'To which Paul replied that, as far as he could make out, nobody thought more meanly of her popularity than she did, and he has been talking a great deal to her about her season.
'"I never saw a woman at a more critical or interesting point of development," he exclaimed at last, striding up and down, and so absorbed in the subject that I could have almost laughed at his eagerness. "Something or other, luckily for her, set her on the right track three months ago, and it is apparently a nature on which nothing is lost. One can see it in the way in which she takes Venice: there isn't a scrap of her—little as she knows about it—that isn't keen and interested and wide-awake!"
'"Well, after all," I reminded him as he was settling down to his books, "we know nothing about her as an actress."
'"We shall see," he said; "I will find out something about that too before long."'
* * * * *
'August 17-19.
'And so he has!
'Paul has been devoting himself more and more to the beauty, Mr. Wallace and I looking on with considerable amusement and interest; and this afternoon, finding it intolerable that Miss Bretherton has not even a bowing acquaintance with any of his favourite plays, Augier, Dumas, Victor Hugo, or anything else, he has been reading aloud to us in the garden, running on from scene to scene and speech to speech, translating as he went—she in rapt attention, and he gesticulating and spouting, and, except for an occasional queer rendering that made us laugh, getting on capitally with his English. She was enchanted; the novelty and the excitement of it absorbed her; and every now and then she would stop Paul with a little imperious wave of her hand, and repeat the substance of a speech after him with an impetuous élan, an energy, a comprehension, which drew little nods of satisfaction out of him, and sometimes produced a strong and startling effect upon myself and Mr. Wallace. However, Mr. Wallace might stare as he liked; the two people concerned were totally unconscious of the rest of us, until at last, after the great death-scene in the Nuit Blanche, Paul threw down the book almost with a sob, and she, rising in a burst of feeling, held out her white arms towards an imaginary lover, and with extraordinary skill and memory repeated the substance of the heroine's last speeches:—
'"Achille, beloved! my eyes are dim—the mists of death are gathering. O Achille! the white cottage by the river—the nest in the reeds—your face and mine in the water—the blue heaven below us in the stream—O joy, quick! those hands, those lips! But listen, listen! it is the cruel wind rising, rising: it chills me to the bone, it chokes, it stifles me! I cannot see the river, and the cottage is gone, and the sun. O Achille, it is dark, so dark! Gather me close, beloved!—closer, closer! O death is kind—tender, like your touch! I have no fears—none!"
'She sank back into her chair. Anything more pathetic, more noble than her intonation of those words, could not have been imagined. Desforêts herself could not have spoken them with a more simple, a more piercing tenderness. I was so confused by a multitude of conflicting feelings—my own impressions and yours, the realities of the present position and the possibilities of her future—that I forgot to applaud her. It was the first time I had had any glimpse at all of her dramatic power, and, rough and imperfect as the test was, it seemed to me enough. I have not been so devoted to the Français, and to some of the people connected with it, for ten years, for nothing! One gets a kind of insight from long habit which, I think, one may trust. Oh, you blind Eustace, how could you forget that for a creature so full of primitive energy, so rich in the stuff of life, nothing is irreparable! Education has passed her by. Well, she will go to find her education. She will make a teacher out of every friend, out of every sensation. Incident and feeling, praise and dispraise, will all alike tend to mould the sensitive plastic material into shape. So far she may have remained outside her art; the art, no doubt, has been a conventional appendage, and little more. Training would have given her good conventions, whereas she has only picked up bad and imperfect ones. But no training could have given her what she will evidently soon develop for herself, that force and flame of imagination which fuses together instrument and idea in one great artistic whole. She has that imagination. You can see it in her responsive ways, her quick sensitive emotion. Only let it be roused and guided to a certain height, and it will overleap the barriers which have hemmed it in, and pour itself into the channels made ready for it by her art.