Works of e f benson, p.207
Works of E F Benson, page 207
“I wish I could have seen you to tell you these things. I think you would have believed me; and I must ask you to believe me now. You will have heard of my husband’s death. May you never know what that means. If you like, show Mr. Davenport what I have written to you; it will be good that he should know that I never cared for him.
“I am not so bad as you think; I did my best to stop him caring for me when we saw Tannhäuser together; he went away to you, I know, next morning, and I hoped that that would have been the end. Perhaps, if you saw me, you would be sorry for me now. Above all, remember he will come back to you; it will be with you as if I had never come between you. The fault was mine, do not cast it up to him.”
This letter took some time in the writing. It was not easy to write, but when it was done, Eva closed it for fear of drawing back, and sent both off at once to the post. She longed to finish some one of those things that lay before her to do, so that she could not go back from finishing them all. She was afraid of being weak, but not from fear of death. It was far easier to die than to live with that impassable barrier between her and happiness.
She arrived at Aston about four o’clock. She had sent a telegram to the house saying that she was coming for a few nights, and a carriage was at the station to meet her. She went first of all to the little laboratory opening off what had been her husband’s study, and found that she had remembered the place where the bottle stood, with its red label. She uncorked it to make sure it was right. Yes, the almond on the top of wedding-cakes — her wedding-cake — it was exactly that smell. Then she drew her black veil over her face and went out again. There were certain grimly comic details which she had determined to go through, in order to lend probability to her act, and, with this purpose, she went into the hothouses, and the gardeners who were working saw her pick an armful of delicate orchids and white lilies. She tore the plants up like one possessed, and with her load of sweet-smelling whiteness, they saw her go down the path that led to the churchyard.
There were several loiterers there, among them the old sexton, who remembered afterwards that a lady, dressed in black, scattered a mass of flowers over Lord Hayes’s grave, and then threw herself down on the fresh-turned earth, and lay there for half an hour or it might have been more. He knew her to be Lady Hayes, and when he went away, for the dusk was falling, he left her still there.
But when the sexton had gone, Eva got up. “One scene more of this weary farce,” she said half aloud. “Ah, Reggie, Reggie, may you never know!”
In the gloaming she went back to the tall house, standing stately among its terraces and garden beds. The sun had sunk; only in the west was a great splash of crimson, the nightingales were singing in the elm trees, and white-winged moths fluttered about over the flower-beds. As she entered, she turned once more to look over the peaceful, unconscious earth. The river lay like a chain of crimson pools among the trees below the meadow; on the far bank was a brown-faced country lad fishing, and nearer, in the hayfields, were a few belated labourers returning from their work. Across the river she could see the red walls of her old home and the flower-beds gleaming in the light of the sunken sun. Then, for the first moment, a sudden spasm of regret, of longing, and of horror for what she was going to do came over her. It would have been better to have finished that last act at the grave itself, but an unaccountable repugnance to being found by the first passer-by had prevented her.
Next moment she had swept it away. Surely she was not going to turn coward now. She turned, and passed through the study, with step as firm as ever, and with all her indolent, unrivalled grace of movement, into the laboratory beyond.
THE END
THE JUDGEMENT BOOKS
CONTENTS
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER I.
THE terrace to the south of Penalva Forest lay basking in the sunshine of an early September afternoon, and the very bees which kept passing in and out from the two hives beneath the laurel shrubbery to the right seemed going about their work with most unproverbial drowsiness. A flight of some eight steps led down from the centre of the terrace to the lawn below, where a tennis-court was marked out, and by the bottom of the steps ran a gravel-path which sloped up past the beehives to join the terrace at the far end. In the gutter by this path lay a tennis-ball, neglected and desolate. Below the lawn the ground sloped quickly away in a stretch of stubbly hay-field, just shorn of its aftermath, down to a fence, which lay straggling along a line of brown seaweed - covered rocks, over which the waveless water of the estuary of the Fal crept up silently at high tide.
A little iron staircase, the lower steps of which, and the clasp which fastened it to the wall, were fringed with oozy, amphibious growth, communicated with the beach on one side and the field on the other. Except for this clearing to the south of the house, the woods climbed up steeply from almost the water’s edge to the back of a broad Cornish moor, all purple and gold with gorse and heather, and resonant with bees. Irresponsible drowsiness seemed the key-note of the scene.
At a corner of the lawn, lying full length on a wicker sofa beneath the shade of the trees, lay Jack Armitage, also irresponsibly drowsy. He would have said he was meditating. Being an artist, he conceded to himself the right to meditate as often and as long as he pleased, but just now his meditations were entirely confined to vague thoughts that it was tea-time; and that, on the whole, he would not have another pipe; so he thrust his hands into his coat-pockets and only thought about tea. Perhaps the familiar and still warm bowl of his favorite brier wood was responsible for his change of intention; in any case, it is certain that he drew it out and began to fill it with the careful precision of those who know that the good gift of tobacco is squandered if it is bestowed aimlessly or carelessly into its censer.
He bad been staying with Frank Trevor, the owner of this delightful place, for nearly a month, and he had sketched and talked art, in which he disagreed with his host on every question admitting two opinions — and these are legion — all day and a considerable part of the night. Frank, who was even more orthodox than himself on the subject of meditation, had finished, some two months before, the portrait at which he had been working; and, as his habit was, had worked much too hard while he was at it, had knocked himself up, and for the last eight weeks had spent his time in sitting in the sun serene and idle. Jack was leaving next day, and had passed the morning in the woods finishing a charming sketch of the estuary seen through a foreground of trees. At lunch Frank had said he was going to sit in the garden till teatime, after which they were going on the river; but he had not appeared, and Jack for the last hour or two had been intermittently wondering what he was doing.
At this moment Frank was sitting in a low chair in his studio doing nothing. But he had been having a rather emotional afternoon all by himself, seeing little private ghosts of his own, and he looked excited and troubled. In his idle intervals he always kept the door of his studio locked, and neither went in himself nor allowed any one else to. But this afternoon he had wanted a book which he thought might be there, and before he found it he had found something else which had raised all the ghosts of his Decameron, and had indirectly made him resolve to begin work again at once.
In his search he had taken down from the shelves a book he had not touched for some years, and out of its pages there slipped a torn yellow programme of a concert at one of the Café Chantants in Paris. It went on bowing and fluttering in its fall; and as he picked it up and looked at it for a moment idly the ghosts began to rise. There was one ghost in particular which, like Moses’ rod, soon swallowed up all the other ghosts. She had been to that concert with him — she had been to other concerts with him; and in another moment he had crumpled up the momentous little yellow programme and flung it into the grate.
He walked up and down the room for a minute or two, for the ghost was still visible, and then, by a very natural effect of reaction, he picked up the programme again, smoothed it out, and put it back on the table.
What a hot, stifling night it had been! Paris lay gasping and choking as in a vapor-bath. They had soon left the concert, and walked about in the garden. Even the moonlight seemed hot, and every now and then a little peevish wind ruffled the tree-tops, and then grabbed at the earth below, raising a cloud of stinging dust — a horrible night!
He had left Paris next day for a holiday, and had spent a month at New Quay, on the north coast of Cornwall. How restful and delicious it was! It seemed the solution of all difficulties to pass quiet, uneventful days in that little backwater of life, away from towns and jostling crowds; above all, away from Paris — beautiful, terrible Paris! He lived a good deal with the artist set there, charming and intelligent folk, who prattled innocently of sunsets and foregrounds, and led a simple, healthy life. He had fallen in love with simple, healthy lives; he began to hate the thought of the streets and the gas and the glitter of Paris. He spent long days on the shore listening to the low murmur of the sound-quenched waves, and long nights with the fisher-folks on the sea, catching mackerel. In those long, still hours he could think that the sea was like some living thing, breathing slowly and steadily in sleep, and he a child leaning on her breast, safe in her care, alone with the great tender mother of mankind.
One morning — how well he remembered it! — after a night on the sea, he had landed a mile or so from the village, and had walked along the shore alone as the dawn was breaking, and, coming round a little jutting promontory of rock, he had found two or three fishermen who had just pulled their net to land, naked but for a cloth round the waist, gathered round a little fire they had made on the beach, where they had broiled a few of their haul; and as he paused and spoke to them, for they were old friends, one offered him a piece of broiled fish, and another, who had not been out, but had helped them to bring in the net, had brought down some bread and honey-comb, and he ate the fish and honey-comb on the shore of the sea as day broke...
And it was on that same morning he first met Margery his wife. She had come with some friends of his from London by the night train, and they were all going down to the bathing-machine, after their night’s journey, when Frank arrived at the village. He had known at once that the world only held one woman for him.
Their days of courtship were few. Within three weeks of the time they had met Frank had proposed to her and been accepted. One afternoon, with the fine, bold honesty of love, he had told her that he had led such a life as other men lead, that his record was not stainless, and that she ought to know before she bound up her life with him. But Margery had stopped him. She had said she did not wish to know; that she loved him, and was not that enough? But Frank still felt that she had better know; if ghosts were to rise between them it was less startling if she knew what ghosts to expect. But she had started as if in pain, and said:
“Ah, don’t, Frank; you hurt me when you talk like that. It is dead and past. Ah, I knew that. Well, then, bury it — let us bury it together.”
And he obeyed her, and buried it.
He thought over all this as he sat with the crumpled programme in his hand. Was it ever possible to bury a thing entirely? Had not everything which we thought dead a terrible faculty of raising itself at most unexpected moments? A scrap of paper — a few words in a printed book — these could be the last trump for a buried sin, and it would rise.
He got up οff the sofa — these were ugly thoughts — and went on looking for the book he had come to find. Ah, there it was in its paper cover — Dr. Jekyll and Mr. Hyde. He had bought it on his way down from London, but had not yet looked at it.
He opened it and glanced at a few pages; and then, sitting down where he had been before, read the whole book straight through. He was strangely excited and wrought upon by it, and his mind was beginning to grope in the darkness after an idea. Yes, surely, this was the essence of portrait-painting: not to present a man as he was at a particular moment, in one particular part, with the emblem of one particular pursuit by him — an artist with his canvas, a sculptor with his clay — but the whole man, his Jekyll and his Hyde together in one picture.
Then in a moment his mind, as it were, found the handle of the door for which it had been groping in darkness, and flung it open, letting in the full blaze of a complete idea. There is only one human being on earth whom any artist who ever lived could paint completely. It is only a man himself who wholly knows both the side he turns to the world and the side he would hide even from himself but cannot.
Frank’s hands trembled nervously, and his breath came and went quickly. He would paint himself as no man yet had ever painted either himself or any one else. He would put his Jekyll and Hyde on the canvas for men to wonder at and to be silent before. He would do what no artist had ever yet done. He thought of that room in the Uffizi at Florence which holds the portrait of the Italian families, each painted by himself: Raphael, with his young, beardless face — Raphael, the painter, and no more; Andrea del Sarto, not the painter, but the liver. Each of them had painted marvellously outside themselves — one gift, one way of love. But he would do more: he would paint himself as the husband and lover of Margery, the Jekyll of himself, who had known and knew the best capabilities for loving in his nature; and he would paint his Hyde, the man who had lived as other men in Paris — a Bohemian, careless, worthless, finding this thing and that honey at the moment, but to the soul wormwood and bitterness. The wormwood should be there, and the honey; his love for his wife and his rejection and loathing of those earlier days which he had thought were dead, but which had risen and without their honey. His own face, painted by himself, should be the book out of which he should be judged; for love and lust, happiness and misery, innocence and guilt — all unite their indelible marks there, and no one can ever efface the other.
Then, because he felt he was on the threshold of something new, and because all men, the strongest and weakest alike, are afraid, desperately afraid, of everything which they know nothing of, he became suddenly frightened.
What would this thing be? he asked himself. What would happen to himself when he had done it? Would he have raised his dead permanently? Would they refuse to be buried again now that he had of his own will perpetuated them in his art? And Margery, what would she have to say to the ghosts she would not allow him to tell her about?
But he was not a coward, and he did not mean to turn back because of this sudden spasm of fright. He would begin to-morrow; he could not help beginning at once, for, as he often told Margery, when the idea was ready he had to record it; the artist’s inexorable need for expression could not be gainsaid or trifled with. It must come out.
Frank Trevor had a very mobile face, a face which his feelings played on freely as a breeze ruffling a moorland pool of water. His dark-gray eyes, set deep under their black eyebrows, were kindled and glowing with excitement. In such moments he looked strikingly handsome, though his features, taken singly, were not faultless. His mouth was too short and too full-lipped for actual beauty; but now, as he sat there, the very eagerness and vitality that came and went, as now one aspect of his idea and now another struck him, gave a fineness to every feature that made it worthy of an admiration which a more perfectly moulded face might well have failed to deserve.
But there was another fear as well, a fear so fantastic that he was almost ashamed of it; but, as he thought of it, it grew upon him. He had always felt when he painted a portrait that virtue went out of him; that he put actually a part of his personality into his picture. What, then, would happen if he painted his own portrait completely? He knew his idea was fantastic and unreasonable; but the fear — a fear again of something that was new — was there, lurking in a shaded corner of his mind. But of this he could speak to Margery, and Margery’s cool, smiling way of dealing with phantasms always had a most evaporating effect on them. Of the other fear he had wished to speak to her once, but she did not wish to hear, and he wished to speak to her of it no longer.
He looked at his watch and found it was nearly tea-time; he had been there over two hours, and he wondered to himself whether it had seemed more like two years or two minutes. He rose to go, but before leaving the room he took a long look round it, feeling that he was looking at it for perhaps the last time; at any rate, that it could never look the same again.
“We only register a change in ourselves,” he thought, “by the impression that other things make on us. If our taste changes we say that a thing we used to think beautiful is ugly. It is not so — it is the same as it always was. I cannot paint this picture without changing myself. What will the change be?”
The yellow, crumpled programme and the copy of Jekyll and Hyde lay together unregarded on the table. When we have drunk our medicine we do not concern ourselves with the medicine-bottle — unless, like the immortal Mrs. Pullet, we take a vague, melancholy pleasure in recalling how much medicine we have taken. But that dear lady’s worst enemies could not have found a single point in common between her and Frank Trevor.
