VIII
Before the bookstall in the entrance to the Café Royal, Paul stood on the following night, with Jules Thessaly and Don.
“I shall never cease to regret Kirchner,” said Thessaly. “He popularised thin legs, and so many women have them. Ha, Mario! here you are again on the front page of a perfectly respectable weekly journal, just alighting from the train. You look like an intelligent baboon, and your wife will doubtless instruct Nevin directly her attention is drawn to this picture. It creates an impression that she was not sober at the time. What a public benefactor was he who introduced popular illustrated journalism. He brought all the physical deformities of the great within reach of the most modest purse.”
“It is very curious,” said Don, “but you do not appear in the photograph, Mr. Thessaly. You appear in none that I have seen.”
“Modesty is a cloak, Captain Courtier, which can even defy the camera. Let us inhale the gratifying odour, suggestive of truffles frying in oil, which is the hall-mark of your true café, and is as ambergris in the nostrils of the gourmand. Do you inhale it?”
“It is unavoidable,” replied Paul. “The triumph of Continental cookery rests upon a basis of oil.”
“We will bathe in the unctuous fumes. Enter, my friends.”
Passing the swing-door they entered the café, which was full as usual, so that at first it seemed as though they would find no accommodation.
“Twenty-five per cent of elbows are nudging fifty per cent of ribs,” said Thessaly, “and ninety per cent of eyes are staring at Paul Mario. Personally, my extreme modesty would revolt. I once endeavoured to visualise Fame and the resultant picture was that of a huge room filled with pretty women, all of whom watched me with the fixed gaze of nascent love. It was exquisite but embarrassing. I think there is a table near the corner, on the right, a spot sanctified by the frequent presence of Jacob Epstein. Let us intrude.”
They made their way to the table indicated by Thessaly, and the curious sudden silence which notability imposes upon the ordinary marked their progress. Paul’s handsome olive face became the focus of a hundred glances. Several people who were seated with their backs toward the entrance, half rose to look covertly at him as he walked in. They seated themselves at the marble-topped table, Don and Paul upon the plush lounge and Thessaly upon a chair facing them. “I have a mirror before me,” said Thessaly, “and can stare without fear of rebuke. Yonder is a group of Johnsons.”
“To whom do you refer?” asked Don.
“To those young men wearing Soho whiskers and coloured collars. I call them Johnsons because they regard Augustus John as their spiritual father.”
“And what is your opinion of his school?” inquired Don.
“He has no school. His work is aspirative, if you will grant me the word; the striving of a soul which knew the art of an earlier civilisation to seek expression in this. Such a man may have imitators, but he can never have disciples.”
“He is a master of paint.”
“Quite possibly. Henry James was a master of ink, but only by prayer and fasting can we hope to grasp his message. Both afford examples of very strange and experienced spirits trammelled by the limitations of imperfect humanity. Their dreams cannot be expressed in terms within the present human compass. Debussy’s extraordinary music may be explained in the same way. Those who seek to follow such a lead follow a Jack-o’-lantern. The more I see of the work of the Johnsons the more fully I recognise it to embody all that we do not ask of art.”
“Those views do not apply to the Johnsons’ spiritual father?” suggested Paul, laughingly.
“Not in the least. If we confounded the errors of the follower with the message of the Master must not the Messianic tradition have died with Judas?”
Paul gave an order to the waiter and Don began to load his pipe. Thessaly watched him, smiling whilst he packed the Latakia mixture into the bowl with meticulous care, rejecting fragments of stalk as Paphnutius rejected Thais; more in sorrow than in anger.
“Half the absinthe drinker’s joy is derived from filtering the necessary drops of water through a lump of sugar,” he said as Don reclosed his pouch; “and in the same way, to the lover of my lady Nicotine the filling of the pipe is a ritual, the lighting a burnt offering and the smoking a mere habit.”
“Quite agree,” replied Don, fumbling for matches in the pocket of his trench-coat, “as the Aunt would say. Our own pipe never tastes so sweet as the other fellow’s smells. There is Chauvin over there and I want to speak to him. Perhaps he fails to recognise me in uniform. Ah! he has seen me.” He waved his hand to a fresh-coloured, middle-aged man seated with a lady dressed in green, whose cerise hair lent her an interesting likeness to a human geranium. Chauvin rose, having obtained the lady’s permission, bowed to her, and coming across to the table, shook Don warmly by the hand.
“Paul,” said Don, “This is Claude Chauvin. You have one of his pictures in your dining-room. Paul Mario—Mr. Jules Thessaly. Chauvin, I know you require another assistant in your studio. You cannot possibly turn out so much black and white stuff for the sporting journals and all those etchings as well as your big pictures.”
“It is hopeless to expect to find anyone to help me,” replied Chauvin. “Nobody understands animals nowadays. I would pay a good assistant any amount as well as putting him in the way of doing well for himself later on.”
“I am bringing a girl around to you in the morning who knows nearly as much about animals as you know yourself.”
“A girl.”
“A girl—yes; a female Briton Rivière.”
Chauvin’s rather tired-looking eyes lighted up with professional interest and he bent lower over the table upon which he was resting his hands. “Really! Who is she?”
“Flamby Duveen. I would never trust her to anybody’s care but yours, Chauvin. She is the daughter of a man who saved my life and she is a born artist as well. She starts at Guilder’s on Monday. Her style wants broadening of course. But look at this.”
Don dived into the capacious pocket of his trench-coat and brought forth a large envelope marked “On His Majesty’s Service. Strictly Confidential.” From the envelope he took a water-colour drawing representing a pair of long-legged ungainly colts standing snuggled up to their mother under a wild briar hedge. He handed the drawing to Chauvin, and Chauvin, adjusting a pair of huge horn-rimmed spectacles upon his nose, examined it critically. All three watched him in silence. Presently he removed the spectacles and laid the drawing down on the table. He held out his hand to Don.
“Bring her along early,” he said. “Good night.” He returned to the human geranium.
Don replaced the drawing in the official envelope, smiling happily. “Old Chauvin is not exactly chatty,” he remarked; “but he knows.”
“I should say that he was a man of very extraordinary talent,” said Thessaly, “even if I were unacquainted with his work. His choice of a companion alone marks him as no ordinary mortal.”
Don laughed outright, fitting the envelope into his pocket again. “The lady is a Parisienne,” he replied, “and very entertaining company.”
“Parisiennes make delightful companions for any man,” declared Thessaly, “and good wives for one who is fond of adventure. She is studying you with keen interest, Mario.”
“She probably regards me as an embodiment of mediaeval turpitude. People persist in confusing novelists with their creations.”
“Quite so. Yet because de Quincey was an opium-fiend, Poe a drunkard and Oscar Wilde a pervert, it does not follow that every clever writer is unfit for decent society. Even if he were, his popularity would not suffer. Few things help a man’s public reputation so much as his private vices. Don’t you think you could cultivate hashish, Mario? Sherlock Holmes’ weakness for cocaine has endeared him to the hearts of two generations.”
“I shall endeavour to dispense with it, Thessaly. Excepting a liking for honey which almost amounts to a passion, my private life is exemplary.”
“Honey? Most peculiar. Don’t let Bassett know or he will paragraph the fact. Honey to my way of thinking is a much overrated commodity which survives merely because of its biblical reputation and its poetic life-history. It is only one’s imagination which lends to it the fragrance of flowers. Personally I prefer treacle. Is Chauvin’s attachment to the French lady of a Platonic nature, Captain Courtier?”
“I cannot say. He is quite capable of marrying her.”
“Probably he knows his own mind,” Paul murmured absently.
“Quite probably; but does he know hers?” asked Thessaly. “I always think this so important in London although it may not matter in Paris. Some infatuations are like rare orchids. A certain youth of Cnidus fell in love with a statue of Aphrodite, and my secretary, Caspar, has fallen in love with Gaby Deslys. Apollonius of Tyana cured the Cnidian youth, but what hope is there for Caspar? My nightly prayer is that he may find the courage to shave his side-whiskers and renounce the passionate life—a second Plato burning his poems.”
Paul became absorbed in contemplation of the unique turmoil about him. The excitement created by his entrance had somewhat subsided and the various groups in the café had resumed their respective characteristics. The place was seething with potential things; the pressure of force might be felt. At a centre table a party of musicians talked excitedly, one of them, a pale young man with feline eyes, shouting hoarsely and continuously. Well-known painters were there, illustrating the fact that many a successful artist patronises a cheap tailor. There was a large blonde woman who smoked incessantly as she walked from table to table. She seemed to have an extensive circle of acquaintances. And there was a small dark girl with eyes feverishly bright who watched her; and whenever the glances of the twain met, the big woman glared and the small one sneered and showed her white teeth. A little fat man with a large fat notebook sat near the door apparently engaged in compiling a history of some kind and paying no attention whatever to a tall thin man who persistently interrupted him by ordering refreshments. The little fat man absently emptied glass after glass; his powers of absorption were remarkable.
There were models with pale faces and short fabulous hair surrounding a celebrated figure-painter who was said to have seven wives named after the days of the week, and there were soldiers who looked like poets and artists who looked like soldiers. A sculptor who had discovered the secret of making ugliness out of beauty and selling it, was deep in conversation with an author of shocking mysteries whose fame rested largely upon his creation of the word “beetlesque” and the appearance of a certain blue-faced ourang-outang in every story which he published.
Paul’s immediate neighbours on the right-hand side were two earnest young brushmen, one wearing military uniform, and the other a rational check suit designed with much firmness. They shared a common pencil and drank black coffee, demonstrating their ideas in line upon the marble table-top. They evidently thought with Mr. Nevinson, that man invented circles but the Lord created cubes. Beyond them was a lady of title who aspired to the mantle of George Sand. In the absence of an Alfred de Musset she had fled from her husband with a handsome actor of romantic rôles whom later she had left for an ugly violinist with a beautiful technique. She was sipping pomegranate juice in the company of her publisher and glancing under her lashes at a ferocious-looking ballad writer who had just seated himself behind the next table from whence he directed a malevolent glare upon no one in particular.
“His gentle work deserves a kinder master,” said Thessaly, observing Paul watching the melody-maker. “I have noticed, Mario, that although there are few pressmen present, there are a number of publicists. Our progress is merely in terminology after all. The writers who matter may readily be recognised by their complacent air; the others, who have not yet succeeded in mattering, by their hungry look. They have missed a course in the banquet of life. They have failed to grasp the fact that our artificial civilisation has made a mystery of marriage, which, veil by veil, it is the duty of the successful novelist to disclose. If I were a novelist I should seek my characters in the Divorce Court; if I were a painter I should study those superstitions which have grown up around human nudity so that the very word ‘naked’ has become invested with a covert significance and must very shortly be obsolete. I contemplate opening a new Pythagorean Institute for instruction of the artistic young. Above the portal I shall cause to be inscribed the following profound thought: ‘Art does not pay; portrait and figure painting do.’”
“Some portrait painters are artists,” said Don.
“I agree: Velasquez for instance; and consider the treatment of the velvet draperies in Collier’s Pomps and Vanities so widely popularised by its reproduction in the Telephone Directory.” He turned to Paul. “I have noted no fewer than six novelists, Mario, engaged in outlining to admirers projected masterpieces dealing with the war from a psychological aspect. Think of the disappointments. Excepting the creators of omniscient detectives and exotic criminals (who form a class apart, self-contained, opulent and immune from the stress of life) every writer dies with his greatest work unwritten. We are beginning to bore one another. Let us proceed to Murray’s and contemplate bare backs.”