I promised. We chatted a little longer and then he rose to go. I accompanied him to the tram, his long lean body overwhelming my somewhat fleshy insignificance. And while I walked with him I thought: "Why is it that I can't tell a man who confides to me his inmost secrets, to buy, for God's sake, another hat?"
The following afternoon, I went to the Cirque Vendramin. I sat in a front seat. I saw the performance. It was much as I have already described to you. Except perhaps for his height and ungainliness no one could have recognized Andrew Lackaday in the painted clown Petit Patou. His grotesquery of appearance was terrific. From the tip of his red pointed wig to the bottom of his high heels he must have been eight feet. I should imagine him to have been out of scale on the music-hall stage. But in the ring he was perfect. The mastery of his craft, the cleanness of his jugglery, amazed me. He divested himself of his wig and did a five minutes' act of lightning impersonation with a trick felt hat, the descendant of the Chapeau de Tabarin: the ex-Kaiser, Foch, Clemenceau, Lloyd George, President Wilson--a Boche prisoner, a helmeted Tommy, a Poilu--which was marvellous, considering the painted Petit Patou face. For all assistance, Elodie held up a cheap bedroom wall-mirror. He played his one-stringed fiddle. I admired the technical perfection of the famous cigar-act. I noted the stupid bewilderment with which he received a typhoon of hoops thrown by Elodie, and his waggish leer when, clown-wise, he had caught them all. If the audience packed within the canvas amphitheatre had gone mad in applause over this exhibition of exquisite skill interlarded with witty patter, I might have been carried away into enthusiastic appreciation of a great art. But the audience, as far as applause could be the criterion, missed the exquisiteness of it, guffawed only at the broadest clowning and applauded finally just enough to keep up the heart of the management and Les Petit Patou. I have seen many harrowing things in the course of a complicated life; but this I reckon was one of the chief among them.
I thought of the scene a year ago, at Mansfield Park. The distinguished soldier with his rainbow row of ribbons modestly confused by Evadne's summons to the household on his appointment to the Brigade; the English setting; the old red gabled Manor house; the green lawn; the bright English faces of old Sir Julian and his wife, of young Charles the hero worshipper; the light in Auriol's eyes; the funny little half-ashamed English ceremony; again the gaunt, grim, yet childishly smiling figure in khaki, the ideal of the scarred and proven English leader of men....
The scene shimmered before me and then I realized the same man in his abominable travesty of God's image, bowing before the tepid plaudits of an alien bourgeoisie in a filthy, smelly canvas circus, and I tell you I felt the agony that comes when time has dried up within one the fount of tears.
Chapter XIX
Soon afterwards I met Horatio Bakkus. With his white hair, ascetic, clean-shaved face and deep dark eyes he looked like an Italian ecclesiastic. One's glance instinctively sought the tonsure. He would come forward on to the open-air platform beneath the thick foliage of the park with the detached mien of a hierophant; and there he would sing like an angel, one of those who quire to the youngest-eyed cherubim so as not to wake them. When I made him my modest compliment he said:
"Trick, my dear sir. Trick and laziness. I might have had the bel canto, if I had toiled interminably; but, thank God, I've managed to carry through on self-indulgent sloth."
As he lived at Royat I saw much of him alone, Royat being such a wee place that if two sojourners venture simultaneously abroad they must of necessity meet. I found him as Lackaday had described him, a widely read scholar and an amiable and cynical companion. But in addition to these casual encounters, I was thrown daily into his society with Lackaday and Elodie. We arranged always to lunch together, Lackaday, Bakkus and myself taking it in turns to be hosts at our respective hotels. Now and then Elodie insisted on breaking the routine and acting as hostess at a restaurant in Clermont-Ferrand. It was all very pleasant. The only woman to three men, Elodie preened herself with amusing obviousness and set out to make herself agreeable. She did it with a Frenchwoman's natural grace. But as soon as the talk drifted into anything allusive to war or books or art or politics, she manifested an ignorance abysmal in its profundity. I was amazed that a woman should have been for years the intimate companion of two men like Lackaday and Bakkus without picking up some superficial knowledge of the matters they discussed. And I was interested, even to the pitch of my amazement, to behold the deference of both men, when her polite and vacant smile proclaimed her inability to follow the conversation. Invariably one of them would leave me to the other and turn to Elodie. It was Bakkus more often who thus broke away. He had the quick impish faculty, one of the rarest of social gifts, of suddenly arresting a woman's attention by a phrase, apparently irrelevant, yet to her woman's jumping mind relevant to the matter under dispute and of carrying it off into a pleasant feminine sphere. It was impish, and I believe deliberately so, for on such occasions one could catch the ironic gleam in his eyes. The man's sincere devotion to both of them was obvious.
"Madame Patou..." I began one day, at lunch--we were talking of the tyranny of fashion, even in the idyllic lands where ladies are fully dressed in teeth necklaces and yellow ochre--"Madame Patou..."
She threw up her hands. We were lunching very well--the petit vin of Auvergne is delicious--"Mais voyons donc--why all this ceremony among friends? Here we are, we three, and it is André, Horace, Elodie--and here we are, we four, and it is Monsieur Bakkus, and Lackaday--never will I be able to pronounce that word--and Madame Patou and Monsieur le Capitaine Hylton. Look. To my friends I am Elodie tout court--and you?"