The Tragic Muse

by Henry James

[XLVIII]

Miriam had mounted at a bound, in her new part, several steps in the ladder of fame, and at the climax of the London season this fact was brought home to her from hour to hour. It produced a thousand solicitations and entanglements, and she rapidly learned that to be celebrated takes up almost as much of one's own time as of other people's. Even though, as she boasted, she had reduced to a science the practice of "working" her mother—she made use of the good lady socially to the utmost, pushing her perpetually into the breach—there was many a juncture at which it was clear that she couldn't too much disoblige without hurting her cause. She made almost an income out of the photographers—their appreciation of her as a subject knew no bounds—and she supplied the newspapers with columns of characteristic copy. To the gentlemen who sought speech of her on behalf of these organs she poured forth, vindictively, floods of unscrupulous romance; she told them all different tales, and, as her mother told them others more marvellous yet, publicity was cleverly caught by rival versions, which surpassed each other in authenticity. The whole case was remarkable, was unique; for if the girl was advertised by the bewilderment of her readers she seemed to every sceptic, on his going to see her, as fine as if he had discovered her for himself. She was still accommodating enough, however, from time to time, to find an hour to come and sit to Nick Dormer, and he helped himself further by going to her theatre whenever he could. He was conscious Julia Dallow would probably hear of this and triumph with a fresh sense of how right she had been; but the reflexion only made him sigh resignedly, so true it struck him as being that there are some things explanation can never better, can never touch.

Miriam brought Basil Dashwood once to see her portrait, and Basil, who commended it in general, directed his criticism mainly to two points—its not yet being finished and its not having gone into that year's Academy. The young actor audibly panted; he felt the short breath of Miriam's rapidity, the quick beat of her success, and, looking at everything now from the standpoint of that speculation, could scarcely contain his impatience at the painter's clumsy slowness. He thought the latter's second attempt much better than his first, but somehow it ought by that time to be shining in the eye of the public. He put it to their friend with an air of acuteness—he had those felicities—that in every great crisis there is nothing like striking while the iron is hot. He even betrayed the conviction that by putting on a spurt Nick might wind up the job and still get the Academy people to take him in. Basil knew some of them; he all but offered to speak to them—the case was so exceptional; he had no doubt he could get something done. Against the appropriation of the work by Peter Sherringham he explicitly and loudly protested, in spite of the homeliest recommendations of silence from Miriam; and it was indeed easy to guess how such an arrangement would interfere with his own conception of the eventual right place for the two portraits—the vestibule of the theatre, where every one going in and out would see them suspended face to face and surrounded by photographs, artistically disposed, of the young actress in a variety of characters. Dashwood showed superiority in his jump to the contention that so exhibited the pictures would really help to draw. Considering the virtue he attributed to Miriam the idea was exempt from narrow prejudice.

Moreover, though a trifle feverish, he was really genial; he repeated more than once, "Yes, my dear sir, you've done it this time." This was a favourite formula with him; when some allusion was made to the girl's success he greeted it also with a comfortable "This time she has done it." There was ever a hint of fine judgement and far calculation in his tone. It appeared before he went that this time even he himself had done it—he had taken up something that would really answer. He told Nick more about Miriam, more certainly about her outlook at that moment, than she herself had communicated, contributing strongly to our young man's impression that one by one every gage of a great career was being dropped into her cup. Nick himself tasted of success vicariously for the hour. Miriam let her comrade talk only to contradict him, and contradicted him only to show how indifferently she could do it. She treated him as if she had nothing more to learn about his folly, but as if it had taken intimate friendship to reveal to her the full extent of it. Nick didn't mind her intimate friendships, but he ended by disliking Dashwood, who gave on his nerves—a circumstance poor Julia, had it come to her knowledge, would doubtless have found deplorably significant. Miriam was more pleased with herself than ever: she now made no scruple of admitting that she enjoyed all her advantages. She had a fuller vision of how successful success could be; she took everything as it came—dined out every Sunday and even went into the country till the Monday morning; kept a hundred distinguished names on her lips and abounded in strange tales of the people who were making up to her. She struck Nick as less strenuous than she had been hitherto, as making even an aggressive show of inevitable laxities; but he was conscious of no obligation to rebuke her for it—the less as he had a dim vision that some effect of that sort, some irritation of his curiosity, was what she desired to produce. She would perhaps have liked, for reasons best known to herself, to look as if she were throwing herself away, not being able to do anything else. He couldn't talk to her as if he took a deep interest in her career, because in fact he didn't; she remained to him primarily and essentially a pictorial object, with the nature of whose vicissitudes he was concerned—putting common charity and his personal good nature of course aside—only so far as they had something to say in her face. How could he know in advance what turn of her experience, twist of her life, would say most?—so possible was it even that complete failure or some incalculable perversion (innumerable were the queer traps that might be set for her) would only make her for his particular purpose more precious.

When she had left him at any rate, the day she came with Basil Dashwood, and still more on a later occasion, that of his turning back to his work after putting her into her carriage, and otherwise bare-headedly manifesting, the last time, for that year apparently, that he was to see her—when she had left him it occurred to him in the light of her quick distinction that there were deep differences in the famous artistic life. Miriam was already in a glow of glory—which, moreover, was probably but a faint spark in relation to the blaze to come; and as he closed the door on her and took up his palette to rub it with a dirty cloth the little room in which his own battle was practically to be fought looked woefully cold and grey and mean. It was lonely and yet at the same time was peopled with unfriendly shadows—so thick he foresaw them gather in winter twilights to come—the duller conditions, the longer patiences, the less immediate and less personal joys. His late beginning was there and his wasted youth, the mistakes that would still bring forth children after their image, the sedentary solitude, the grey mediocrity, the poor explanations, the effect of foolishness he dreaded even from afar of in having to ask people to wait, and wait longer, and wait again, for a fruition which to their sense at least might well prove a grotesque anti-climax. He yearned enough over it, however it should figure, to feel that this possible pertinacity might enter into comparison even with such a productive force as Miriam's. That was after all in his bare studio the most collective dim presence, the one that kept him company best as he sat there and that made it the right place, however wrong—the sense that it was to the thing in itself he was attached. This was Miriam's case too, but the sharp contrast, which she showed him she also felt, was in the number of other things she got with the thing in itself.

I hasten to add that our young man had hours when this last mystic value struck him as requiring for its full operation no adjunct whatever—as being in its own splendour a summary of all adjuncts and apologies. I have related that the great collections, the National Gallery and the Museum, were sometimes rather a series of dead surfaces to him; but the sketch I have attempted of him will have been inadequate if it fails to suggest that there were other days when, as he strolled through them, he plucked right and left perfect nosegays of reassurance. Bent as he was on working in the modern, which spoke to him with a thousand voices, he judged it better for long periods not to haunt the earlier masters, whose conditions had been so different—later he came to see that it didn't matter much, especially if one kept away; but he was liable to accidental deflexions from this theory, liable in particular to feel the sanctity of the great portraits of the past. These were the things the most inspiring, in the sense that while generations, while worlds had come and gone, they seemed far most to prevail and survive and testify. As he stood before them the perfection of their survival often struck him as the supreme eloquence, the virtue that included all others, thanks to the language of art, the richest and most universal. Empires and systems and conquests had rolled over the globe and every kind of greatness had risen and passed away, but the beauty of the great pictures had known nothing of death or change, and the tragic centuries had only sweetened their freshness. The same faces, the same figures looked out at different worlds, knowing so many secrets the particular world didn't, and when they joined hands they made the indestructible thread on which the pearls of history were strung.

Miriam notified her artist that her theatre was to close on the tenth of August, immediately after which she was to start, with the company, on a tremendous tour of the provinces. They were to make a lot of money, but they were to have no holiday, and she didn't want one; she only wanted to keep at it and make the most of her limited opportunities for practice; inasmuch as at that rate, playing but two parts a year—and such parts: she despised them!—she shouldn't have mastered the rudiments of her trade before decrepitude would compel her to lay it by. The first time she came to the studio after her visit with Dashwood she sprang up abruptly at the end of half an hour, saying she could sit no more—she had had enough and to spare of it. She was visibly restless and preoccupied, and though Nick had not waited till now to note that she had more moods in her list than he had tints on his palette he had never yet seen her sensibility at this particular pitch. It struck him rather as a waste of passion, but he was ready to let her go. She looked round the place as if suddenly tired of it and then said mechanically, in a heartless London way, while she smoothed down her gloves, "So you're just going to stay on?" After he had confessed that this was his dark purpose she continued in the same casual, talk-making manner: "I daresay it's the best thing for you. You're just going to grind, eh?"

"I see before me an eternity of grinding."

"All alone by yourself in this dull little hole? You will be conscientious, you will be virtuous."

"Oh my solitude will be mitigated—I shall have models and people."