LITMIR.BIZ

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a theatrical museum: the presents, the portraits, the wreaths, the diadems, the letters, framed and glazed, the trophies and tributes and relics collected by Madame Carré during half a century of renown. The profusion of this testimony was hardly more striking than the confession of something missed, something hushed, which seemed to rise from it all and make it melancholy, like a reference to clappings which, in the nature of things, could now only be present as a silence: so that if the place was full of history it was the form without the fact, or at the most a redundancy of the one to a pinch of the other—the history of a mask, of a squeak, of a series of vain gestures.

      Some of the objects exhibited by the distinguished artist, her early portraits, in lithograph or miniature, represented the costume and embodied the manner of a period so remote that Nick Dormer, as he glanced at them, felt a quickened curiosity to look at the woman who reconciled being alive to-day with having been alive so long ago. Peter Sherringham already knew how she managed this miracle, but every visit he paid her added to his amused, charmed sense that it was a miracle and that his extraordinary old friend had seen things he should never, never see. Those were just the things he wanted to see most, and her duration, her survival, cheated him agreeably and helped him a little to guess them. His appreciation of the actor's art was so systematic that it had an antiquarian side, and at the risk of representing him as attached to an absurd futility it must be said that he had as yet hardly known a keener regret for anything than for the loss of that antecedent world, and in particular for his having belatedly missed the great comédienne, the light of the French stage in the early years of the century, of whose example and instruction Madame Carré had had the inestimable benefit. She had often described to him her rare predecessor, straight from whose hands she had received her most celebrated parts and of whom her own manner was often a religious imitation; but her descriptions troubled him more than they consoled, only confirming his theory, to which so much of his observation had already ministered, that the actor's art in general was going down and down, descending a slope with abysses of vulgarity at its foot, after having reached its perfection, more than fifty years ago, in the talent of the lady in question. He would have liked to dwell for an hour beneath the meridian.

      Gabriel Nash introduced the new-comers to his companions; but the younger of the two ladies gave no sign of lending herself to this transaction. The girl was very white; she huddled there, silent and rigid, frightened to death, staring, expressionless. If Bridget Dormer had seen her at this moment she might have felt avenged for the discomfiture of her own spirit suffered at the Salon, the day before, under the challenging eyes of Maud Vavasour. It was plain at the present hour that Miss Vavasour would have run away had she not regarded the persons present as so many guards and keepers. Her appearance made Nick feel as if the little temple of art in which they were collected had been the waiting-room of a dentist. Sherringham had seen a great many nervous girls tremble before the same ordeal, and he liked to be kind to them, to say things that would help them to do themselves justice. The probability in a given case was almost overwhelmingly in favour of their having any other talent one could think of in a higher degree than the dramatic; but he could rarely refrain from some care that the occasion shouldn't be, even as against his conscience, too cruel. There were occasions indeed that could scarce be too cruel to punish properly certain examples of presumptuous ineptitude. He remembered what Mr. Nash had said about this blighted maiden, and perceived that though she might be inept she was now anything but presumptuous. Gabriel fell to talking with Nick Dormer while Peter addressed himself to Mrs. Rooth. There was no use as yet for any direct word to the girl, who was too scared even to hear. Mrs. Rooth, with her shawl fluttering about her, nestled against her daughter, putting out her hand to take one of Miriam's soothingly. She had pretty, silly, near-sighted eyes, a long thin nose, and an upper lip which projected over the under as an ornamental cornice rests on its support. "So much depends—really everything!" she said in answer to some sociable observation of Sherringham's. "It's either this," and she rolled her eyes expressively about the room, "or it's—I don't know what!"

      "Perhaps we're too many," Peter hazarded to her daughter. "But really you'll find, after you fairly begin, that you'll do better with four or five."

      Before she answered she turned her head and lifted her fine eyes. The next instant he saw they were full of tears. The words she spoke, however, though uttered as if she had tapped a silver gong, had not the note of sensibility: "Oh, I don't care for you!" He laughed at this, declared it was very well said and that if she could give Madame Carré such a specimen as that–! The actress came in before he had finished his phrase, and he observed the way the girl ruefully rose to the encounter, hanging her head a little and looking out from under her brows. There was no sentiment in her face—only a vacancy of awe and anguish which had not even the merit of being fine of its kind, for it spoke of no spring of reaction. Yet the head was good, he noted at the same moment; it was strong and salient and made to tell at a distance. Madame Carré scarcely heeded her at first, greeting her only in her order among the others and pointing to seats, composing the circle with smiles and gestures, as if they were all before the prompter's box. The old actress presented herself to a casual glance as a red-faced, raddled woman in a wig, with beady eyes, a hooked nose, and pretty hands; but Nick Dormer, who had a sense for the over-scored human surface, soon observed that these comparatively gross marks included a great deal of delicate detail—an eyebrow, a nostril, a flitting of expressions, as if a multitude of little facial wires were pulled from within. This accomplished artist had in particular a mouth which was visibly a rare instrument, a pair of lips whose curves and fine corners spoke of a lifetime of "points" unerringly made and verses exquisitely spoken, helping to explain the purity of the sound that issued from them. Her whole countenance had the look of long service—of a thing infinitely worn and used, drawn and stretched to excess, with its elasticity overdone and its springs relaxed, yet religiously preserved and kept in repair, even as some valuable old timepiece which might have quivered and rumbled but could be trusted to strike the hour. At the first words she spoke Gabriel Nash exclaimed endearingly: "Ah la voix de Célimène!" Célimène, who wore a big red flower on the summit of her dense wig, had a very grand air, a toss of the head, and sundry little majesties of manner; in addition to which she was strange, almost grotesque, and to some people would have been even terrifying, capable of reappearing, with her hard eyes, as a queer vision of the darkness. She excused herself for having made the company wait, and mouthed and mimicked in the drollest way, with intonations as fine as a flute, the performance and the pretensions of the belles dames to whom she had just been endeavouring to communicate a few of the rudiments. "Mais celles-là, c'est une plaisanterie," she went on to Mrs. Rooth; "whereas you and your daughter, chère madame—I'm sure you are quite another matter."

      The girl had got rid of her tears, and was gazing at her, and Mrs. Rooth leaned forward and said portentously: "She knows four languages."

      Madame Carré gave one of her histrionic stares, throwing back her head. "That's three too many. The thing's to do something proper with one."

      "We're very much in earnest," continued Mrs. Rooth, who spoke excellent French.

      "I'm glad to hear it—il n'y a que ça. La tête est bien—the head's very good," she said as she looked at the girl. "But let us see, my dear child, what you've got in it!" The young lady was still powerless to speak; she opened her lips, but nothing came. With the failure of this effort she turned her deep sombre eyes to the three men. "Un beau regard—it carries well." Madame Carré further commented. But even as she spoke Miss Rooth's fine gaze was suffused again and the next moment she had definitely begun to weep. Nick Dormer sprung up; he felt embarrassed and intrusive—there was such an indelicacy in sitting there to watch a poor working-girl's struggle with timidity. There was a momentary confusion; Mrs. Rooth's tears were seen also to flow; Mr. Nash took it gaily, addressing, however, at the same time, the friendliest, most familiar encouragement to his companions, and Peter Sherringham offered to retire with Nick on the spot, should their presence incommode the young lady. But the agitation was over in a minute; Madame Carré motioned Mrs. Rooth out of her seat and took her place beside the girl, and Nash explained judiciously to the other men that she'd be worse should they leave her. Her mother begged them to remain, "so that there should be at least some English"; she spoke as if the old actress were an army of Frenchwomen. The young heroine of the occasion quickly came round, and Madame Carré, on the sofa beside her, held her hand

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