III
I saw him once more at the little restaurant in Soho, before a sudden change of fortune, calling me abroad for an absence, as it happened, of years, closed the habit of our society. He gave me the god-speed of a brother artist, though mine was not the way of music, with many prophesies of my success; and the pressure of his hand, as he took leave of me, was tremulous.
'I am an old man, monsieur, and we may not meet again, in this world. I wish you all the chances you deserve in Paris; but I—I shall greatly miss you. If you come back in time, you will find me in the old places; and if not—there are things of mine, which I should wish you to have, that shall be sent you.'
And indeed it proved to be our last meeting. I went to Paris; a fitful correspondence intervened, grew infrequent, ceased; then a little later, came to me the notification, very brief and official, of his death in the French Hospital of pneumonia. It was followed by a few remembrances of him, sent at his request, I learnt, by the priest who had administered to him the last offices: some books that he had greatly cherished, works of Glück, for the most part; an antique ivory crucifix of very curious workmanship; and his violin, a beautiful instrument dated 1670 and made at Nuremberg, yet with a tone which seemed to me, at least, as fine as that of the Cremonas. It had an intrinsic value to me, apart from its associations; for I too was something of an amateur, and since this seasoned melodious wood had come into my possession, I was inspired to take my facility more seriously. To play in public, indeed, I had neither leisure nor desire: but in certain salons of my acquaintance, where music was much in vogue, I made from time to time a desultory appearance. I set down these facts, because as it happened, this ineffectual talent of mine, which poor Cristich's legacy had recalled to life, was to procure me an interesting encounter. I remember the occasion well, it was too appropriate to be forgotten—as though my old friend's lifeless fiddle, which had yet survived so many maestri, was to be a direct instrument of the completion of his story, the resurrection of those dormant and unsatisfied curiosities which still now and again concerned me. I had played at an house where I was a stranger; brought there by a friend, to whose insistence I had yielded somewhat reluctantly; although he had assured me, and, I believe, with reason, that it was a house where the indirect, or Attic invitation greatly prevailed, in brief, a place where one met very queer people. The hostess was American, a charming woman, of unimpeachable antecedents; but her passion for society, which, while it should always be interesting, was not always equally reputable, had exposed her evenings to the suspicion of her compatriots. And when I had discharged my part in the programme and had leisure to look around me, I saw at a glance that their suspicion was justified; very queer people indeed were there. The large hot rooms were cosmopolitan: infidels and Jews, everybody and nobody; a scandalously promiscuous assemblage! And there, with a half start, which was not at first recognition, my eyes stopped before a face which brought to me a confused rush of memories. It was that of a woman who sat on an ottoman in the smallest room which was almost empty. Her companion was a small, vivacious man with a gray imperial, and the red ribbon in his buttonhole, to whose continuous stream of talk, eked out with meridional gestures, she had the air of being listlessly resigned. Her dress, a marvel of discretion, its colour the yellow of old ivory, was of some very rich and stiff stuff cut square to her neck; that, and her great black hair, clustered to a crimson rose at the top of her head, made the pallor of her face a thing to marvel at. Her beauty was at once sombre and illuminating, and youthful no less. The woman of thirty: but her complexion, and her arms, which were bare, were soft in texture as a young girl's.
I made my way as well as I could for the crowd, to my hostess, listened, with what patience I might, to some polite praise of my playing, and made my request.
'Mrs. Destrier, I have an immense favour to ask; introduce me to
Madame Romanoff!'
She gave me a quick, shrewd smile; then I remembered stories of her intimate quaintness.
'My dear young man! I have no objection. Only I warn you, she is not conversational; you will make no good of it, and you will be disappointed; perhaps that will be best. Please remember, I am responsible for nobody.'
'Is she so dangerous?' I asked. 'But never mind; I believe that I have something to say which may interest her.'
'Oh, for that!' she smiled elliptically; 'yes, she is most dangerous.
But I will introduce you; you shall tell me how you succeed.'
I bowed and smiled; she laid a light hand on my arm; and I piloted her to the desired corner. It seemed that the chance was with me. The little fluent Provençal had just vacated his seat; and when the prima-donna had acknowledged the hasty mention of my name, with a bare inclination of her head, I was emboldened to succeed to it. And then I was silent. In the perfection of that dolorous face, I could not but be reminded of the tradition which has always ascribed something fatal and inevitable to the possession of great gifts: of genius or uncommon fortune, or singular personal beauty; and the common-place of conversation failed me.
After a while she looked askance at me, with a sudden flash of resentment.
'You speak no French, Monsieur! And yet you write it well enough; I have read your stories.'
I acknowledged Madame's irony, permitted myself to hope that my efforts had met with Madame's approval.
'A la bonne heure! I perceive you also speak it. Is that why you wished to be presented, to hear my criticisms?'
'Let me answer that question when you have answered mine.'
She glanced curiously over her feathered fan, then with the slightest upward inclination of her statuesque shoulders—'I admire your books; but are your women quite just? I prefer your playing.'
'That is better, Madame! It was to talk of that I came.'
'Your playing?'
'My violin.'
'You want me to look at it? It is a Cremona?'
'It is not a Cremona; but if you like, I will give it you.'
Her dark eyes shone out in amazed amusement.
'You are eccentric, Monsieur! but your nation has a privilege of eccentricity. At least, you amuse me; and I have wearied myself enough this long evening. Show me your violin; I am something of a virtuosa.'
I took the instrument from its case, handed it to her in silence, watching her gravely. She received it with the dexterous hands of a musician, looked at the splendid stains on the back, then bent over towards the light in a curious scrutiny of the little, faded signature of its maker, the fecit of an obscure Bavarian of the seventeenth century; and it was a long time before she raised her eyes.
When she spoke, her rich voice had a note of imperious entreaty in it. 'Your violin interests me, Monsieur! Oh, I know that wood! It came to you—?'
'A legacy from an esteemed friend.'
She shot back. 'His name?' with the flash which I waited for.
'Maurice Cristich, Madame!'
We were deserted in our corner. The company had strayed in, one by one, to the large salon with the great piano, where a young Russian musician, a pupil of Chopin, sat down to play, with no conventional essay of preliminary chords, an expected morsel. The strains of it wailed in just then, through the heavy, screening curtains; a mad valse of his own, that no human feet could dance to, a pitiful, passionate thing that thrilled the nerves painfully, ringing the changes between voluptuous sorrow and the merriment of devils, and burdened always with the weariness of 'all the Russias,' the proper Welt-schmerz of a young, disconsolate people. It seemed to charge the air, like electricity, with passionate undertones; it gave intimate facilities, and a tense personal note to our interview.
'A legacy! so he is gone.' She swayed to me with a wail in her voice, in a sort of childish abandonment: 'and you tell me! Ah!' she drew back, chilling suddenly with a touch of visible suspicion. 'You hurt me, Monsieur! Is it a stroke at random? You spoke of a gift; you say you knew, esteemed him. You were with him? Perhaps, a message …?'
'He died alone, Madame! I have no message. If there were none, it might be, perhaps, that he believed you had not cared for it. If that were wrong, I could tell you that you were not forgotten. Oh! he loved you! I had his word for it, and the story. The violin is yours—do not mistake me; it is not for your sake but his. He died alone; value it, as I should, Madame!'
They were insolent words, perhaps cruel, provoked from me by the mixed nature of my attraction to her; the need of turning a reasonable and cool front to that pathetic beauty, that artful music, which whipped jaded nerves to mutiny. The arrow in them struck so true, that I was shocked at my work. It transfixed the child in her, latent in most women, which moaned at my feet; so that for sheer shame as though it were actually a child I had hurt, I could have fallen and kissed her hands.
'Oh, you judge me hard, you believe the worst of me and why not? I am against the world! At least he might have taught you to be generous, that kind old man! Have I forgotten do you think! Am I so happy then? Oh it is a just question, the world busies itself with me, and you are in the lap of its tongues. Has it ever accused me of that, of happiness? Cruel, cruel! I have paid my penalties, and a woman is not free to do as she will, but would not I have gone to him, for a word, a sign? Yes, for the sake of my childhood. And to-night when you showed me that,' her white hand swept over the violin with something of a caress, 'I thought it had come, yes, from the grave, and you make it more bitter by readings of your own. You strike me hard.'
I bent forward in real humility, her voice had tears in it, though her splendid eyes were hard.
'Forgive me, Madame! a vulgar stroke at random. I had no right to make it, he told me only good of you. Forgive me, and for proof of your pardon—I am serious now—take his violin.'
Her smile, as she refused me, was full of sad dignity.
'You have made it impossible, Monsieur! It would remind me only now of how ill you think of me. I beg you to keep it.'
The music had died away suddenly, and its ceasing had been followed by a loud murmur of applause. The prima-donna rose, and stood for a moment observing me, irresolutely.
'I leave you and your violin, Monsieur! I have to sing presently, with such voice as our talk has left me. I bid you both adieu!'
'Ah, Madame!' I deprecated, 'you will think again of this, I will send it you in the morning. I have no right….'
She shook her head, then with a sudden flash of amusement, or fantasy—'I agree, Monsieur! on a condition. To prove your penitence, you shall bring it to me yourself.'
I professed that her favour overpowered me. She named an hour when she would be at home: an address in the Avenue des Champs Elysées, which I noted on my tablets.
'Not adieu then, Monsieur! but au revoir.'
I bowed perplexedly, holding the curtain aside to let her sweep through; and once more she turned back, gathering up her voluminous train, to repeat with a glance and accent, which I found mystifying: 'Remember, Monsieur! It is only au revoir.'
That last glimpse of her, with the strange mockery and an almost elfish malice in her fine eyes, went home with me later to cause vague disquiet and fresh suspicion of her truth. The spell of her extraordinary, personal charm removed, doubt would assert itself. Was she quite sincere? Was her fascination not a questionable one? Might not that almost childish outburst of a grief so touching, and at the time convincing, be after all factitious; the movement of a born actress and enchantress of men, quick to seize as by a nice professional instinct the opportunity of an effect? Had her whole attitude been a deliberate pose, a sort of trick? The sudden changes in her subtile voice, the under current of mockery in an invitation which seemed inconsequent, put me on my guard, reinforced all my deep-seated prejudices against the candor of the feminine soul. It left me with a vision of her, fantastically vivid, raccounting to an intimate circle, to an accompaniment of some discreet laughter and the popping of champagne corks, the success of her imposition, the sentimental concessions which she had extorted from a notorious student of cynical moods.
A dangerous woman! cried Mrs. Destrier with the world, which might conceivably be right; at least I was fain to add, a woman whose laughter would be merciless. Certainly, I had no temper for adventures; and a visit to Madame Romanoff on so sentimental an errand seemed to me, the more I pondered it, to partake of this quality to be rich in distasteful possibilities. Must I write myself pusillanimous, if I confess that I never made it, that I committed my old friend's violin into the hands of the woman who had been his pupil by the vulgar aid of a commissionaire?
Pusillanimous or simply prudent; or perhaps cruelly unjust, to a person who had paid penalties and greatly needed kindness? It is a point I have never been able to decide, though I have tried to raise theories on the ground of her acquiescence. It seemed to me on the cards, that my fiddle bestowed so cavalierly, should be refused. And yet even the fact of her retaining it is open to two interpretations, and Cristich testified for her. Maurice Cristich! Madame Romanoff! the renowned Romanoff, Maurice Cristich! Have I been pusillanimous, prudent or merely cruel? For the life of me I cannot say!