Lady Bridget in the Never-Never Land: a story of Australian life

by Mrs. Campbell Praed

CHAPTER 10

In the drawing room, before the men came in, Bridget talked to Joan Gildea. They hadn't yet had, as Biddy reminded her, a regular outpouring. The outpouring it should be stated, was always mostly on Bridget's side.

'When did you start Socialism?' Mrs Gildea asked. 'That's something new, isn't it?'

Biddy gave one of her slow smiles in which lips, eyes, brows, what could be seen of them under her towzle of hair—all seemed to light up together.

'Why, I've always been a Socialist—in theory, you know. I've ALWAYS rebelled against the established order of things.'

'But latterly,' said Joan, 'I haven't heard anything about your doings—not since you wrote from Castle Gaverick after—after Mr Willoughby Maule's marriage?'

The light died out of Bridget's face. 'Ah, I'll tell you—Do you know, Rosamond saw them—the Willoughby Maules before we all left. She met them at Shoolbred's—buying furniture. Rosamond said SHE was dragging after him looking—a bundle—and cross and ill; and that he seemed intensely bored. Poor Will!'

There was silence, Bridget's thoughts seemed far away.

'But about the Socialism?' prompted Mrs Gildea.

'Oh well, Aunt Eliza made up her mind suddenly to consult her new doctor—Aunt Eliza's chief excitement is changing her doctors, and she grows quite youthful in the process. They say that love and religion are the chief emotional interests of unattached women. I should add on doctors when a woman is growing old. Don't you think, Joan, that in that case, all three come invariably to the same thing?'

'Love, religion and doctors! As emotional interests, do they come to the same thing for elderly women?' repeated Mrs Gildea, as if she were propounding a syllogism. 'No, certainly not, when the elderly woman happens to be a hard-working journalist.'

'Oh, there you have the pull—I suggested the idea to Rosamond the other day and she gave a true Rosamondian answer. "They don't come at all to the same thing," she said, "because usually you have to pay your doctor and SOMETIMES your lover pays you." Rather smart, wasn't it?'

'Yes, but I think you'd better warn Lady Tallant that the Leichardt'stonian ladies are a bit Puritanical in their ideas of repartee.'

'Oh, Rosamond is clever enough to have found that out already for herself;' and the two glanced at Lady Tallant, who seemed to be playing up quite satisfactorily to the female representatives of the Ministerial circle.

'I suppose you made friends with some Socialists when you were in London?' went on Mrs Gildea.

'My dear, I would have made friends with Beelzebub just them, if he would have helped me to escape from myself.'

Bridget sighed and paused.

'But you ARE getting over it, Biddy—the disappointment about Mr Maule? You ARE growing not to care?'

'I don't want to grow not to care—though, of course, now I should prefer to care about someone or something that isn't Willoughby Maule, I feel inside me that my salvation lies in caring—in caring intensely.... But you wouldn't understand, Joan. You weren't built that way.'

'No,' assented Mrs Gildea doubtfully.

'But,' went on Biddy brightly, 'I think sometimes that if one could get to the pitch of feeling nothing matters, it would be a way of reaching the "letting go" stage which one MUST arrive at before one can even BEGIN to live in the Eternal.'

There seemed something a little comic in the notion of Bridget O'Hara living in the Eternal, and yet Mrs Gildea realised that there really was a certain stable quality underneath the flashing, ever changing temperamental sheath, which might perhaps form a base for the Verities to rest upon.

'Beelzebub didn't teach you that,' she said.

'No, quite the contrary. It all came out of my concentration studies and the Higher Thought Centre where I met some most original dears—Christian Scientists and Spiritualists—and then these Socialists—not a bit on the lines of the old Fabians and Bernard Shavians and the rest who used to believe only in Matter—specially landed property matter—and in parcelling that out among themselves. My friends are for parcelling out what they call the Divine Intelligence, which they say will bring them everything they need for the good of others and, incidentally, themselves. Of course none of them have a penny. But they do contrive to get what they want for other people—it was a soup kitchen this winter where they fed 11,000 starving poor. Only, when they begin, they never have the smallest idea of HOW it's going to be done.'

Lady Bridget was so absorbed in her subject matter that she did not notice the entrance of the men; but Mrs Gildea saw that Colin McKeith was making straight towards them. He halted behind Bridget's chair. Biddy went on in reply to a question from her friend.

'You see, they argue this way, "We don't know," they say, "the HOW of the simplest things in life, we don't know the HOW of our actual existence—how we move or think—not even the HOW of the most ordinary fact in science. We only know that there must be an Intelligence who does know and who has forces at command and the power to set them in motion."'

'And how do we know that?' asked Colin McKeith.

Bridget turned with a start and looked at him solemnly for a second or two.

'You paralyse me: you are too big. I can't speak to you when you are standing up. Please sit down.'

He went to fetch a chair. At the moment, Lady Tallant came up.

'Biddy, will you sing. Do for Heaven's sake make a sensation. Help me out! You know how!'

Lady Bridget had a funny inscrutable little smile and a gleam in her eyes which crinkled up when she was going to say or do something rather naughty.

'I'll do my best, Rosamond. But you don't think it would be a dangerous experiment, do you?'

Lady Tallant laughed, and told Captain Vereker Wells to take her to the piano.

'YOU know that Biddy does a lot of mischief when she sings,' said the Governor's wife, sitting down in Lady Bridget's vacant place beside Mrs Gildea. Colin McKeith, still on the outskirts with his chair, stood leaning upon it, watching the performer.

The piano was in such a position that Lady Bridget faced him.

A vain man might have fancied that she was singing at him, and that the by-play of her song—the sudden eye-brightenings, the little twists of her mouth, the head gestures, were for his particular benefit.

She was singing one of the Neapolitan folk-songs which one hears along the shores of the Mediterranean beyond Marseilles—a love song.

Most people know that particular love-song. Lady Bridget gave it with all the tricks and all the verve and whimsical audacity of a born Italian singer. Well, she was Italian—on one side at least, and had inherited the tricks and a certain quality of voice, irresistibly catching. And she looked captivating as she sang—the small pointed face within its frame of reddish-brown hair, the strange eyes, the expressive red lips, alive with coquetry. The men—even the old politicians, listened and stared, quite fascinated.

Some of the Leichardt's Town ladies—good, homely wives and mothers who, in their early married days of struggle, had toiled and cooked and sewed, with no time to imagine an aspect of the Eternal Feminine of which they had never had any experience, were perhaps a little shocked, perhaps a little regretful. One or two others, younger, with budding aspirations, but provincial in their ideals, were filled with wonder and vague envy.

A few of them had made the usual trip 'Home,' landing at Naples and journeying to London, via Monte Carlo and Paris, and these felt they had missed something in that journey which Lady Bridget was now revealing to them. Joan Gildea, whose profession it was to realise vividly such modes of life as came within her purview, felt herself once more in the blue lands girdling the Sea of Story—It all came back upon her—moonlight nights in Naples; on the Chiaja; looking down from her windows on sunny gardens on the Riviera, and the strolling minstrels in front of the hotel....

As for Colin McKeith who had never been in the Blue Land and knew little even of the British Isles except for London—chiefly around St Paul's School, Hammersmith—and the Scotch Manse where he had occasionally spent his holidays—even he was transported from the Government House drawing-room. Where? .... Not to the realm of visions such as he had seen in the smoke of his camp fire. Oh no. He had never dreamed of this kind of enchantment.

A fresh impulse seized the singer. She struck a few chords. A familiar lilt sounded. Her face and manner changed. She burst into the famous song of CARMEN. She WAS CARMEN. One could almost see the swaying form, the seductive flirt of fan. There could be no doubt that had the voice been more powerful, Lady Bridget might have done well on the operatic stage.

Yet it had a TIMBRE, a peculiar, devil-may-care passion which produced a very thrilling effect upon her audience. She got up when she had finished in a dead silence and was half-way across the room before the applause burst out. There was a little rush of men towards her.

'Beats Zelie de Lussan and runs Calve hard,' said the Premier who had made more than one trip to England and considered himself an authority in the matter.

Bridget skimmed through the groups of admirers, stopping to murmur something to Lady Tallant who had met her half way; then stopped with hands before her like a meek schoolgirl, in front of Mrs Gildea and Colin McKeith—he almost the only man who had made no movement towards her. Bridget sank into her former seat.

'The last time I sang that was at a Factory Girls' entertainment at Poplar,' she said... 'You should have seen them, Joan: they stood up and tried to sing in chorus and some of them came on to the platform and danced.... Mr McKeith you look at me as if I had been doing something desperately improper. Don't you like the music of CARMEN?'

Colin was staring at her dazedly.

'It seemed to me a kind of witchcraft,' he said.... 'I should think you might go on the stage and make a fortune like Melba.'

She laughed. 'Why my voice is a very poor thing. And besides, I could never depend upon it.'

'Everything just how you feel at the time, eh?' he said. 'You wouldn't care what you did if you had a mind to do it.'

'No,' she answered. 'I shouldn't care in the least what I did if I had a mind to do it.'

There was the faintest mimicry of his half Scotch, half Australian accent in her voice—a little husky, with now and then unsuspected modulations. She looked at him and the gleam in her eyes and her strange smile made him stare at her in a sort of fascination. Joan knew those tricks of hers and knew that they boded mischief. She got up at the moment saying that people were going and that she must bid Lady Tallant good-night.

Then the Premier's wife came up shyly; she wanted to thank Lady Bridget for her singing. It had been as good as the Opera—They sometimes had good opera companies in Leichardt's Town, etcetera, etcetera.

Lady Bridget made the prettiest curtsey, which bewildered the Premier's wife and gave her food for speculation as to the manners and customs of the British aristocracy. She had always understood you only curtsied to Royalty. But she took it as a great compliment and never said anything but kind words about Bridget ever after.

Colin McKeith escorted Mrs Gildea to her cab and as they waited in the vestibule, obtained from her a few more particulars of Lady Bridget O'Hara's parentage and conditions. But he said not a word implying that he had discovered her identity with the author of the typed letter.

'I'll come along to-morrow morning if I can manage it, and tell you about Alexandra City and the Gas-Bore,' he said carelessly as she shut the fly door. Joan wondered whether he had caught Lady Biddy's parting words in the drawing room.

'If Rosamond doesn't insist on my doing some stuffy exploration with her, I'll bring my sketches some time in the morning, Joan, and you can see whether any of them would do for the great god Gibbs.'