The Imitator: A Novel

by Percival Pollard

So the shell of what had been Wantage proceeded to a watering-place, while the kernel, now a part of Orson Vane, proceeded to astonish the town with its doings and sayings.

Practice had now enabled Vane to control, with a certain amount of consciousness, whatsoever alien spirit he took to himself. Vigorous and alert as was the mumming temperament he was now in possession of, he yet contrived to exert a species of dominance over it; he submitted to it in the mode, the expression of his character, yet in the main-spring of his action he had it in subjection. He had reached, too, a plane from which he was able, more than on any of the other occasions, to enjoy the masquerade he knew himself taking part in. He realized, with a contemptuous irony, that he was playing the part of one who played many parts. The actor in him seemed, intellectually, merely a personified palimpsest; the mind was receptive, ready to echo all it heard, keen to reproduce traits and tricks of other characters.

He held in himself, to be brief, a mirror that reflected whatever crossed its face; the base of that mirror itself was as characterless, as colorless, as the mere metal and glass. Superficialities were caught with a skill that was astonishing; little tricks of manner and speech were reproduced to the very dot upon the i; yet, under all the raiment of other men's merely material attributes, there was no change of soul at all; no transformation touched the little ego-screaming soul of the actor.

The superficial, in the meanwhile, was enough to make the town gossip not a little about the newest diversions of Orson Vane. He talked, now, of nothing but the theatre and the arts allied to it. He purposed doing some little comedies at Newport in the course of the summer that was now beginning. He eyed all the smart women of his acquaintance with an air that implied either, "I wonder whether you could be cast for a girl I must make love to," or, "You would be passable in Prince Hal attire." At home, to his servants, Vane was abominable. When the dreadful champagne, that some impulse possessed him to buy of a Broadway swindler, proved as flat as the Gowanus, his language to Nevins was quite contemptible. "What," he shrieked, "do I pay you for? Tell me that! This splendid wine spoiled, spoiled, utterly unfit for a gentleman to drink, and all by your negligence. It is enough to turn one's mind. It is an outrage. A splendid wine. And now—look at it!" As a conclusion he threw the stuff in Nevins' face. Nevins made no answer at all. He wiped the sour mess from his coat with the same air of apology that he would have used had he spilt a glass himself. But his emotions were none the less. They caused him, in the privacy of the servants' quarters, to do what he had not done in years, to drop his h's. "It's the 'ost's place," said Nevins, mournfully, "to entertain his guests, and not bully the butler." Which, as a maxim, was valid enough, save that, in this special case, the guests had come to look upon Vane's treatment of the servants as part of the entertainment a dinner with him would provide.

Another distress that fell to the lot of poor Nevins was the fact that his master was become averse to the paying of bills. The profanity fell upon Nevins from both the duns and the dunned.

"The man from Basser's, Mr. Vane, sir," Nevins would announce, timidly. "Can't get him to go away at all, sir."

"Basser's, Basser's? Oh—that tailor fellow. An impudent creature, to plague me so, when I do him the honor of wearing his coats; they fit very badly, but I put up with that because I want to help the fellow on. And what is my reward? He pesters me, pesters me. Tell him—tell him anything, Nevins. Only do leave me alone; I am very busy, very nervous. I am going to write a comedy for myself. I have some water-colors to paint for Mrs. Carlos; I have a ride in the Park, and ever so many other things to do to-day, and you bother me with pestiferous tailors. Nevins, you are, you are—"

But Nevins quietly bowed himself out before he learned what new thing he was in his master's eyes.

A malady—for it surely is no less than a malady—for attempting cutting speeches at any time and place possessed Vane. Shortsightedness was another quality now obvious in him. He knew you to-day, to-morrow he looked at you with the most unseeing eyes. His voice was the most prominent organ in whatever room or club he happened to be; when he spoke none else could be intelligible. When he knew himself observed, though alone, he hummed little snatches to himself. His gait took on a mincing step. There was not a moment, not a pose of his that had not its forethought, its deliberation, its premeditated effect.

The gradual increase in the publicity that was part of the penalty of being in the smart world had made approachment between the stage and society easier than ever before. Orson Vane's bias toward the theatre did not displease the modish. Rumors as to this and that heroine of a romantic divorce having theatric intentions became frequent. The gowns of actresses were copied by the smart quite as much as the smart set's gowns were copied by actresses. The intellectual factor had never been very prominent in the social attitude toward the stage; it was now frankly admitted that good-looking men and handsome dresses were as much as one went to the theatre for. Theatrical people had a wonderful claim upon the printer's ink of the continent; society was not averse to borrowing as much of that claim as was possible. Compliments were exchanged with amiable frequence; smart people married stage favorites, and the stage looked to the smart for its recruits.