life has come to him, how it has affected him. The day I met him in London! Paul in London! He was there to meet une petite fermiere with whom he had become infatuated when he went to Normandy to finish his novel. Paul is foncierement bon; he married her, and this is their abode. There is the salle-a-manger, furnished with a nice sideboard in oak, and six chairs to match; on the left is their bedroom, and there is the baby's cot, a present from le grand, le cher et illustre maitre.

Paul and Mrs. Paul get up at twelve, and they loiter over breakfast; some friends come in and they loiter over les petits verres. About four Paul begins to write his article, which he finishes or nearly finishes before dinner. They loiter over dinner until it is time for Paul to take his article to the newspaper. He loiters in the printing office or the cafe until his proof is ready, and when that is corrected he loiters in the many cafes of the Faubourg Montmartre, smoking interminable cigars, finding his way back to the Butte between three and four in the morning. Paul is fat and of an equable temperament. He believes in naturalism all the day, particularly after a breakfast over les petits verres. He never said an unkind word to any one, and I am sure never thought one. He used to be fond of grisettes, but since he married he has thought of no one but his wife. Il ecrit des choses raides, but no woman ever had a better husband. And now you know him as well as I do. Here are his own books, "The End of Lucie Pellegrin," the story that I have just finished writing: I think I must explain how it was that I have come to rewrite one of Paul's stories, the best he ever wrote. I remember asking him why he called her Lucie, and he was surprised to hear her name was Marie; he never knew her, he had never been to Alphonsine's, and he had told the story as he had picked it up from the women who turned into the Rat Mort at midnight for a soupe a l'oignon. He said it was a pity he did not know me when he was writing it, for I could have told him her story more sympathetically than the women in the Rat Mort, supplying him with many pretty details that they had never noticed or had forgotten. It would have been easy for me to have done this, for Marie Pellegrin is enshrined in my memory like a miniature in a case. I press a spring, and I see the beautifully shaped little head, the pale olive face, the dark eyes, and the blue-black hair. Marie Pellegrin is really part of my own story, so why should I have any scruple about telling it? Merely because my friend had written it from hearsay? Whereas I knew her; I saw her on her death-bed. Chance made me her natural historian. Now I think that every one will accept my excuses, and will acquit me of plagiarism.

I see the Rougon-Macquart series, each volume presented to him by the author, Goncourt, Huysmans, Duranty, Ceard, Maupassant, Hennique, etc.; in a word, the works of those with whom I grew up, those who tied my first literary pinafore round my neck. But here are "Les Moralites Legendaires" by Jules Laforgue, and "Les Illuminations" by Rambaud. Paul has not read these books; they were sent to him, I suppose, for review, and put away on the bookcase, all uncut; their authors do not visit here.

And this sets me thinking that one knows very little of any generation except one's own. True that I know a little more of the symbolists than Paul. I am the youngest of the naturalists, the eldest of the symbolists. The naturalists affected the art of painting, the symbolists the art of music; and since the symbolists there has been no artistic manifestation—the game is played out. When Huysmans and Paul and myself are dead, it will be as impossible to write a naturalistic novel as to revive the megatherium. Where is Hennique? When Monet is dead it will be as impossible to paint an impressionistic picture as to revive the ichthyosaurus. A little world of ideas goes by every five-and-twenty years, and the next that emerges will be incomprehensible to me, as incomprehensible as Monet was to Corot.... Was the young generation knocking at the door of the Opera Comique last night? If the music was the young generation, I am sorry for it. It was the second time I had gone. I had been to hear the music, and I left exasperated after the third act. A friend was with me and he left, but for different reasons; he suffered in his ears; it was my intelligence that suffered. Why did the flute play the chromatic scale when the boy said, "Il faut que cela soit un grand navire," and why were all the cellos in motion when the girl answered, "Cela ou bien tout autre chose?" I suffered because of the divorce of the orchestra and singers, uniting perhaps at the end of the scene. It was speaking through music, no more, monotonous as the Sahara, league after league, and I lost amid sands. A chord is heard in "Lohengrin" to sustain Elsa's voice, and it performs its purpose; a motive is heard to attract attention to a certain part of the story, and it fills its purpose, when Ortrud shrieks out the motive of the secret, and in its simplest form, at the church door, the method may be criticised as crude, but the crudest melodrama is better than this desert wandering. While I ponder on the music of the younger generation, remembering the perplexity it had caused me, I hear a vagrant singing on the other side of the terrace:



Moi, je m'en fous, Je reste dans mon trou

and I say: "I hear the truth in the mouth of the vagrant minstrel, one who possibly has no trou wherein to lay his head." Et moi aussi, je reste dans mon trou, et mon trou est assez beau pour que j'y reste, car mon trou est—Richard Wagner. My trou is the Ring—the Sacrosanct Ring. Again I fall to musing. The intention of Liszt and Wagner and Strauss was to write music. However long Wotan might ponder on Mother Earth the moment comes when the violins begin to sing; ah! how the spring uncloses in the orchestra, and the lovers fly to the woods!...

The vagrant continued his wail, and forgetful of Paul, forgetful of all things but the philosophy of the minstrel of the Butte, I picked my way down the tortuous streets repeating:



Moi, je m'en fous, Je reste dans mon trou



CHAPTER VI

SPENT LOVES

I am going to see dear and affectionate friends. The train would take me to them, that droll little chemin de fer de ceinture, and it seems a pity to miss the Gare St. Lazare, its Sunday morning tumult of Parisians starting with their mistresses and their wives for a favourite suburb. I never run up these wide stairways leading to the great wide galleries full of bookstalls (charming yellow notes), and pierced with little guichets painted round with blue, without experiencing a sensation of happy lightness—a light-headedness that I associate with the month of May in Paris. But the tramway that passes through the Place de la Concorde goes as far as Passy, and though I love the droll little chemin de fer de ceinture I love this tramway better. It speeds along the quays between the Seine and the garden of the Champs Elysees, through miles of chestnut bloom, the roadway chequered with shadows of chestnut leaves; the branches meet overhead, and in a faint delirium of the senses I catch at a bloom, cherish it for a moment, and cast it away. The plucky little steamboats are making for the landing-places, stemming the current. I love this sprightly little river better than the melancholy Thames, along whose banks saturnine immoralities flourish like bulrushes! Behold the white architecture, the pillars, the balustraded steps, the domes in the blue air, the monumented swards! Paris, like all pagan cities, is full of statues. A little later we roll past gardens, gaiety is in the air.... And then the streets of Passy begin to appear, mean streets, like London streets. I like them not; but the railway station is compensation; the little railway station like a house of cards under toy trees, and the train steaming out into the fanciful country. The bright wood along which it speeds is like the season's millinery.

It is pleasant to notice everything in Paris, the flymen asleep on their box-seats, the little horses dozing beneath the chestnut trees, the bloused workmen leaning over a green-painted table in an arbour, drinking wine at sixteen sous the litre, the villas of Auteuil, rich woodwork, rich iron railings, and the summer hush about villas engarlanded. Auteuil is so French, its symbolism enchants me. Auteuil is like a flower, its petals opening out to the kiss of the air, its roots feeling for way among the rich earth. Ah, the land of France, its vineyards and orchards, its earthly life! Thoughts come unbidden, my thoughts sing together, and I hardly knowing what they are singing. My thoughts are singing like the sun; do not ask me their meaning; they mean as much and as little as the sun that I am part of—the sun of France that I shall enjoy for thirty days. May takes me to dear and affectionate friends who await me at Auteuil, and June takes me away from them. There is the villa! And there amid the engarlanding trees my friend, dressed in pale yellow, sits in front of his easel. How the sunlight plays through the foliage, leaping through the rich, long grass; and amid the rhododendrons in bloom sits a little girl of four, his model, her frock and cap impossibly white under the great, gaudy greenery.

Year after year the same affectionate welcome, the same spontaneous welcome in this garden of rhododendrons and chestnut bloom. I would linger in the garden, but I may not, for breakfast is ready et il ne faut pas faire manquer la messe a Madame. La messe! How gentle the word is, much gentler than our word, mass, and it shocks us hardly at all to see an old lady going away in her carriage pour entendre la messe. Religion purged of faith is a pleasant, almost a pretty thing. Some fruits are better dried than fresh; religion is such a one, and religion, when nothing is left of it but the pleasant, familiar habit, may be defended, for were it not for our habits life would be unrecorded, it would be all on the flat, as we would say if we were talking about a picture without perspective. Our habits are our stories, and tell whence we have come and how we came to be what we are. This is quite a pretty reflection, but there is no time to think the matter out—here is the doctor! He lifts his skull-cap, and how beautiful is the gesture; his dignity is the dignity that only goodness gives; and his goodness is a pure gift, existing independent of formula, a thing in itself, like Manet's painting. It was Degas who said, "A man whose profile no one ever saw," and the aphorism reminds us of the beautiful goodness that floats over his face, a light from Paradise. But why from Paradise? Paradise is an ugly ecclesiastical invention, and angels are an ugly Hebrew invention. It is unpardonable to think of angels in Auteuil; an angel is a prig compared to the dear doctor, and an angel has wings. Well, so had this admirable chicken, a bird that was grown for the use of the table, produced like a vegetable. A dear bird that was never allowed to run about and weary itself as our helpless English chicken is; it lived to get fat without acquiring any useless knowledge or desire of life; it became a capon in tender years, and then a pipe was introduced into its mouth and it was fed by machinery until it could hardly walk, until it could only stagger to its bed, and there it lay in happy digestion until the hour came for it to be crammed again. So did it grow up without knowledge or sensation or feeling of life, moving gradually, peacefully towards its predestined end—a delicious repast! What better end, what greater glory than to be a fat chicken? The carcasses of sheep that hang in butchers' shops are beginning to horrify the conscience of Europe. To cut a sheep's throat is an offensive act, but to clip out a bird's tongue with a long pair of scissors made for the purpose is genteel. It is true that it beats its wings for a few moments, but we must not allow ourselves to be disturbed by a mere flutter of feathers. Man is merciful, and saved it from life. It grew like an asparagus! And talking of asparagus, here are some from Argenteuil thick as umbrellas and so succulent! A word about the wine. French red wines in England always seem to taste like ink, but in France they taste of the sun. Melons are better in June—that one comes, no doubt, from Algeria. It is, however, the kind I like best, the rich, red melon that one eats only in France; a thing of the moment, unrememberable; but the chicken will never be forgotten; twenty years hence I shall be talking of a chicken, that in becoming a fat chicken acquired twenty years of immortality—which of us will acquire as many?

As we rise from table the doctor calls me into his studio: for he would give me an excellent cigar before he bids me good-bye, and having lighted it I follow my friend to the studio at the end of the garden, to that airy drawing-room which he has furnished in pale yellow and dark blue. On the walls are examples of the great modern masters—Manet and Monet. That view of a plain by Monet—is it not facile? It flows like a Japanese water-colour: the low horizon evaporating in the low light, the spire of the town visible in the haze. And look at the celebrated "Lecon de Danse" by Degas—that dancer descending the spiral staircase, only her legs are visible, the staircase cutting the picture in twain. On the right is the dancing class and the dancing master; something has gone wrong, and he holds out his hands in entreaty; a group of dancers are seated on chairs in the foreground, and their mothers are covering their shoulders with shawls—good mothers anxious for their daughters' welfare, for their advancement in life.

This picture betrays a mind curious, inquisitive and mordant; and that plaid shawl is as unexpected as an adjective of Flaubert's. A portrait by Manet hangs close by, large, permanent and mysterious as nature. Degas is more intellectual, but how little is intellect compared with a gift like Manet's! Yesterday I was in the Louvre, and when wearied with examination and debate—I had gone there on a special errand—I turned into the Salle Carree for relaxation, and there wandered about, waiting to be attracted. Long ago the Mona Liza was my adventure, and I remember how Titian's "Entombment" enchanted me; another year I delighted in the smooth impartiality of a Terbourg interior; but this year Rembrandt's portrait of his wife held me at gaze. The face tells of her woman's life, her woman's weakness, and she seems conscious of the burden of her sex, and of the burden of her own special lot—she is Rembrandt's wife, a servant, a satellite, a watcher. The emotion that this picture awakens is an almost physical emotion. It gets at you like music, like a sudden breath of perfume. When I approach, her eyes fade into brown shadow, but when I withdraw they begin telling her story. The mouth is no more than a little shadow, but what wistful tenderness there is in it! and the colour of the face is white, faintly tinted with bitumen, and in the cheeks some rose madder comes through the yellow. She wears a fur jacket, but the fur was no trouble to Rembrandt; he did not strive for realism. It is fur, that is sufficient. Grey pearls hang in her ears, there is a brooch upon her breast, and a hand at the bottom of the picture passing out of the frame, and that hand reminds one, as the chin does, of the old story that God took a little clay and made man out of it. That chin and that hand and arm are moulded without display of knowledge, as Nature moulds. The picture seems as if it had been breathed upon the canvas. Did not a great poet once say that God breathed into Adam? and here it is even so.

The other pictures seem dry, insignificant; the Mona Liza, celebrated in literature, hanging a few feet away, seems factitious when compared with this portrait; I have heard that tedious smile excused on the ground that she is smiling at the nonsense she hears talked about her; that hesitating smile which held my youth in tether has come to seem but a grimace; and the pale mountains no more mysterious than a globe or map seen from a little distance. The Mona Liza is a sort of riddle, an acrostic, a poetical decoction, a ballade, a rondel, a villanelle or ballade with double burden, a sestina, that is what it is like, a sestina or chant royal. The Mona Liza, being literature in intention rather than painting, has drawn round her many poets. We must forgive her many mediocre verses for the sake of one incomparable prose passage. She has passed out of that mysterious misuse of oil paint, that arid glazing of terre verte, and has come into her possession of eternal life, into the immortality of Pater's prose. Degas is wilting already; year after year he will wither, until one day some great prose writer will arise and transfer his spirit into its proper medium—literature. The Mona Liza and the "Lecon de Danse" are intellectual pictures; they were painted with the brains rather than with the temperaments; and what is any intellect compared with a gift like Manet's! Leonardo made roads; Degas makes witticisms. Yesterday I heard one that delighted me far more than any road would, for I have given up bicycling. Somebody was saying he did not like Daumier, and Degas preserved silence for a long while. "If you were to show Raphael," he said at last, "a Daumier, he would admire it, he would take off his hat; but if you were to show him a Cabanel he would say with a sigh 'That is my fault!'"

My reverie is broken by the piano; my friend is playing, and it is pleasant to listen to music in this airy studio. But there are women I must see, women whom I see every time I go to Paris, and too much time has been spent in the studio—I must go.

But where shall I go? My thoughts strike through the little streets of Passy, measuring the distance between Passy and the Arc de Triomphe. For a moment I think that I might sit under the trees and watch the people returning from the races. Were she not dead I might stop at her little house in the fortifications among the lilac trees. There is her portrait by Manet on the wall, the very toque she used to wear. How wonderful the touch is; the beads—how well they are rendered! And while thinking of the extraordinary handicraft I remember his studio, and the tall fair woman like a tea-rose coming into it: Mary Laurant! The daughter of a peasant, and the mistress of all the great men—perhaps I should have said of all the distinguished men. I used to call her toute la lyre.

The last time I saw her we talked about Manet. She said that every year she took the first lilac to lay upon his grave. Is there one of her many lovers who brings flowers to her grave? What was so rememberable about her was her pleasure in life, and her desire to get all the pleasure, and her consciousness of her desire to enjoy every moment of her life. Evans, the great dentist, settled two thousand a year upon her, and how angry he was one night on meeting Manet on the staircase! In order to rid herself of her lover she invited him to dinner, intending to plead a sick headache after dinner.... She must go and lie down. But as soon as her guest was gone she took off the peignoir which hid her ball dress and signed to Manet, who was waiting at the street corner, with her handkerchief. But as they went downstairs together whom should they meet but the dentist qui a oublie ses carnets. And he was so disappointed at meeting his beautiful but deceitful mistress that he didn't visit her again for three or four days. His anger mattered very little to Mary. Someone else settled two thousand a year more upon her; and having four thousand a year or thereabouts, she dedicated herself to the love and conversation of those who wrote books and music and painted pictures.

We humans are more complicated than animals, and we love through the imagination, at least the imagination stimulates the senses, acting as a sort of adjuvant. The barmaid falls in love with No. 1 because he wipes a glass better than No. 2, and Mary fell in love with Coppee on account of his sonnet "Le Lys," and she grew indifferent when he wrote poems like "La Nourrice" or "Le petit epicier de Montrouge qui cassait le sucre avec melancolie." And it was at this time when their love story was at wane that I became a competitor. But one day Madame Albazi came to Manet's studio, a splendid creature in a carriage drawn by Russian horses from the Steppes, so she said; but who can tell whether a horse comes from the Steppes or from the horse-dealers? Nor does it matter when the lady is extraordinarily attractive, when she inspires the thought—a mistress for Attila! That is not exactly how Manet saw her: but she looks like that in his pastel. In it she holds a tortoiseshell fan widespread across her bosom, and it was on one of the sticks of the fan that he signed his name. A great painter always knows where to sign his pictures, and he never signs twice in the same place. The merit of these Russians is that they never leave one in doubt. She could not sit that day, she was going to the Bois, and asked me and a young man who happened to be in Manet's studio at the time to go there with her, and we went there drawn by the Russian horses, the young man and I wondering all the while which was going to be the countess's lover; we played hard for her; but that day I was wiser than he; I let him talk and recite poetry and jingle out all the aphorisms that he had been collecting for years, feeling his witticisms were in vain, for she was dark as a raven and I was as gold as a sunflower. It was at the corner of the Rue Pontiere that we got rid of him. Some days afterwards she sat to Manet. The pastel now hangs in the room of a friend of mine; I bought it for him.

The picture of a woman one knows is never so agreeable a companion as the picture of a woman one has never seen. One's memory and the painter's vision are in conflict, and I like to think better of the long delicate nose, and the sparkling eyes, and a mouth like red fruit. The pastel once belonged to me; it used to hang in my rooms; for with that grace of mind which never left him, Manet said one day, "I always promised you a picture," and searching among the pastels that lined the wall he turned to me saying, "Now I think that this comes to you by right." When I left Paris hurriedly, and left my things to be sold, the countess came to the sale and bought her picture, and then she sold it years afterwards to a picture-dealer, tempted by the price that Manet's pictures were fetching. Hearing that it was for sale, I bought it, as I have said, for a friend. And now I have told the whole story, forgetting nothing except that it was years afterwards, when I had written "Les Confessions d'un jeune Anglais" in the Revue Independante, that Mary Laurant asked me—oh! she was very enterprising; she sent the editor of the Revue to me; an appointment was made. She was wonderful in the garden. She said the moment I arrived, "Now, my dear ——, you must go," and we walked about, I listening to her aphorisms. Mary was beautiful, but she liked one to love her for her wit, to admire her wit; and when I asked her why she did not leave Evans, the great dentist, she said, "That would be a base thing to do. I content myself by deceiving him," and then—this confidence seemed to have a particular significance—"I am not a woman," she said, "that is made love to in a garden." Her garden was a nook at the fortifications, hidden among lilac bushes. She wished to show me her house, and we talked for a long time in her boudoir. But I knew she was Mallarme's mistress at the time, so nothing came of this caprice litteraire.

My thoughts run upon women, and why not? On what would you have them run? on copper mines? Woman is the legitimate subject of all men's thoughts. We pretend to be interested in other things. In the smoking-rooms I have listened to men talking about hunting, and I have said to myself, "Your interest is a pretence: of what woman are you thinking?" We forget women for a little while when we are thinking about art, but only for a while. The legitimate occupation of man's mind is woman; and listening to my friend who is playing music—music I do not care to hear, Brahms—I fall to thinking which of the women I have known in years past would interest me most to visit.

In the spring weather the walk from Passy to the Champs Elysees would be pleasant and not too far; I like to see the swards and the poplars and the villas, the tall iron railings, and the flower vases hidden in bouquets of trees. These things are Paris; the mind of the country, that mind which comes out of a long past, and which may be defined as a sort of ancestral beauty and energy is manifested everywhere in Paris; and a more beautiful day for seeing the tall, white houses and the villas and the trees and the swards can hardly be imagined. I should be interested in all these things, but my real interest would be in one little hillside, a line of houses, eight or nine, close by the Arc de Triomphe, the most ordinary in the avenue. She liked the ordinary, and I have often wondered what was the link of association? Was it no more than her blonde hair drawn up from the neck, her fragrant skin, or her perverse subtle senses? It was something more, but you must not ask me to explain further. I like to remember the rustle of a flowered dress she wore as she moved, drifting like a perfume, passing from her frivolous bedroom into the drawing-room. A room without taste, stiff and middle-class, notwithstanding the crowns placed over the tall portraits. I see a picture of two children; but she is the fairer, and in her pale eyes and thinly-curved lips there is a mixture of yearning and restlessness. As the child was, so is the woman, and Georgette has lived to paper one entire wall of her bedroom with trophies won in the battlefields of ardently danced cotillons. The other child is of a stricter nature, and even in the picture her slightly darkened ringlets are less wanton than her sister's. Her eyes are more pensive, and any one could have predicted children for one and cotillon favours for the other.

We often sat on her bedroom balcony reading, talking, or watching the sky growing pale beyond Mount Valerian, the shadow drifting and defining and shaping the hill. In hours like the present, dreaming in a studio, we remember those who deceived us, those who made us suffer, and in these hours faces, fragments of faces, rise out of a past, the line of a bent neck, the whiteness of a hand, and the eyes. I remember her eyes; one day in an orchard, in the lush and luxuriance of June, her husband was walking in front with a friend, and I was pleading. "Well," she said, raising her eyes, "you can kiss me now." But her husband was in front, and he was a thick-set man, and there was a stream, and I foresaw a struggle—and an unpleasant one: confess and be done with it!—I didn't dare to kiss her, and I don't think she ever forgave me that lack of courage. All this is twenty years ago, and is it not silly to spend the afternoon thinking of such rubbish? But it is of such rubbish that our lives are made. Shall I go to her now and see her in her decadence? Grey hair has not begun to appear yet in the blonde, it will never turn grey, but she was shrivelling a little the last time I saw her. And next year she will be older. At her age a year counts for double. Others are more worthy of a visit. If I do not go to her this year, shall I go next?

In imagination I go past her house, thinking of a man she used to talk about, "the man she left her 'ome for"; that is how the London street girl would word it. He had been the centre of a disgraceful scandal in his old age, a sordid but characteristic end for the Don Juan of the nineteenth century. Perhaps she loved the big, bearded man whose photograph she had once shown me. He killed himself for not having enough money to live as he wished to live. That was her explanation. I think there was some blackmail; she had to pay some money to the dead man's relations for letters. These sensual American women are like orchids, and who would hesitate between an orchid and a rose? It was twenty years ago since she turned round on me in the gloom of her brougham unexpectedly, and it was as if some sensual spirit had come out of a world of perfume and lace.

* * * * *

In imagination I have descended the Champs Elysees, and have crossed the Place de la Concorde, and the Seine is flowing past just as it flowed when the workmen were building Notre Dame, just as it will flow a thousand years hence. A thousand years hence men will stand watching its current, thinking of little blonde women, and the shudder they can send through the flesh; they can, but not twenty years afterwards. The Reverend Donne has it that certain ghosts do not raise the hair but the flesh; mine do no more than to set me thinking that rivers were not created to bear ships to the sea, but to set our memories flowing. Full many a time have I crossed the Pont Neuf on my way to see another woman—an American! The time comes when desire wilts and dies, but the sexual interest never dies, and we take pleasure in thinking in middle life of those we enjoyed in youth. She, of whom I am thinking, lives far away in the Latin Quarter, in an ill-paven street. How it used to throw my carriage from side to side! I have been there so often that I know all the shops, and where the shops end, and there is a whitewashed wall opposite her house; the street bends there. The concierge is the same, a little thicker, a little heavier; she always used to have a baby in her arms, now there are no more babies; her children, I suppose, have grown up and have gone away. There used to be a darkness at the foot of the stairs, and I used to slip on those stairs, so great was my haste; the very tinkle of the bell I remember, and the trepidation with which I waited.

Her rooms looked as if they had never been sat in; even the studio was formal, and the richly-bound volumes on the tables looked as if they had never been opened. She only kept one servant, a little, redheaded girl, and seeing this girl back again after an absence of many years, I spoke to Lizzie of the old days. Lizzie told me her servant's story. She had gone away to be married, and after ten years of misfortune she had returned to her old mistress, this demure, discreet and sly New Englander, who concealed a fierce sensuality under a homely appearance. Lizzie must have had many lovers, but I knew nothing of her except her sensuality, for she had to let me into that secret.

She was a religious woman, a devout Protestant, and thinking of her my thoughts are carried across the sea, and I am in the National Gallery looking at Van Eyke's picture, studying the grave sensuality of the man's face—he speaks with uplifted hand like one in a pulpit, and the gesture and expression tell us as plainly as if we heard him that he is admonishing his wife (he is given to admonition), informing her that her condition—her new pregnancy—is an act of the Divine Will. She listens, but how curiously! with a sort of partial comprehension afloat upon her face, more of the guinea-pig than of the rabbit type. The twain are sharply differentiated, and one of the objects of the painter seems to have been to show us how far one human being may be removed from another. The husband is painfully clear to himself, the wife is happily unconscious of herself. Now everything in the picture suggests order; the man's face tells a mind the same from day to day, from year to year, the same passions, the same prayers; his apparel, the wide-brimmed hat, the cloak falling in long straight folds, the peaked shoon, are an habitual part of him. We see little of the room, but every one remembers the chandelier hanging from the ceiling reflected in the mirror opposite. These reflections have lasted for three hundred years; they are the same to-day as the day they were painted, and so is the man; he lives again, he is a type that Nature never wearies of reproducing, for I suppose he is essential to life. This sober Flemish interior expresses my mistress's character almost as well as her own apartment used to do. I always experienced a chill, a sense of formality, when the door was opened, and while I stood waiting for her in the prim drawing-room. Every chair was in its appointed place, large, gilt-edged, illustrated books lay upon the tables.... There was not much light in her rooms; heavy curtains clung about the windows, and tapestries covered the walls. In the passage there were oak chests, and you can imagine, reader, this woman waiting for me by an oak table, a little ashamed of her thoughts, but unable to overcome them. Once I heard her playing the piano, and it struck me as an affectation. As I let my thoughts run back things forgotten emerge; here comes one of her gowns! a dark-green gown, the very same olive green as the man's cloak. She wore her hair short like a boy's, and though it ran all over her head in little curls, it did not detract at all from the New England type, the woman in whose speech Biblical phraseology still lingers. Lizzie was a miraculous survival of the Puritans who crossed the Atlantic in the Mayflower and settled in New England. Paris had not changed her. She was le grave Puritan du tableau. The reader will notice that I write le grave Puritan, for of his submissive, childlike wife there was nothing in Lizzie except her sex. As her instinct was in conflict with her ideals, her manner was studied, and she affected a certain cheerfulness which she dared not allow to subside. She never relinquished her soul, never fell into confidence, so in a sense we always remained strangers, for it is when lovers tell their illusions and lonelinesses that they know each other, the fiercest spasm tells us little, and it is forgotten, whereas the moment when a woman sighs and breaks into a simple confidence is remembered years afterwards, and brings her before us though she be underground or a thousand miles away. These intimacies she had not, but there was something true and real in her, something which I cannot find words to express to-day; she was a clever woman, that was it, and that is why I pay her the homage of an annual visit. These courteous visits began twenty years ago; they are not always pleasant, yet I endure them. Our conversation is often laboured, there are awkward and painful pauses, and during these pauses we sit looking at each other, thinking no doubt of the changes that time has wrought. One of her chief charms was her figure—one of the prettiest I have ever seen—and she still retains a good deal of its grace. But she shows her age in her hands; they have thickened at the joints, and they were such beautiful hands. Last year she spoke of herself as an old woman, and the remark seemed to me disgraceful and useless, for no man cares to hear a woman whom he has loved call herself old; why call attention to one's age, especially when one does not look it? and last year she looked astonishingly young for fifty-five; that was her age, she said. She asked me my age; the question was unpleasant, and before I was aware of it I had told her a lie, and I hate those who force me to tell lies. The interview grew painful, and to bring it to a close she asked me if I would care to see her husband.

We found the old man alone in his studio, looking at an engraving under the light of the lamp, much more like a picture than any of his paintings. She asked him if he remembered me, and he got up muttering something, and to help him I mentioned that I had been one of his pupils. The dear old man said of course he remembered, and that he would like to show me his pictures, but Lizzie said—I suppose it was nervousness that made her say it, but it was a strangely tactless remark—"I don't think, dear, that Mr. —— cares for your pictures." However celebrated one may be, it is always mortifying to hear that some one, however humble the person may be, does not care for one's art. But I saved the situation, and I think my remarks were judicious and witty. It is not always that one thinks of the right words at the right moment, but it would be hard to improve on the admonition that she did me a wrong, that, like every one who liked art, I had changed my opinion many times, but after many wanderings had come back to the truth, and in order to deceive the old man I spoke of Ingres. I had never failed in that love, and how could I love Ingres without loving him? The contrary was the truth, but the old man's answer was very sweet. Forgetful of his own high position, he answered, "We may both like Ingres, but it is not probable that we like the same Ingres." I said I did not know any Ingres I did not admire, and asked him which he admired, and we had a pleasant conversation about the Apotheosis of Homer, and the pictures in the Musee de Montauban. Then the old man said, "I must show Mr. —— my pictures." No doubt he had been thinking of them all through the conversation about the Musee de Montauban. "I must show you my Virgin," and he explained that the face of the Infant Jesus was not yet finished.

It was wonderful to see this old man, who must have been nearly eighty, taking the same interest in his pictures as he took fifty years ago. Some stupid reader will think, perchance, that it mattered that I had once loved his wife. But how could such a thing matter? Think for a moment, dear reader, for all readers are dear, even the stupidest, and you will see that you are still entangled in conventions and prejudices. Perhaps, dear reader, you think she and I should have dropped on our knees and confessed. Had we done so, he would have thought us two rude people, and nothing more.

What will happen to her when he dies? Will she return to Boston? Shall I ever see her again? Last year I vowed that I would not, and I think it would please her as well if I stayed away.... And she is right, for so long as I am not by her she is with me. But in the same room, amid the familiar furniture, we are divided by the insuperable past, and to retain her I must send her away. The idea is an amusing one; I think I have read it somewhere, it seems to me like something I have read. Did I ever read of a man who sent his mistress away so that his possession might be more complete? Whether I did or didn't matters little, the idea is true to me to-day—in order to possess her I must never see her again. A pretty adventure it would be, nevertheless, to spend a week paying visits to those whom I loved about that time; and I can imagine a sort of Beau Brummel of the emotions going every year to Paris to spend a day with each of his mistresses.

There were others about that time. There was Madame ——. The name is in itself beautiful, characteristically French, and it takes me back to the middle centuries, to the middle of France. I always imagined that tall woman, who thought so quickly and spoke so sincerely, dealing out her soul rapidly, as one might cards, must have been born near Tours. She was so French that she must have come from the very heart of France; she was French as the wine of France; as Balzac, who also came from Tours; and her voice, and her thoughts, and her words transported one; by her side one was really in France; and, as her lover, one lived through every circumstance of a French love story. She lived in what is called in Paris an hotel; it had its own concierge, and it was nice to hear the man say, "Oui, monsieur, Madame la Marquise est chez elle," to walk across a courtyard and wait in a boudoir stretched with blue silk, to sit under a Louis XVI. rock crystal chandelier. She said one day, "I'm afraid you're thinking of me a great deal," and she leaned her hands on the back of the chair, making it easy for me to take them. She said her hands had not done any kitchen work for five hundred years, and at the time that seemed a very witty thing to say. The drawing-room opened onto a conservatory twenty feet high; it nearly filled the garden, and the marquise used to receive her visitors there. I do not remember who was the marquise's lover when the last fete was given, nor what play was acted; only that the ordinary guests lingered over their light refreshments, scenting the supper, and that to get rid of them we had to bid the marquise ostentatiously goodnight. Creeping round by the back of the house, we gained the bedrooms by the servants' staircase, and hid there until the ordinary guests in decency could delay no longer. As soon as the last one was gone the stage was removed, and the supper tables were laid out. Shall I ever forget the moment when the glass roof of the conservatory began to turn blue, and the shrilling of awakening sparrows! How haggard we all were, but we remained till eight in the morning. That fete was paid for with the last remnant of the poor marquise's fortune. Afterwards she was very poor, and Suzanne, her daughter, went on the stage and discovered a certain talent for acting which has been her fortune to this day. I will go to the Vaudeville to-night to see her; we might arrange to go together to see her mother's grave. To visit the grave, and to strew azaleas upon it, would be a pretty piece of sentimental mockery. But for my adventure there should be seven visits; Madame —— would make a fourth; I hear that she is losing her sight, and lives in a chateau about fifty miles from Paris, a chateau built in the time of Louis XIII., with high-pitched roofs and many shutters, and formal gardens with balustrades and fish-ponds, yes et des charmilles—charmilles —what is that in English?—avenues of clipped limes. To walk in an avenue of clipped limes with a woman who is nearly blind, and talk to her of the past, would be indeed an adventure far "beyond the range of formal man's emotion."

Madame —— interrupted our love story. She would be another—that would be five—and I shall think of two more during dinner. But now I must be moving on; the day has ended; Paris is defining itself upon a straw-coloured sky. I must go, the day is done; and hearing the last notes trickle out—somebody has been playing the prelude to "Tristan"—I say: "Another pretty day passed, a day of meditation on art and women—and what else is there to meditate about? To-morrow will happily be the same as to-day, and to-morrow I shall again meditate on art and women, and the day after I shall be occupied with what I once heard dear old M'Cormac, Bishop of Galway, describe in his sermon as 'the degrading passion of "loave."'"



CHAPTER VII

NINON'S TABLE D'HOTE

The day dies in sultry languor. A warm night breathes upon the town, and in the exhaustion of light and hush of sound, life strikes sharply on the ear and brain.

It was early in the evening when I returned home, and, sitting in the window, I read till surprised by the dusk; and when my eyes could no longer follow the printed page, holding the book between finger and thumb, my face resting on the other hand, I looked out on the garden, allowing my heart to fill with dreams. The book that had interested me dealt with the complex technique of the art of the Low Countries—a book written by a painter. It has awakened in me memories of all kinds, heartrending struggles, youthful passion, bitter disappointments; it has called into mind a multitude of thoughts and things, and, wearied with admiring many pictures and arguing with myself, I am now glad to exchange my book for the gentle hallucinations of the twilight.

I see a line of leafage drawn across the Thames, but the line dips, revealing a slip of grey water with no gleam upon it. Warehouses and a factory chimney rise ghostly and grey, and so cold is that grey tint that it might be obtained with black and white; hardly is the warmth of umber needed. Behind the warehouses and the factory chimney the sky is murky and motionless, but higher up it is creamy white, and there is some cloud movement. Four lamps, two on either side of the factory chimney, look across the river; one constantly goes out—always the same lamp—and a moment after it springs into its place again. Across my window a beautiful branch waves like a feather fan. It is the only part of the picture worked out in detail. I watch its soft and almost imperceptible swaying, and am tempted to count the leaves. Below it, and a little beyond it, between it and the river, night gathers in the gardens; and there, amid serious greens, passes the black stain of a man's coat, and, in a line with the coat, in the beautifully swaying branch, a belated sparrow is hopping from twig to twig, awakening his mates in search for a satisfactory resting-place. In the sharp towers of Temple Gardens the pigeons have gone to sleep. I can see the cots under the conical caps of slate.

The gross, jaded, uncouth present has slipped from me as a garment might, and I see the past like a little show, struggles and heartbreakings of long ago, and watch it with the same indifferent curiosity as I would the regulated mimicry of a stage play. Pictures from the past come and go without an effort of will; many are habitual memories, but the one before me rises for the first time—for fifteen years it has lain submerged, and now like a water weed or flower it rises—the Countess Ninon de Calvador's boudoir! Her boudoir or her drawing-room, be that as it may, the room into which I was ushered many years ago when I went to see her. I was then a young man, very thin, with sloping shoulders, and that pale gold hair that Manet used to like to paint. I had come with a great bouquet for Ninon, for it was son jour de fete, and was surprised and somewhat disappointed to meet a large brunette with many creases in her neck, a loose and unstayed bosom; one could hardly imagine Ninon dressed otherwise than in a peignoir—a blue peignoir seemed inevitable. She was sitting by a dark, broad-shouldered young man when I came in; they were sitting close together; he rose out of a corner and showed me an impressionistic picture of a railway station. He was one of the many young men who at that time thought the substitution of dots of pink and yellow for the grey and slate and square brushwork of Bastien Lepage was the certain way to paint well. I learned afterwards, during the course of the evening, that he was looked at askance, for even in Montmartre it was regarded as a dishonour to allow the lady with whom you lived to pay for your dinner. Villiers de L'Isle Adam, who had once been Ninon's lover, answered the reproaches levelled against him for having accepted too largely of her hospitality with, "Que de bruit pour quelques cotelettes!" and his transgressions were forgiven him for the sake of the mot which seemed to summarise the moral endeavour and difficulties of the entire quarter. When Villiers was her lover Villiers was middle-aged, and Ninon was a young woman; but when I knew her she was interested in the young generation, yet she kept friends with all her old lovers, never denying them her board. How funny was the impressionist's indignation against Villiers! He charged him with having squandered a great part of Ninon's fortune, but Villiers's answer to the young man was, "He talks like the concierge in my story of 'Les Demoiselles de Bienfillatre.'"

Poor Villiers was not much to blame; it was part of Ninon's temperament to waste her money, and the canvases round the room testified that she spent a great deal on modern art. She certainly had been a rich woman; rumour credited her with spending fifty thousand francs a year, and in her case rumour said no more than the truth, for it would require that at least to live as she lived, keeping open house to all the literature, music, painting, and sculpture done in Montmartre. At first sight her hospitality seems unreasonable, but when one thinks one sees that it conforms to the rules of all hospitality. There must be a principle of selection, and were the rates she entertained less amusing than the people one meets in Grosvenor Square or the Champs Elysees? Any friend could introduce another, that is common practice, but at Ninon's there was a restriction which I never met elsewhere—no friend could bring another unless the newcomer was a rate—in other words, unless he had written music or verse, or painted or carved, in a way that did not appeal to the taste of the ordinary public; inability to reach the taste of the general public was the criterion that obtained there.

The windows of Ninon's boudoir opened upon the garden, and on my expressing surprise at its size and at the large trees that grew there, she gave me permission to admire and investigate; and I walked about the pond, interested in the numerous ducks, in the cats, in the companies of macaws and cockatoos that climbed down from their perches and strutted across the swards. I came upon a badger and her brood, and at my approach they disappeared into an enormous excavation, and behind the summer-house I happened upon a bear asleep and retreated hurriedly. But on going towards the house I heard a well-known voice. "That is Augusta Holmes singing her opera," I said; "she sings all the different parts—soprano, contralto, tenor, and bass." At this time we were all talking about her, and I stood by the window listening until suddenly a well-known smell interrupted her. It was Ninon's cat that had misconducted herself. A window was thrown open, but the ventilation did not prove sufficient. Augusta and her admirers had to leave the piano, and they came from the house glad to breathe the evening air. How dear to me are flowered gowns and evening skies and women with scarfs about their shoulders. Ah! what a beautiful evening it was! And how well do I remember the poet comparing the darkening sky to a blue veil with the moon like a gold beetle upon it. One of the women had brought a guitar with her, and again Augusta's voice streamed up through the stillness, till, compelled by the beauty of the singing, we drew nearer; as the composer sang her songs attitudes grew more abandoned, and hands fell pensively. Among the half-seen faces I caught sight of a woman of exceeding fairness; her hair had only a faint tinge of gold in it; and Ninon remembered that she was a cousin of hers, one whom she had not seen for many years. How Clare had discovered her in the Rue la Moine she could not tell. It was whispered that she was the wife of a rich commercant at Tours. This added to the mystery, and later in the evening the lady told me she had never been in artistic society before, and begged me to point out to her the celebrities present, and to tell her why they were celebrated.

"Who is he—that one slouching towards the pond, that one wearing grey trousers and a black jacket?—oh!"

My companion's exclamation was caused by a new sight of Verlaine; at that moment he had lifted off his hat (the evening was still warm), and the great bald skull, hanging like a cliff over the shaggy eyebrows, shaggy as furze bushes, frightened her. The poet continued his walk round the pond, and, turning suddenly towards us, he stopped to speak to me. I was but a pretext; he clearly wished to speak to my companion. But how strangely did he suit his conversation to her, yet how characteristic of his genius were the words I heard as I turned away, thinking to leave them together—"If I were in love with a young girl or with a young man?" My companion ran forward quickly and seized my arm. "You must not leave me with him," she said. On account of his genius Verlaine was a little slow to see things outside of himself—all that was within him was clear, all without him obscure; so we had some difficulty in getting rid of him, and as soon as he was out of hearing my companion inquired eagerly who he was, and I was astonished at the perception she showed. "Is he a priest? I mean, was he ever a priest?" "A sort of cross between a thieves' kitchen and a presbytery. He is the poet Verlaine. The singer of the sweetest verses in the French language—a sort of ambling song like a robin's. You have heard the robin singing on a coral hedge in autumn-tide; the robin confesses his little soul from the topmost twig; his song is but a tracery of his soul, and so is Verlaine's. His gift is a vision of his own soul, and he makes a tracery as you might of a drawing with a lead pencil, never troubling himself to inquire if what he traces is good or ill. He knows that society regards him as an outcast, but society's point of view is not the only one, that he knows too, and also, though he be a lecher, a crapulous and bestial fellow at times, at other times he is a poet, a visionary, the only poet that Catholicism has produced since Dante. Huysmans, the apologist of Gilles de Rais,—there he is over yonder, talking to the impressionist painter, that small thin man with hair growing thickly, low down on his forehead—Huysmans somewhere in his description of the trial of the fifteenth-century monster, the prototype, so it is said, of the nursery tale of Blue Beard, speaks of the white soul of the Middle Ages; he must have had Verlaine on his mind, for Verlaine has spoken of himself as a mediaeval Catholic, that is to say a Catholic in whom sinning and repentance alternates regularly as night and day. Verlaine has not cut the throats of so many little boys as Gilles de Rais, but Gilles de Rais always declared himself to be a good Catholic. Verlaine abandons himself to the Church as a child to a fairy tale; he does trouble to argue whether the Conception of the Virgin was Immaculate; the mediaeval sculptors have represented her attired very prettily in cloaks with long folds, they have put graceful crowns upon her head, and Verlaine likes these things; they inspire him to write, he feels that belief in the Church is part of himself, and his poetical genius is to tell his own story; he is one of the great soul-tellers. From a literary point of view there is a good deal to be said in favour of faith when it is not joined with practice; acceptation of dogma shields one from controversy; it allows Verlaine to concentrate himself entirely upon things; it weans him away from ideas—the curse of modern literature—and makes him a sort of divine vagrant living his life in the tavern and in the hospital. It is only those who have freed themselves from all prejudice that get close to life, who get the real taste of life—the aroma as from a wine that has been many years in bottle. And Verlaine is aware that this is so. Sometimes he thinks he might have written a little more poetry, and he sighs, but he quickly recovers. 'After all, I have written a good many volumes.' 'And what would art be without life, without love?' He has a verse on that subject; I wish I could remember it for you. His verse is always so winsome, so delicate, slender as the birch tree, elegiac like it; a birch bending over a lake's edge reminds me of Verlaine. He is a lake poet, but the lake is in a suburb not far from a casino. What makes me speak about the lake is that for a long time I thought these verses,