The Emancipated Part 16

"One must take account of the national hypocrisy," remarked the younger man, with an air of superiority, shaking his head as his habit was.

"It's a complicated matter. The representative English bourgeois is a hypocrite in essence, but is perfectly serious in his judgment of the man next door; and the latter characteristic has more weight than the former in determining his life. Puritanism has aided the material progress of England; but its effect on art! But for it, we should have a school of painters corresponding in greatness to the Elizabethan dramatists. Depend upon it, the democracy will continue to be Puritan.

Every picture, every book, will be tried by the same imbecile test Enforcement of Puritan morality will be one of the ways in which the mob, come to power, will revenge itself on those who still remain its superiors."

Marsh was not altogether pleased at finding his facile eloquence outdone. In comparing himself with Elgar, he was conscious of but weakly representing the tendencies which were a pa.s.sionate force in this man with the singularly fine head, with such a glow of wild life about him. He abandoned the abstract argument, and struck a personal note.

"However it may be in the future, I grant you the artist has at present no scope save in one direction. For my own part, I have fallen back on landscape. Let those who will, paint Miss Wilhelmina in the nursery, with an interesting doll of her own size; or a member of Parliament rising to deliver a great speech on the liquor traffic; or Mrs.

What-do-you-call-her, lecturing on woman's rights. These are the subjects our time affords."

Mallard eyed with fresh curiosity the gentleman who had "fallen back on landscape."

"What did you formerly aim at?" he inquired, with a sort of suave gruffness.

"Things which were hopelessly out of the question. I worked for a long time at a 'Death of Messalina.' That was in Rome. I had a splendid inspiration for Messalina's face. But my hand was paralyzed when I thought of the idiotic comments such a picture would occasion in England. One fellow would say I had searched through history in a prurient spirit for something sensational; another, that I read a moral lesson of terrible significance; and so on."

"A grand subject, decidedly!" exclaimed Elgar, with genuine enthusiasm, which restored Marsh to his own good opinion. "Go on with it! Bid the fools be hanged! Have you your studies here?"

"Unfortunately not. They are in Rome."

Mallard delivered himself of a blunt opinion.

"That is no subject for a picture. Use it for literature, if you like."

The inevitable discussion began, the discussion so familiar nowadays, and which would have sounded so odd to the English painters who were wont to call themselves "historical," Where is the line between subjects for the easel and subjects for the desk? What distinguishes the art of the ill.u.s.trator from the art of the artist?

That was a great evening round the table at the Albergo del Sole. How gloriously the air thickened with tobacco-smoke! What removal of empty bottles and replacing them with full! The Germans were making it a set _Kneipe_; the Englishmen, unable to drink quite so heroically, were scarce behind in vehemence of debate. Mallard, grimly accepting the help of wine against his inner foes, at length earned Elgar's approval; he had relaxed indeed, and was no longer under the oppression of English fog. But with him such moods were of brief duration; he suddenly quitted the table, and went out into the night air.

The late moon was rising, amber-coloured on a sky of dusky azure. He walked from the garden, across the road, and towards the ruins of the Amphitheatre, which lie some distance apart from the Pompeian streets that have been unearthed; he pa.s.sed beneath an arch, and stood looking down into the dark hollow so often thronged with citizens of Latin speech. Small wonder that Benvenuto's necromancer could evoke his myriads of flitting ghosts in the midnight Colosseum; here too it needed but to stand for a few minutes in the dead stillness, and the air grew alive with mysterious presences, murmurous with awful whisperings. Mallard enjoyed it for awhile, but at length turned away abruptly, feeling as if a cold hand had touched him.

As he re-entered the inn-precincts, he heard voices still uproarious in the dining-room; but he had no intention of going among them again. His bedroom was one of a row which opened immediately upon the garden. He locked himself in, went to bed, but did not sleep for a long time. A wind was rising, and a branch of a tree constantly tapped against the pane. It might have been some centuries-dead inhabitant of Pompeii trying to deliver a message from the silent world.

The breakfast-party next morning lacked vivacity. Clifford Marsh was mute and dolorous of aspect; no doubt his personal embarra.s.sments were occupying him. Yesterday's wine had become his foe, instead of an ally urging him to dare all in the cause of "art." He consumed his coffee and roll in the manner of ordinary mortals, not once flouris.h.i.+ng his dainty hand or shaking his ambrosial hair. Elgar was very stiff from his ascent of Vesuvius, and he too found that "the foam of life" had an unpleasant after-taste, suggestive of wrecked fortunes and a dubious future. Mallard was only a little gruffer than his wonted self.

"I am going on at once to Sorrento," he said, meeting Elgar afterwards in the garden. "To-morrow I shall cross over the hills to Positano and Amalfi. Suppose you come with me?"

The other hesitated.

"You mean you are going to walk?"

"No. I have traps to carry on from the station. We should have a carriage to Sorrento, and to-morrow a donkey for the baggage."

They paced about, hands in pockets. It was a keen morning; the tramontana blew bl.u.s.terously, causing the smoke of Vesuvius to lie all down its long slope, a dense white cloud, or a vast turbid torrent, breaking at the foot into foam and spray. The clearness of the air was marvellous. Distance seemed to have no power to dim the details of the landscape. The Apennines glistened with new-fallen snow.

"I hadn't thought of going any further just now," said Elgar, who seemed to have a difficulty in simply declining the invitation, as he wished to do.

"What should you do, then?"

"Spend another day here, I think,--I've only had a few hours among the ruins, you know,--and then go back to Naples."

"What to do there?" asked Mallard, bluntly.

"Give a little more time to the museum, and see more of the surroundings."

"Better come on with me. I shall be glad of your company."

It was said with decision, but scarcely with heartiness. Elgar looked about him vaguely.

"To tell you the truth," he said at last, "I don't care to incur much expense."

"The expenses of what I propose are trivial."

"My traps are at Naples, and I have kept the room there. No, I don't see my way to it, Mallard."

"All right."

The artist turned away. He walked about the road for ten minutes.-- Very well; then he too would return to Naples. Why? What was altered?

Even if Elgar accompanied him to Amalfi, it would only be for a few days; there was no preventing the fellow's eventual return--his visits to the villa, perhaps to Mrs. Gluck's. Again imbecile and insensate What did it all matter?

He stopped short. He would sit down and write a letter to Mrs.

Baske.--A pretty complication, that! What grounds for such a letter as he meditated?

The devil! Had he not a stronger will than Reuben Elgar? If he wished to carry a point with such a weakling, was he going to let himself be thwarted? Grant it was help only for a few days, no matter; Elgar should go with him.

He walked back to the garden. Good; there the fellow loitered, obviously irresolute.

"Elgar, you'd better come, after all," he said, with a grim smile. "I want to have some talk with you. Let us pay our shot, and walk on to the station."

"What kind of talk, Mallard?"

"Various. Get whatever you have to carry; I'll see to the bill."

"But how can I go on without a s.h.i.+rt?"

"I have s.h.i.+rts in abundance. A truce to your obstacles. March!"

And before very long they were side by side in the vehicle, speeding along the level road towards Castellammare and the mountains. This exertion of native energy had been beneficial to Mallard's temper; he talked almost genially. Elgar, too, had subdued his restiveness, and began to look forward with pleasure to the expedition.

"I only wish this wind would fall!" he exclaimed. "It's cold, and I hate a wind of any kind."

"Hate a wind? You're effeminate; you're a boulevardier. It would do you good to be pitched in a gale about the coast of Skye. A fellow of your temperament has no business in these relaxing lat.i.tudes. You want tonics."

"Too true, old man. I know myself at least as well as you know me."

"Then what a contemptible creature you must be! If a man knows his weakness, he is inexcusable for not overcoming it."

"A preposterous contradiction, allow me to say. A man is what he is, and will be ever the same. Have you no tincture of philosophy? You talk as though one could govern fate."

"And you, very much like the braying jacka.s.s in the field there."