Kitobni o'qish: «Overlooked»

PART I
THE PAPERS OF ANTHONY KAY

CHAPTER I

When my old friend and trusted adviser, Doctor Kennaway, told me that I must go to Haréville and stay there a month or, still better, two months, I asked him what I could possibly do there. The only possible pastime at a watering-place is to watch. A blind man is debarred from that pastime.

He said to me: "Why don't you write a novel?"

I said that I had never written anything in my life. He then said that a famous editor, of the Figaro, I think, had once said that every man had one newspaper article in him. Novel could be substituted for newspaper article. I objected that, although I found writing on my typewriter a soothing occupation, I had always been given to understand by authors that correcting proofs was the only real fun in writing a book. I was debarred from that. We talked of other things and I thought no more about this till after I had been at Haréville a week.

When I arrived there, although the season had scarcely begun, I made acquaintances more rapidly than I had expected, and most of my time was taken up in idle conversation.

After I had been drinking the waters for a week, I made the acquaintance of James Rudd, the novelist. I had never met him before. I have, indeed, rarely met a novelist. When I have done so they have either been elderly ladies who specialized in the life of the Quartier-Latin, or country gentlemen who kept out all romance from their general conversation, which they confined to the crops and the misdeeds of the Government.

James Rudd did not certainly belong to either of these categories. He was passionately interested in his own business. He did not seem in the least inclined to talk about anything else. He took for granted I had read all his works. I think he supposed that even the blind could hardly have failed to do that. Some of his works have been read to me. I did not like to put it in this way, lest he should think I was calling attention to the absence of his books in the series which have been transcribed in the Braille language. But he was evidently satisfied that I knew his work. I enjoyed the books of his which were read to me, but then, I enjoy any novel. I did not tell him that. I let him take for granted that I had taken for granted all there was to be taken for granted. I imagine him to wear a faded Venetian-red tie, a low collar, and loose blue clothes (I shall find out whether this is true later), to be a non-smoker – I am, in fact, sure of that – a practical teetotaler, not without a nice discrimination based on the imagination rather than on experience, of French vintage wines, and a fine appreciation of all the arts. He is certainly not young, and I think rather weary, but still passionately interested in the only thing which he thinks worthy of any interest. I found him an entertaining companion, easy and stimulating. He had been sent to Haréville by Kennaway, which gave us a link. Kennaway had told him to leave off writing novels for five weeks if he possibly could. He was finding it difficult. He told me he was longing to write, but could think of no subject.

I suggested to him that he should write a novel about the people at Haréville. I said I could introduce him to three ladies and that they could form the nucleus of the story. He was delighted with the idea, and that same evening I introduced him to Princess Kouragine, who is not, as her name sounds, a Russian, but a French lady, née Robert, who married a Prince Serge Kouragine. He died some years ago. She is a lady of so much sense, and so ripe in wisdom and experience, that I felt her acquaintance must do any novelist good. I also introduced him to Mrs. Lennox, who is here with her niece, Miss Jean Brandon. Mrs. Lennox, I knew, would enjoy meeting a celebrity; she sacrificed an evening's gambling for the sake of his society, and the next day, she asked him to luncheon. In the evening he told me that Miss Brandon would be a suitable heroine for his novel.

I asked him if he had begun it. He said he was planning it, but as it was a holiday novel, and as he had been forbidden to work, he was not going to make it a real book. He was going to write this novel for his own enjoyment, and not for the public. He would never publish it. He would be very grateful, all the same, if I allowed him to discuss it with me, as he could not write a story without discussing it with someone.

I said I would willingly discuss the story with him, and I have determined to keep a record of our conversations, and indeed of everything that affects this matter, in case he one day publishes the novel, or publishes what the novel may turn into; for I feel that it will not remain unpublished, even though it turns into something quite different. I shall thus have all the fun of seeing a novel planned without the trouble of writing one myself.

"Of course you have the advantage of knowing these people quite well," he said. I told him that he was mistaken. I had never met any of them, except Princess Kouragine, before. And it was years since I had seen her.

"The first problem is," he said, "Why is Miss Brandon not married? She must be getting on for thirty, if she is not thirty yet, and it is strange that a person with her looks – "

"I have often wondered what she looks like," I said, "and I have made my picture of her. Shall I tell it you, and you can tell me whether it is at all like the reality?"

He was most anxious to hear my description. I said that I imagined Miss Brandon to be as changeable in appearance as the sky. I explained to him that I had not always been blind, that my blindness had come comparatively late in life from a shooting accident, in which I lost one eye – the sight of the other I lost gradually afterwards. I had imagined her as the lady who walked in the garden in Shelley's Sensitive Plant (I could not remember all the quotation):

"A sea-flower unfolded beneath the ocean."

Still, and rather mysterious, elusive and rare. He said I was right about the variability, but that he saw her differently. It was true she was pale, delicate, and extremely refined, but her eyes were the interesting thing about her. She was like a sapphire. She looked better in the daytime than in the evening. By candle-light she seemed to fade. She did not remind him of Shelley at all. She was not ethereal nor diaphanous. She was a sapphire, not a moonstone. She belonged to the world of romance, not to the world of lyric poetry. Something had been left out when she had been created. She was unfinished. What had been left out? Was it her soul? Was it her heart? Was she Undine? No. Was she Lilith? No. All the same she belonged to the fairy-tale world; to the Hans Andersen world, or to Perrault. The Princess without … without what? She was the Sleeping Beauty in the wood, who had woken up and remembered nothing, and could never recover from the long trance. She would never be the same again. Never really awake in the world. And yet she had brought nothing back from fairyland except her looks.

"She reminds me," he said, "of a line of Robert Lytton's: 'All her looks are poetry and all her thoughts are prose.' It is not that she is prosaic, but she is muffled. You see, during that long slumber which lasted a hundred years – " Rudd had now quite forgotten my presence and was talking or, rather, murmuring to himself. He was composing aloud. "During that long exile which lasted a hundred years, and passed in a flash, she had no dreams."

"You mean she has no heart," I said.

"No, not that," he answered, "heart as much as you like. She is kind. She is affectionate. But no passion, no dreams. Above all, no dreams. That is what she is. The Princess without any dreams. Do you think that would do as a title? No, it is not quite right. The Sleeping Beauty in the World? No. Why did Rostand use the title, La Princesse Lointaine? That would have done. No, that is not quite right either. She is not far away. She is here. She looks far away and isn't. I must think about it. It will come."

Then, quite abruptly, he asked me what I imagined the garden of the hotel looked like. I said that I had never been here before and that I had only heard descriptions of the place from my acquaintances and from my servant, but I imagined the end of the garden, where I had often walked, to be rather like a Russian landscape. I had never been to Russia, but I had read Russian books, and what I imagined to be a rather untidy piece of long grass, fringed with a few birch trees and some firs, the whole rather baked and dry, reminded me of the descriptions in Tourgenev's books.

Rudd said it was not like Russia. Russia had so much more space. So much more atmosphere. This little garden might be a piece of Scotland, might be a piece of Denmark, but it was not Russian.

I asked him whether he had been to Russia. Not in the flesh, he said, but in the spirit he had lived there for years.

Perhaps he wanted to see how much the second-hand impressions of a blind man were worth.

He soon reverted to the original subject of our talk.

"Why is Miss Brandon not married?" he said.

I said I knew nothing about her, nothing about her life. I presumed her parents were dead. She was travelling with her aunt. They came here every year for her aunt's rheumatism. Mrs. Lennox had a house in London. She was a widow, not very well off, I thought. I told him I knew nothing of London life. I have lived in Italy for the last twenty years. I very seldom went to London, only, in fact, to see Kennaway. I told him he must find out about Miss Brandon's early history himself.

"She is very silent," he said.

"Mrs. Lennox is very talkative," I told him.

"What can I call it?" he asked, in an agony of impatience. "She has every beauty, every grace, except that of expression."

"The Dumb Belle?" The words escaped me and I immediately regretted them.

"No," he said, quite seriously, "she is not dumb, that is just the point. She talks, but she cannot express herself. Or rather, she has nothing to express. At least, I think she has nothing to express: or what she has got to express is not what we think it is. I imagine a story like Pygmalion and Galatea. Somebody waking her to life and then finding her quite different from what the stone image seemed to promise, from what it did promise. At any rate I have got my subject and I am extremely grateful. It is a wonderful subject."

"Henry James," I ventured.

"Ah, James," said Rudd, "yes, James, a wonderful intellect, but a critic, not a novelist. The French could do it. What would they have called it? La Princesse désenchantée, or La Belle revenue du Bois? You can't say that in English."

"Nor in French either," I thought to myself, but I said aloud, "Out of the Wood would suggest quite a different kind of book."

"A very different kind of book," said Rudd, quite gravely. "The kind of book that sells by the million."

Rudd then left me. He was enchanted with the idea of having something to write about. I felt that a good title for his novel would be Eurydice Half-regained, but I was diffident about suggesting a title to him, besides which I felt he would not like it. Miss Brandon, he would explain, was not like Eurydice, and if she was, she had forgotten her experiences beyond the Styx.

CHAPTER II

I am going to divide my record into chapters just as if I were writing a novel. The length of the chapters will be entirely determined by my inclination at the moment of writing. When I am tired the chapter will end. I don't know if this is what novelists do. It does not matter, as I am not writing a novel. I know it is not what Rudd does. He told me he planned out his novel before writing a line, and decided beforehand on the length of each chapter, but that he often made them longer in the first draft, and then eliminated. If you want to be terse, he said, you must not start by trying to be terse, by leaving out. You must say everything first. You can rub out afterwards. He told me he worked in charcoal, as it were, at first.

I shall not work in charcoal. I have no plan.

I asked Princess Kouragine what Rudd was like. She said he had something rather prim and dapper about him. I was quite wrong about his appearance. He wears a black tie. Princess Kouragine said, "Il a l'air comme tout le monde, plutôt comme un médecin de campagne."

I asked her if she liked him. She said she did not know. She said he was agreeable, but she found no real pleasure in his society.

"You see," she said, "I like the society of my equals, I hate being with my superiors; that is why I hate being with royalties, authors and artists. Mr. Rudd can talk of nothing except his art, and I like Tauchnitz novels that one can read without any trouble. I hate realistic novels, especially in English."

I told her his novels were more often fantastic, with a certain amount of psychology in them.

"That is worse," she said, "I am old-fashioned. It is no use to try and convert me. I like Trollope and Ouida."

I offered to lend her a novel by Rudd, but she refused.

"I would rather not have read it," she said. "It would make me uncomfortable when I talked to him. As it is, as the idiot who has read nothing newer than Ouida, I am quite comfortable."

I said he was writing something now which I thought would interest her. I told her how Rudd was making Miss Brandon the pivot of a story.

"Ah!" she said. "He told me he was writing something for his own pleasure. I will read that book."

I said he did not intend to publish it.

"He will publish it," she said. "It will be very interesting. I wonder what he will make of Jean Brandon. I know her well. I have known her for five years. They come here every year. They stay a long time. It is economical. She is a good girl. I like her. Elle me plaît."

I asked whether she was pretty.

The Princess said she was changeable —journalière, "Elle a souvent mauvaise mine." Not tall enough. A beautiful skin like ivory, but too pale. Eyes. Yes, she had eyes. Most remarkable eyes. You could not tell whether they were blue or grey. Graceful. Pretty hands. Badly dressed, but from poverty and economy more than from mauvais goût. A very English beauty. "You will probably tell me she is Scotch or Irish. I don't care. I don't mean Keapsake or Gainsborough, nor Burne-Jones, but English all the same. But I can't describe her. She has charm and it escapes one. She has beauty, but it doesn't fit into any of the categories.

"One feels there is a lamp inside her which has gone out, for the time being, at any rate. She reminds me of some lines of Victor Hugo:

 
"Et les plus sombres d'entre nous
Ont eu leur aube éblouissante."
 

"I can imagine her having been quite dazzling when she was a young girl. I can imagine her still being dazzling now if someone were to light the lamp. It could be lit, I know. Once, two years ago, at the races here at Bavigny, I saw her excited. She wanted a friend to win a steeplechase and he won. She was transfigured. At that moment I thought I had seldom seen anyone more éblouissante. Her face shone as though it had been transparent."

Of course the poor girl was unhappy, and why was she unhappy? The reason was a simple one, she was poor, and Mrs. Lennox economized and used her as an economy.

"You see that the poor girl is obliged to make de petites économies in her clothes. She suffers from it I'm sure. Who wouldn't? This all comes from your silly system of marriage in England. You let two totally inexperienced beings with nothing to help them settle the question on which the whole of their lives is to depend. You let a girl marry her first love. It is too absurd. It never lasts. I do not say that marriages in our country do not often turn out very badly. No one knows that better than I do, Heaven knows; but I say that at least we give the poor children a chance. We at least do not build marriages on a foundation which we know to be unsound beforehand, or not there at all. We do not let two people marry when we know that the circumstances cannot help leading to disaster."

I said I did not think there was much to choose between the two systems. In France the young people had the chance of making a satisfactory marriage; in our country the young people had the chance of marrying whom they chose, of making the right choice. It was sometimes successful. Besides, when there were real obstacles the marriages did not as a rule come off. Mrs. Lennox had told me that Miss Brandon had been engaged when she was nineteen to a man in the army. He was too poor. The engagement had been broken off. The man had left the army and gone to the colonies, and there the matter had remained. I didn't think she would have been happier if she had been married off to a parti.

"She would not have been poor," said Princess Kouragine. "And she would have been more independent. She would have had a home."

She said she did not attach an enormous importance to riches, but she did attach great importance to real poverty, especially to poverty in the class of people with whom Miss Brandon lived. She said the worst kind of poverty was to live with people richer than yourself. It was a continual strain, she knew it from experience. She had been through it herself soon after she was married, after the first time her husband had been ruined. And nobody who had not been through it knew what it meant, the constant daily fret.

"The little subterfuges. Having to think of every cab and every box of cigarettes. Not that I thought of those," she said. "But it was clothes which were the trouble. I can see that that poor Jean suffers in the same way. And then, what a life! To spend all one's time with that Mrs. Lennox, who is as hard as a stone and ruthlessly selfish. She does not want Jean to marry. Jean is too useful to her."

I said I wondered why she had not married. Surely lots of men must have wanted to marry her.

Princess Kouragine said that Mrs. Lennox was quite capable of preventing it. She rarely took her out in London. She brought her to Haréville when the London season began and they stayed here two months. It was cheaper. In the winter they went to Florence or Nice.

I said I wondered whether she was still faithful to the man she had been engaged to, and what he was like.

Princess Kouragine said she did not know him. She had never seen him, but she had heard he was charming, très bien, but he hadn't a penny. It appeared, however, that he had a relation, possibly an uncle, who was well off, and who would probably leave him money. But he was not an old man and might live for years.

I said that perhaps Miss Brandon was waiting for him.

"Perhaps," said Princess Kouragine, "but she was only nineteen when they were engaged, and he has been away for the last five years. People change. She is no longer now what she was then, nor he, probably."

She did not think this episode was a real obstacle; she was convinced Miss Brandon did not feel bound, but she thought she had not yet met anyone whom she felt she would like to marry. Nor was it likely for her to do so considering the milieu in which she lived, in which she was obliged to live.

Mrs. Lennox liked the continental, international world. The world in which everyone spoke English and hardly anyone was English. It was not even the best side of the continental world she liked. She did not mean it was the shady side, not the world of adventurers and gamblers, but the world of international "culture." All the intellectual snobs were drawn instinctively to Mrs. Lennox. People who discovered new musicians, new novelists, and new painters, who suddenly pronounced as a dogma that Beethoven couldn't compose and that the old masters did not know how to draw, and that there was a new music, a new science, and, above all, a new religion.

"She is always surrounded just by those one or two men and women 'qui rendent l'Europe insupportable et qui la gobent,' they swallow everything in her, her views on art, her dyed hair, and her ridiculous hats. Is it likely that Miss Brandon, the daughter of an old general, brought up in the Highlands of Scotland, and passionately fond of outdoor life, would find a husband among people who were discussing all day long whether Wagner was not better as a writer than a musician? She never complains of it, poor child, but I know quite well that she is écoeurée. She has had five years of it. Her father died five years ago. Till he died she used to look after him and that was probably not an easy life, either, as I believe he was a very exacting old man. Her mother had died years before, and she had no brothers and no sisters. No relations who were friends, and few women friends. She is alone in a world she hates."

I said I wondered that she had not left it. Girls often struck out a line for themselves now and found occupations.

Princess Kouragine said that Miss Brandon was not that sort of girl. She was shy and apathetic as far as that kind of thing was concerned, apathetic now about everything. She had just given in. What else could she do? Where could she live? She had not a penny.

"You see if a sensible marriage had been arranged for her, all this would not have happened. She would have now had a home and children."

I said that perhaps she was being faithful to the young man.

Princess Kouragine said I could take it from her that she had never loved, "elle n'a jamais aimé" She had never had a grande passion.

I asked the Princess whether she thought her capable of such a thing. She seemed so quiet.

"You have never seen the lamp lit," said the Princess, "but I have; only for one moment, it is true, but I shall never forget it."

She wondered what Rudd would make of the character. He hardly knew her. Did he seem to understand her?

I said I thought he spun people out of his own inner consciousness. A face gave him an idea and he made his own character, but he thought he was being very analytical, and that all he created was based on observation.

"He certainly observes nothing," said the Princess.

She asked who would be the hero. I said we had not got as far as the hero when he had discussed it with me.

"And what will he call the novel?" she asked.

Ah, that was just the question. He had discussed that at length. He had not found a title that satisfied him. He had got so far as "The Princess without any Dreams."

"Dieu qu'il est bête," she said. "Cette enfant ne fait que rêver."

She told me I must get Rudd to discuss it with me again.

"Perhaps he will talk to me about it, too. I will make him do so, in fact. It will not be difficult. Then we will compare notes. It will be most amusing. The Princess without any dreams, indeed! He might just as well call her the Princess without any eyes!"