You might talk and argue with Sir Henry until you were blue in the face, but give him a piece of real acting and he understood at once, was kindled and became fertile in invention, even courageous in innovation. Give him that, and he would drop all thought of the public and the newspapers, and sacrifice even the prominence of his own personality to the service of this art that he adored. As the rehearsals proceeded, therefore, he became more intent, was less patient with interruptions, and at last stopped them altogether. He became interested in his own part, and tussled with the players who shared his scenes with him.
'Never,' he said to Clara, 'have I enjoyed rehearsals so much as these. I am only afraid they are going too smoothly. We shall be over-ripe by production....'
He resumed cordial relations with Charles, and threw out a suggestion or two as to scenery and costumes which Charles, who had begun to learn the elements of diplomacy, pretended to note down. Sir Henry was magnanimous. He avoided his wife and his usual cronies, and devoted himself to Charles and Clara, whom his showman's eye had marked down as potentially a very valuable property.
'This should be the beginning of great things for you, my boy,' he said to Charles. 'You will have all the managers at your feet, but the Imperium is the place for big work, the bold attack, the sweeping line....'
Charles was a little suspicious of such whole-hearted conversion. He knew these enthusiasms for the duration of rehearsals, and he was ill-at-ease because his anticipation of boundless wealth had not come true. He had spent his advance and could not get another out of Mr Gillies, who detested him and regarded his invasion of the theatre as a ruinous departure from its traditions. Clara Mr Gillies considered to be merely one of his Chief's infatuations. They never lasted very long. He had seen his Chief again and again rush to the very brink of disaster, but always he had withdrawn in the nick of time.... Mr Gillies was like a perpetual east wind blowing upon Charles's happiness. But for Mr Gillies there would have been boundless wealth.... It was monstrous: Verschoyle had backed Charles's talent and Mr Gillies was sitting on the money. Butcher could spend it royally, but Charles had often to go to Clara and ask her for the price of his lunch. At the very height of his fame, with success almost within his grasp, he had to go almost hungry because genius has no credit.
There was nothing to be done about it. He borrowed here and there, but knew it was no real help. It simply sent rumours flying as to his financial position, and he did not want either Butcher or Verschoyle to know that money trickled through his fingers. He wanted their support after this success to advance his schemes. Therefore he borrowed from Clara, and she, entirely indifferent to all but the engrossing development of the play, allowed Sir Henry to pay for her food, to give her meals alone with him in the aquarium, and even to buy her clothes and jewels. She took not the slightest interest in them, but, as it seemed to give him pleasure to shower gifts and attentions upon her, she suffered it, and never for a moment dreamed of the turn his infatuation was taking.
As she progressed in her work she felt that she was achieving what she desired, a passion for her art equal to Rodd's. For a time she had thrust all thought of him aside, but as she gained in mastery and power over the whole activity of the stage, he crept back into her mind, and she could face him with a greater sense of equality, with more understanding and without that jealousy the memory of which hurt her.... She had acquired a sense of loyalty to art which was a greater thing than loyalty to Charles. She had saved him, helped him, brought him thus far. Henceforth he must learn to stand on his own feet. She was glad that she had left him.
All these considerations seemed very remote as she worked her way deeper and deeper into the play, which contained for her a reality nowhere to be found in life. She became Ariel, a pure imagination, moving in an enchanted air, singing of freedom and of a beauty beyond all things visible.
'You are three men of sin, whom Destiny
That hath to instrument this lower world
And what is in't, the never-surfeited sea
Hath caused to belch up you; and on this island
Where man doth not inhabit...'
Casting spells upon others, she seemed to cast them upon her own life; and it was incredible to her to think that she was the same Clara Day who had come so gaily to London with Charles Mann to help him to conquer his kingdom. The stage of the Imperium was to her, in truth, a magic island where wonders were performed, and she by an inspiration, more powerful than her own will, could with a touch transform all things and persons around her; and when Sir Henry, rehearsing the character of Prospero, said to her.—