Mary was two things. First of all she was the Duchess of Paddington. It was made quite plain to her that, though perhaps she was not the duchess for whom many people had hoped, she was indubitably of the rank. Gracious words were said to her as duchess. Even kinder words were said to her upon another and more private occasion, as one of those great artists whom Royalty has always been delighted to honour—recognising a sovereignty quite alien to its own but still real!
As for the duke, he had a certain privilege at the levées. It belonged to his house. It was his right to stand a few paces behind the Lord Chamberlain, and when any representatives of the noble family of —— appeared before the Sovereign, to draw his court sword and step near to the King—an old historic custom the reasons for which were nearly forgotten, but which was still part of the pomp and pageantry of the Royal palace.
Upon one occasion after his renunciation, he appeared at St. James's and exercised his ancient right. There was no opposition, nothing unkind, upon the faces of any of the great persons there. The ceremony was gone through with all its traditional dignity, but every one there felt that it was an assertion—and a farewell! The duke himself knew it at the time, and as he left St. James's he may be pardoned if, for a moment, old memories arose in him, and that his eyes were dimmed with a mist of unshed tears as the modest brougham drove him back to his house in Cheyne Walk. How kind they had all been! How sympathetic in their way, how highly bred! Yes! it was worth while to be one of them! It was worth while to live up to the traditions which so many of them often forgot. But one could still do that, one could still keep the old hereditary chivalry of race secret and inviolable in the soul, and yet live for the people, love the poor, the outcast, the noisy, the vulgar, those whom Our Lord, who counselled tribute to reason, loved best of all!... These things are an indication, not a history of the events of the first eighteen months after the Duke of Paddington's marriage.
The story provides a glimpse into some of his difficulties, that is to say, difficulties which were semi-public and patent to his intimate circle of friends, if not, perhaps, to all the rest of the world. Nevertheless, giving all that he had given, he found himself confronted with yet another problem, which was certainly the worst of all. He had married Mary, he loved her and reverenced her as he thought no man had ever reverenced and loved a girl before. She loved and appreciated him also. Theirs was a perfect welding and fusion of identity and hopes. But she was an actress. Her love for her Art had been direct and overwhelming from the very first. She had given all her life and talent to it. For her it had all the sacredness of a real vocation. She was, and always would be, a woman vowed to her Art as truly and strongly as an innocent maiden puts on the black veil and vows herself to Christ. Nor is this a wrong comparison, because there are very many ways of doing things to the glory of God, and God gives divers gifts to divers of his children. And so this also had to be faced by the duke. Since the night upon which her great opportunity had come to her, Mary had never looked back.
Her success, then, had been supreme and overwhelming, and, apart from all the romantic circumstances which had attended it, her position upon the stage had grown into one which was entirely apart from anything outside her Art.
The world now—after five years—still knew that she was a duchess—if she chose, that was how the world put it—but the fact had little or no significance for the public. She was just Mary Marriott—their own Mary—and if she so often spent her genius in interpreting the brilliant socialistic plays of James Fabian Rose—well, what of that? They went to see her play in the plays, not, in the first instance, to see the play itself. And even after that, Rose was always charming—there was always a surprise and a delightfully subversive point of view. One went home to Bayswater and West Kensington "full of new ideas," and certainly full of enthusiasm for beautiful Mary Marriott. "What a darling she is, mother!" ... "Charming indeed, Gertie. And do not forget that she is, after all, the Duchess of Paddington. Of course the duke gave up his fortune to the Socialists some years ago, but they are still quite wealthy. Maud knows them. Your Aunt Maud was there to an afternoon reception only last week. Every one was there. All the leading lights! They have renounced society, of course, but quite a lot of the best people pop in all the same—so your Aunt Maud tells me—and, of course, all the leading painters and actors and writers, and so on. And, of course, they can go anywhere they like directly they give up this amusing socialistic pose. They're even asked down to Windsor. The King tolerates the young duke with his mad notions, and of course Miss Marriott is received on other grounds too—like Melba and Patti and Irving, don't you know. Nothing like real Art, Gertie! It takes you anywhere." Such statements as these were only half true. Every one came to the duke's house who was any one in the world of Art. But they came to see his wife, not to see him. And despite the rumours of Bayswater his own class left him severely alone by now. The years had passed, his property was no longer his, he had very definitely "dropped out." The duke did not care for "artistic" people, and he knew that they didn't care for him. He could not understand them, and on their part they thought him dull and uninteresting. There was no common ground upon which they could meet. Many of the people who came were actors and actresses, and when it had been agreed between Mary and her husband that she was to continue her artistic career, he had not contemplated the continual invasion and interruption of his home life which this was to mean. He had a prodigious admiration for Mary's talent; it had seemed, and still seemed, to him the most wonderful thing in the world. His ideal had been from the first a life of noble endeavour for the good of the world. He had given up everything he held dear, and would spend the rest of his life in active service for the cause of Socialism. Mary would devote her supreme art to the same cause. But there would also be a hidden, happy life of love and identity of aim which would be perfect. They had done exactly as he had proposed. His enthusiasm for the abstract idea of Socialism had never grown less—was stronger than ever now. Mary's earnestness and devotion was no less than his. In both of them the flame burned pure and brightly still.
But the duke knew by this time that nothing had turned out as he expected and hoped. His home life was non-existent. His work was incessant, but the Cause seemed to be making no progress whatever. It remained where it had stood when he had just made his great renunciation.
The vested interests of Property were too strong. A Liberal and semi-socialistic government had tried hard, but had somehow made a mess of things. The House of Lords had refused its assent to half a dozen bills, and its members had only smiled tolerantly at the Duke of Paddington's fervid speeches in favour of the measures which were sent up from the Lower House. And worse than this, the duke saw, the Socialists saw, every one saw, that the country was in thorough sympathy with the other party, that at the next general election the Conservatives would be returned by an overwhelming majority. And there was one other thing, a personal, but very real thing, which contributed to the young man's general sense of weariness and futility of endeavour. He loved his wife with the same dogged and passionate devotion with which he had won her. He knew well that her own love for him was as strong as ever. But, as far as she was concerned, there was so little time or opportunity for an expression of it. She was a public woman, a star of the first rank in Art and in affairs. Her day was occupied in rehearsals at the theatre or in public appearances upon the socialistic platform. Her nights were exercised in the practice of her Art upon the stage.
Sometimes he went to see his wife act, but his pride and joy in her achievement was always tempered and partly spoiled by a curious—but very natural—physical jealousy which he was quite unable to subdue. It offended and wounded all his instincts to see some painted posing actor holding his own wife—the Duchess of Paddington!—in his arms and making a pretended love to her. It was all pretence, of course; it was simply part of the inevitable mechanism of "Art" ("Oh, damn Art," he would sometimes say to himself very heartily), but it was beastly all the same. He had to meet the actor-men in private life. First with surprise, and then with a disgust for which he had no name, he watched their self-consciousness of pose, their invincible absorption in a petty self, their straining efforts to appear as gentlemen, their failure to convince any one but their own class that they were real human beings at all—that they were any more than empty shells into which the personality of this or that creative genius nightly poured the stuff that made the puppets work. No doubt his ideas were all wrong and distorted. But they were very real, and ever present with him. Nor was it nice to know that any horrid-minded rascal with a few shillings in his fob could buy the nightly right to sit and gloat over Mary's charm, Mary's beauty. It was a violation of his inherited beliefs and impulses, though, if it had been another man's wife, and not his own, he would probably not have cared in the least!
* * * * * *