Memoirs of My Dead Life

by George Moore

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 café 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 café. 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 Barrès 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 Barrès'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 dèche épouvantable, 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.