XI

"A Curious accident our meeting at Innes's."

"A lucky one for me. Far more pleasant living in this house than in that horrible hotel."

Owen was lying back in an armchair, indulging in sentimental and fatalistic dreams, and did not like this materialistic interpretation of his invitation to Ulick to come to stay with him at Berkeley Square. He wished to see the hand of Providence in everything that concerned himself and Evelyn, and the meeting with this young man seemed to point to something more than the young man's comfort.

"Looked at from another side, our meeting was unlucky. If you hadn't come in, Innes would have told me more about Evelyn. She must have an address in London, and he must know it."

"That doesn't seem so sure. She may intend to live in Dulwich when she returns from America."

"I can't see her living with her father; even the nuns seem more probable. I wonder how it was that all this time you and she never ran across each other. Did you never write to her?"

"No; I was abroad a great deal. And, besides, I knew she didn't want to see me, so what was the good in forcing myself upon her?"

It was difficult for Owen to reprove Ulick for having left Evelyn to her own devices. Had he not done so himself? Still, he felt that if he had remained in England, he would not have been so indifferent; and he followed his guest across the great tessellated hall towards the dining-room in front of a splendid servitude.

The footmen drew back their chairs so that they might sit down with the least inconvenience possible; and dinner at Berkeley Square reminded Ulick of some mysterious religious ceremony; he ate, overawed by the great butler—there was something colossal, Egyptian, hierarchic about him, and Ulick could not understand how it was that Sir Owen was not more impressed.

"Habit," he said to himself.

At one end of the room there was a great gold screen, and "in a dim, religious light" the impression deepened; passing from ancient Thebes to modern France, Ulick thought of a great cathedral. The celebrant, the deacon and the subdeacon were represented by first and second footmen, the third footman, who never left the sideboard, he compared to the acolyte, the voice of the great butler proposing different wines had a ritualistic ring in it; and, amused by his conception of dinner in Berkeley Square, Ulick admired Owen's dress. He wore a black velvet coat, trousers, and slippers. His white frilled shirt and his pearl studs reminded Ulick of his own plain shirt with only one stud, and he suspected vulgarity in a single stud, for it was convenient, and would therefore appeal to waiters and the middle classes. He must do something on the morrow to redeem his appearance, and he noticed Owen's cuffs and sleeve-links, which were superior to his own; and Owen's hands, they, too, were superior—well-shaped, bony hands, with reddish hair growing about the knuckles. Owen's nails were beautifully trimmed, and Ulick determined to go to a manicurist on the morrow. A delicious perfume emerged when Owen drew his handkerchief from his coat pocket; and all this personal care reminded Ulick of that time long ago when Owen was Evelyn's lover and travelled with her from capital to capital, hearing her sing everywhere. "Now he will never see her again," he thought, as he followed Owen back to his study, hoping to persuade him into telling the story of how he had gone down to Dulwich to write a criticism of Innes's concert, and how he had at once recognised that Evelyn had a beautiful voice, and would certainly win a high position on the lyric stage if she studied for it.

It was a solace to Owen's burdened heart to find somebody who would listen to him, and he talked on and on, telling of the day he and Evelyn had gone to Madame Savelli, and how he had had to leave Paris soon after, for his presence distracted Evelyn's attention from her singing-lessons. "In a year," Madame Savelli had said, "I will make something wonderful of her, Sir Owen, if you will only go away, and not come back for six months."

"He lives in recollection of that time," Ulick said to himself, "that is his life; the ten years he spent with her are his life, the rest counts for nothing." A moment after Owen was comparing himself to a man wandering in the twilight who suddenly finds a lamp: "A lamp that will never burn out," Ulick said to himself. "He will take that lamp into the tomb with him."

"But I must read you the notices." And going to an escritoire covered with ormolu—one of those pieces of French furniture which cost hundreds of pounds—he took out a bundle of Evelyn's notices. "The most interesting," he said, "were the first notices—before the critics had made up their mind about her."

He stopped in his untying of the parcel to tell Ulick about his journey to Brussels to hear her sing.

"You see, I had broken my leg out hunting, and there was a question whether I should be able to get there in time. Imagine my annoyance on being told I must not speak to her."

"Who told you that?"

"Madame Savelli."

"Oh, I understand I You arrived the very day of her first appearance?"

Owen threw up his head and began reading the notices.

"They are all the same," he said, after reading half a dozen, and Ulick felt relieved. "But stay, this one is different," and the long slip dismayed Ulick, who could not feel much interest in the impression that Evelyn had created as Elsa—he did not know how many years ago.

"'Miss Innes is a tall, graceful woman, who crosses the stage with slow, harmonious movements—any slight quickening of her step awakening a sense of foreboding in the spectator. Her eyes, too, are of great avail, and the moment she comes on the stage one is attracted by their strangeness—grave, mysterious, earnest eyes, which smile rarely; but when they do smile happiness seems to mount up from within, illuminating her life from end to end. She will never be unhappy again, one thinks. It is with her smile she recompenses her champion knight when he lays low Telramund, and it is with her smile she wins his love—and ours. We regret, for her sake, there are so few smiles in Wagner: very few indeed—not one in 'Senta' nor in 'Elizabeth.'" The newspaper cutting slipped from Owen's hand, and he talked for a long time about her walk and her smile, and then about her "Iphigenia," which he declared to be one of the most beautiful performances ever seen, her personality lending itself to the incarnation of this Greek idea of fate and self-sacrifice. But Gluck's music was, in Owen's opinion, old-fashioned even at the time it was written—containing beautiful things, of course, but somewhat stiff in the joints, lacking the clear insight and direct expression of Beethoven's. "One man used to write about her very well, and seemed to understand her better than any other. And writing about this performance he says—Now, if I could find you his article." The search proved a long one, but as it was about to be abandoned Owen turned up the cutting he was in search of.

"'Her nature intended her for the representation of ideal heroines whose love is pure, and it does not allow her to depict the violence of physical passion and the delirium of the senses. She is an artist of the peaks, whose feet may not descend into the plain and follow its ignominious route,' And then here: 'He who has seen her as the spotless spouse of the son of Parsifal, standing by the window, has assisted at the mystery of the chaste soul awaiting the coming of her predestined lover,' And 'He who has seen her as Elizabeth, ascending the hillside, has felt the nostalgia of the skies awaken in his heart,' Then he goes on to say that her special genius and her antecedents led her to 'Fidelio,' and designed her as the perfect embodiment of Leonore's soul—that pure, beautiful soul made wholly of sacrifice and love,' But you never saw her as Leonore so you can form no idea of what she really was,"

"I will read you what she wrote when she was studying 'Fidelio': 'Beethoven's music has nothing in common with the passion of the flesh; it lives in the realms of noble affections, pity, tenderness, love, spiritual yearnings for the life beyond the world, and its joy in the external world is as innocent as a happy child's. It is in this sense classical—it lives and loves and breathes in spheres of feeling and thought removed from the ordinary life of men. Wagner's later work, if we except some scenes from "The Ring"—notably the scenes between Wotan and Brunnhilde—is nearer to the life of the senses; its humanity is fresh in us, deep as Brunnhilde's; but essential man lives in the spirit. The desire of the flesh is more necessary to the life of the world than the aspirations of the soul, yet the aspirations of the soul are more human. The root is more necessary to the plant than its flower, but it is by the flower and not by the root that we know it."

"Is it not amazing that a woman who could think like that should be capable of flinging up her art—the art which I gave her—on account of the preaching of that wooden-headed Mostyn?" Sitting down suddenly he opened a drawer, and, taking out her photograph, he said: "Here she is as Leonore, but you should have seen her in the part. The photograph gives no idea whatever; you haven't seen her picture. Come, let me show you her picture: one of the most beautiful pictures that —— ever painted; the most beautiful in the room, and there are many beautiful things in this room. Isn't it extraordinary that a woman so beautiful, so gifted, so enchanting, so intended by life for life should be taken with the religious idea suddenly? She has gone mad without doubt. A woman who could do the things that she could do to pass over to religion, to scapulars, rosaries, indulgencies! My God! my God!" and he fell back in his armchair, and did not speak again for a long time. Getting up suddenly, he said, "If you want to smoke any more there are cigars on the table; I am going to bed."

"Well, it is hard upon him," Ulick said as he took a cigar; and lighting his candle, he wandered up the great green staircase by himself, seeking the room he had been given at the end of one of the long corridors.