Read Ebook: Japanese Plays and Playfellows by Edwards Osman

Font size: 10 px 15 px 20 px 25 px 30 px 35 px

Background color: BlackWhiteGrayLight GrayDark GrayDim Gray

Text color: BlackWhiteGrayLight GrayDark GrayDim Gray

Apply/Save settings

Ebook has 469 lines and 34415 words, and 10 pages

"Here she is!" cried Betty Jardine. Like everybody else she was clapping frantically, like everybody, that is, except Gregory Jardine; for Gregory, his elbow in his hand, his fingers still neatly twisting the end of his moustache, continued to observe the young girl in the front row, whose face, illuminated and irradiated, was upturned to the figure now mounting to the platform.

The hush that had fallen was like the hush that falls on Alpine watchers in the moment before sunrise, and, with the great musician's slow emerging from below, it was as if the sun had risen.

She came, with her indolent step, the thunder of hands and voices greeting her; and those who gazed at her from the platform saw the pearl-wreathed hair and opulent white shoulders, and those who gazed at her from beneath saw the strange and musing face. Then she stood before them and her dark eyes dwelt, impassive and melancholy, upon the sea of faces, tumultuous and blurred with clapping hands. The sound was like the roaring of the sea and she stood as a goddess might have stood at the brink of the ocean, indifferent and unaware, absorbed in dreams of ancient sorrow. The ovation was so prolonged and she stood there for so long--hardly less the indifferent goddess because, from time to time, she bowed her own famous bow, stately, old-fashioned, formally and sublimely submissive,--that every eye in the great audience could feast upon her in a rapturous assurance of leisure.

She was a woman of forty-eight, of an ample though still beautiful figure. Her flowing dress of white brocade made no attempt to compress, to sustain or to attenuate. No one could say that a woman who stood as she did, with the port of a goddess--the small head majestically poised over such shoulders and such a breast--was getting fat; yet no one could deny that there was redundancy. She was not redundant as other women were; she was not elegant as other women were; she seemed in nothing like others. Her dress was strange; it had folds and amplitudes and dim disks of silver broideries at breast and knee that made it like the dress of some Venetian lady, drawn at random from an ancestral marriage coffer and put on dreamily with no thought of aptness. Her hair was strange; no other woman's hair was massed and folded as was hers, hair dark as night and intertwined and looped with twisted strands of pearl and diamond. Her face was strange, that crowning face, known to all the world. Disparate racial elements mingled in the long Southern oval and the Slavonic modelling of brow and cheek-bone. The lips, serene and passionate, deeply sunken at the corners and shadowed with a pencilling of down, were the lips of Spain; all the mystery of the South was in the grave and tragic eyes. Yet the eyes were cold; and touches of wild ancestral suffering, like the sudden clash of spurs in the languors of a Polonaise, marked the wide nostrils and the heavy eyelids and the broad, black crooked eyebrows that seemed to stammer a little in the perfect sentence of her face.

She subjugated and she appealed. Her adorers were divided between the longing to lie down under her feet and to fold her protectingly in their arms. Calf-love is an undying element in human-nature, a shame-faced derogatory name for the romantic, self-immolating emotion woven from fancy, yearning and the infection of other's ardour. Love of this foam and flame quality, too tender to be mere aesthetic absorption in a beautiful object, too selfless to be sensual, too intense to be only absurd, rose up towards Madame Okraska and encompassed her from hundreds of hearts and eyes. The whole audience was for her one vast heart of adoration, one fixed face of half-hypnotized tenderness. And there she stood before them;--Madame Okraska whom crowned heads delighted to honour; Madame Okraska who got a thousand pounds a night; Madame Okraska who played as no one in the world could play; looking down over them, looking up and around at them, as if, now, a little troubled by the prolonged adulation, patient yet weary, like a mistress assaulted, after long absence, by the violent joy of a great Newfoundland dog; smiling a little, though buffeted, and unwilling to chill the ardent heart by a reprimand. And more than all she was like a great white rose that, fading in the soft, thick, scented air of a hot-house, droops languidly with loosened petals.

They let her go at last and she took her place at the piano. Her hands fell softly on a group of dreamy ascending chords. Her face, then, in a long pause, took on a rapt expectancy and power. She was the priestess waiting before her altar for the descent of the god, glorious and dreadful. And it was as if with the chill and shudder of a possession that, breathing deeply, drawing her shoulders a little together, she lifted her hands and played. She became the possessed and articulate priestess, her soul, her mind, her passion lent to the message spoken through her. The tumult and insatiable outcry of the Appassionata spread like a river over her listeners. And as she played her face grew more rapt in its brooding concentration, the eyes half-closed, the nostrils wide, the jaw dropping and giving to the mouth an expression at once relaxed and vigilant.

To criticize with the spell of Madame Okraska's personality upon one was hardly possible. Emerged from the glamour, there were those, pretending to professional discriminations, who suggested that she lacked the masculine and classic disciplines of interpretation; that her rendering, though breathed through with noble dignities, was coloured by a capricious and passionate personality; that it was the feeling rather than the thought of the music that she excelled in expressing, its suffering rather than its serenity. Only a rare listener, here and there among her world-wide audiences, was aware of deeper deficiencies and of the slow changes that time had wrought in her art. For it was inspiration no longer; it was the memory of inspiration. The Nemesis of the artist who expresses, not what he feels, but what he is expected to feel, what he has undertaken to feel, had fallen upon the great woman. Her art, too, showed the fragrant taint of an artificial atmosphere. She had played ten times when she should have played once. She lived on her capital of experience, no longer renewing her life, and her renderings had lost that quality of the greatest, the living communication with the experience embodied in the music. It was on the stereotyped memories of such communication that she depended, on the half hypnotic possession by the past; filling in vacancies with temperamental caprice or an emotion no longer the music's but her own.

But to the enchanted ear of the multitude, professional and unprofessional, the essential vitality was there, the vitality embodied to the enchanted eye by the white figure with its drooping, pearl-wreathed head and face sunken in sombre ecstasy. She gave them all they craved:--passion, stormy struggle, the tears of hopeless love, the chill smile of lassitude in accepted defeat, the unappeasable longing for the past. They listened, and their hearts lapsed back from the hallucinated unity of enthusiasm each to its own identity, an identity isolated, intensified, tortured exquisitely by the expression of dim yearnings. All that had been beautiful in the pain and joy that through long ages had gone to the building up of each human consciousness, re-entered and possessed it; the fragrance of blossoming trees, the farewell gaze of dying eyes, the speechless smile of lovers, ancestral memories of Spring-times, loves, and partings, evoked by this poignant lure from dim realms of sub-consciousness, like subterranean rivers rising through creaks and crannies towards the lifted wand of the diviner. It seemed the quintessence of human experience, the ecstasy of perfect and enfranchising sorrow, distilled from the shackling, smirching half-sorrows of actual life. Some of the listening faces smiled; some were sodden, stupefied rather than enlightened; some showed a sensual rudimentary gratification; some, lapped in the tide, yet unaware of its significance, were merely silly. But no Orpheus, wildly harping through the woods, ever led more enthralled and subjugated listeners.

Gregory Jardine's face was neither sodden nor silly nor sensual; but it did not wear the enchanted look of the true votary. Instinctively this young man, though it was emotion that he found in music, resisted any too obvious assault upon his feelings, taking refuge in irony from their force when roused. For the form of music, and its intellectual content, he had little appreciation, and he was thus the more exposed to its emotional appeal; but his intuition of the source and significance of the appeal remained singularly just and accurate. He could not now have analysed his sense of protest and dissatisfaction; yet, while the charm grasped and encircled him, making him, as he said to himself, idiotically grovel or inanely soar, he repelled the poignant sweetness and the thrills that went through him were thrills of a half-unwilling joy.

He sat straightly, his arms folded, his head bent as he twisted the end of his moustache, his eye fixed on the great musician; and he wondered what was the matter with him, or with her. It was as if he couldn't get at the music. Something interfered, something exquisite yet ambiguous, alluring yet never satisfying.

Madame Okraska was recalled six times, but she could not be prevailed upon to give an encore, though for a long time a voice bayed intermittently:--"The Berceuse! Chopin's Berceuse!" The vast harmonies of entreaty and delight died down to sporadic solos, taken up more and more faint-heartedly by weary yet still hopeful hands.

Still smiling slightly, with a preoccupied air, the young girl looked about her, or leaned forward to listen to some kindly bantering addressed to her by Sir Alliston. She hardly spoke, but Gregory perceived that she was by no means shy. She so pleasantly engaged his attention that when Sir Alliston got up from his seat next hers there was another motive than the mere wish to speak to his old friend in his intention of joining Mrs. Forrester for a few moments. The project was not definite and he abandoned it when his relative, Miss Eleanor Scrotton, tense, significant and wearing the sacramental expression customary with her on such occasions, hurried to the empty seat and dropped into it. Eleanor's enthusiasms oppressed him and Betty had told him that Madame Okraska was become the most absorbing of them. His mother and Eleanor's had been cousins. Her father, the late Sir Jonas Scrotton, heavily distinguished in the world of literature and politics, had died only the year before. Gregory remembered him as a vindictive and portentous old man presiding at Miss Scrotton's tea-parties in a black silk skull-cap, and one could but admire in Miss Scrotton the reverence and devotion that had not only borne with but gloried in him. If the amplitude of his mantle had not descended upon her one might metaphorically say that the black skull-cap had. Gregory felt that he might have liked Eleanor better if she hadn't been so unintermittently and unilluminatingly intelligent. She wrote scholarly articles in the graver reviews--articles that he invariably skipped--she was always armed with an appreciation and she had the air of thinking the intellectual reputation of London very much her responsibility. Above all she was dowered with an overwhelming power of enthusiasm. Eleanor dressed well and had a handsome, commanding profile with small, compressed lips and large, prominent, melancholy eyes that wickedly reminded Gregory of the eyes of a beetle. Beneath the black feather boa that was thrown round her neck, her thin shoulder-blades, while she talked to Mrs. Forrester and sketched with pouncing fingers the phrasing of certain passages, jerked and vibrated oddly. Mrs. Forrester nodded, smiled, acquiesced. She was rather fond of Eleanor. Their talk was for each other. Miss Woodruff, unheeded, but with nothing of the air of one consciously insignificant, sat looking before her. Beside Eleanor's vehemence and Mrs. Forrester's vivacity she made Gregory think of a tranquil landscape seen at dawn.

He was thus thinking, and looking at her, when, as though sub-consciously aware of his gaze, she suddenly turned her head and looked round at him.

Her eyes, in the long moment while their glances were interchanged, were so clear and deliberate, so unmoved by anything but a certain surprise, that he felt no impulse to pretend politely that he had not been caught staring. They scrutinized each other, gravely, serenely, intently, until a thunder of applause, like a tidal wave surging over the hall, seemed to engulf their gaze. Madame Okraska was once more emerging. Miss Scrotton, catching up her boa, her programme and her fan, scuttled back to her seat with an air of desperate gravity; Sir Alliston returned to his; Mrs. Forrester welcomed him with a smile and a finger at her lips; and as the pianist seated herself and cast a long glance over the still disarranged and cautiously rustling audience, Gregory saw that Miss Woodruff had no further thought for him.

Mrs. Forrester was dispensing tea in her lofty drawing-room which, with its illumined heights and dim recesses, gave to the ceremony an almost ritualistic state. Mrs. Forrester's drawing-room and Mrs. Forrester herself were long-established features of London, and not to have sat beneath the Louis Quinze chandelier nor have drunk tea out of the blue Worcester cups was to have missed something significant of the typical London spectacle.

Such a genius, pre-eminently such a one, was Madame von Marwitz. She was more than under the chandelier; Mrs. Forrester's house, when she was in London, was her home. "I am safe with you," she had said to Mrs. Forrester, "with you I am never pursued and never bored." Where Mrs. Forrester evaded and relegated bores, Madame von Marwitz sombrely and helplessly hated them. "What can I do?" she said. "If no one will protect me I am delivered to them. It is a plague of locusts. They devour me. Oh their letters! Oh their flowers! Oh their love and their stupidity! No, the earth is black with them."

Madame von Marwitz was protected from the swarms while she visited her old friend. The habits of the house were altered to suit hers. She stayed in her rooms or came down as she chose. She had complete liberty in everything.

To-day she had not as yet appeared, and everyone had come with the hope of seeing her. There was Lady Campion, the most tactful and discreet of admirers; and Sir Alliston, who would be perhaps asked to go up to her if she did not come down; and Eleanor Scrotton who would certainly go up unasked; and old Miss Harding, a former governess of Mrs. Forrester's sons and a person privileged, who had come leading an evident yet pathetic locust, her brother's widow, little Mrs. Harding, the shy lady of the platform. Miss Harding had told Mrs. Forrester about this sister-in-law and of how, since her husband's death, she had lived for philanthropy, and music in the person of Madame Okraska. She had never met her. She did not ask to meet her now. She would only sit in a corner and gaze. Mrs. Forrester had been moved by the account of such humble faith and had told Miss Harding to bring her sister-in-law.

"I have sent for Karen," Mrs. Forrester said, greeting Gregory Jardine, who came in after Miss and Mrs. Harding; "she will tell us if our chances are good. It was your first time, last night, wasn't it, Gregory? I do hope that she may come down."

Gregory Jardine was not a bore, but Mrs. Forrester suspected him to be one of the infatuated. He belonged, she imagined, seeing him appear so promptly after his initiation, to the category of dazzled circlers who fell into her drawing-room in their myriads while Mercedes was with her, like frizzled moths into a candle. Mrs. Forrester had sympathy with moths, and was fond of Gregory, whom she greeted with significant kindliness.

"I never ask her to come down," she went on now to explain to him and to the Hardings. "Never, never. She could not bear that. But she often does come; and she has heard to-day from Karen Woodruff that special friends are hoping to see her. So your chances are good, I think. Ah, here is Karen."

Mrs. Forrester held out her hand to her with the undiscerning kindliness that greets the mere emissary. "Well, my dear, what news of our Tante? Is she coming, do you think?" she inquired. "This is Lady Campion; she has never yet met Tante." The word was pronounced in German fashion.

"I am not sure that she will come," said Miss Woodruff, looking around the assembled circle, while Mrs. Forrester still held her hand. "She is still very tired, so I cannot be sure; I hope so." She smiled calmly at Sir Alliston and Miss Scrotton who were talking together and then lifted her eyes to Gregory who stood near.

"You know Mr. Jardine?" Mrs. Forrester asked, seeing the pleased recognition on the girl's face. "It was his first time last night."

"No, I do not know him," said Miss Woodruff, "but I saw him at the concert. Was it his first time? Think of that."

"Now sit here, child, and tell me about Tante," said Mrs. Forrester, drawing the girl down to a chair beside her. "I saw that she was very tired this morning. She had her massage?" Mrs. Forrester questioned in a lower voice.

"Yes; and fortunately she was able to sleep for two hours after that. Then Mr. Schultz came and she had to see him, and that was tiring."

Mr. Schultz was Madame Okraska's secretary.

"Dear, dear, what a pity that he had to bother her. Did she drink the egg-flip I had sent up to her? Mrs. Jenkins makes them excellently as a rule."

"I did my best to persuade her," said Miss Woodruff, "but she did not seem to care for it."

"Didn't care for it? Was it too sweet? I warned Mrs. Jenkins that her tendency was to put in too much sugar."

"But I am so grieved. I shall speak severely to Mrs. Jenkins," Mrs. Forrester murmured, preoccupied. "I am afraid our chances aren't good to-day, Lady Campion," she turned from Miss Woodruff to say. "You must come and dine one night while she is with me. I am always sure of her for dinner."

"She really isn't coming down?" Miss Scrotton leaned over the back of Miss Woodruff's chair to ask with some asperity of manner. "Shall I wait for a little before I go up to her?"

"I can't tell," the young girl replied. "She said she did not know whether she would come or not. She is lying down and reading."

"She does not forget that she comes to me for tea to-morrow?"

"I do not think so, Miss Scrotton."

"Lady Campion wants to talk to you, Karen," Mrs. Forrester now said; "come to this side of the table." And as Sir Alliston was engaged with Miss and Mrs. Harding, Gregory was left to Eleanor Scrotton.

Miss Scrotton felt irritation rather than affection for Gregory Jardine. Yet he was not unimportant to her. Deeper than her pride in old Sir Jonas was her pride in her connection with the Fanshawes, and Gregory's mother had been a Fanshawe. Gregory's very indifference to her and to the standards of the Scrottons had always given to intercourse with him a savour at once acid yet interesting. Though she knew many men of more significance, she remained far more aware of him and his opinions than of theirs. She would have liked Gregory to show more consciousness of her and his relationship, of the fact that she, too, had Fanshawe blood in her veins. She would have liked to impress, or please or, at worst, to displease him. She would very much have liked to secure him more frequently for her dinners and her teas. He vexed and he allured her.

"Do you really mean that last night was the first time you ever heard Mercedes Okraska?" she said, moving to a sofa, to which, somewhat unwillingly, Gregory followed her. "It makes me sorry for you. It's as if a person were to tell you that they'd never before seen the mountains or the sea. If I'd realised that you'd never met her I could have arranged that you should. She often comes to me quite quietly and meets a few friends. She was so devoted to dear father; she called him The Hammer of the Gods. I have the most wonderful letter that she wrote me when he died," Miss Scrotton said, lowering her voice to a reverent pause. "Between ourselves," she went on, "I do sometimes think that our dear Mrs. Forrester cherishes her a little too closely. I confess that I love nothing more than to share my good things. I don't mean that dear Mrs. Forrester doesn't; but I should ask more people, frequently and definitely, to meet Mercedes, if I were in her place."

"But if Madame Okraska won't come down and see them?" Gregory inquired.

"Ah, but she will; she will," Miss Scrotton said earnestly; "if it is thought out; arranged for carefully. She doesn't, naturally, care to come down on chance, like to-day. She does want to know whom she's to meet if she makes the effort. She knows of course that Sir Alliston and I are here, and that may bring her; I do hope so for your sake; but of course if she does not come I go up to her. With Mrs. Forrester I am, I think, her nearest friend in England. She has stayed with me in the country;--my tiny flat here would hardly accommodate her. I am going, did you know it, to America with her next week."

"No; really; for a tour?"

"Yes; through the States. We shall be gone till next summer. I know several very charming people in New York and Boston and can help to make it pleasant for Mercedes. Of course for me it is the opportunity of a life-time. Quite apart from her music, she is the most remarkable woman I have ever known."

"She's clever?"

"Clever is too trivial a word. Her genius goes through everything. We read a great deal together--Dante, Goethe, French essayists, our English poets. To hear her read poetry is almost as wonderful an experience as to hear her play. Isn't it an extraordinary face? One sees it all in her face, I think."

"She is very unusual looking."

"Her face," Miss Scrotton pursued, ignoring her companion's trite comments, "embodies the thoughts and dreams of many races. It makes me always think of Pater's Mona Lisa--you remember: 'Hers is the head upon which all the ends of the world are come and the eyelids are a little weary.' She is, of course, a profoundly tragic person."

"Has she been very unfortunate?"

"Unfortunate indeed. Her youth was passed in bitter poverty; her first marriage was disastrous, and when joy came at last in an ideal second marriage it was shattered by her husband's mysterious death. Yes; he was drowned; found drowned in the lake on their estate in Germany. Mercedes has never been there since. She has never recovered. She is a broken-hearted woman. She sees life as a dark riddle. She counts herself as one of the entombed."

"Dear me," Gregory murmured.

Miss Scrotton glanced at him with some sharpness; but finding his blue eyes fixed abstractedly on Karen Woodruff exonerated him from intending to be disagreeable. "Her childlessness has been a final grief," she added; "a child, as she has often told me, would be a resurrection from the dead."

Share on: WhatsApp @Hash Facebook Tweet