Tender is the night / Ночь нежна. Книга для чтения на английском языке. Френсис Фицджеральд
some pictures from a friend of mine who needs the money.”
Rosemary smoothed the brief expressive disarray of her hair.
“We’ll stay just five minutes,” he decided. “You’re not going to like these people.”
She assumed that they were dull and stereotyped people, or gross and drunken people, or tiresome, insistent people, or any of the sorts of people that the Divers avoided. She was entirely unprepared for the impression that the scene made on her.
XVII
It was a house hewn[142] from the frame of Cardinal de Retz’s[143] palace in the Rue Monsieur, but once inside the door there was nothing of the past, nor of any present that Rosemary knew. The outer shell, the masonry, seemed rather to enclose the future so that it was an electric-like shock, a definite nervous experience, perverted as a breakfast of oatmeal and hashish, to cross that threshold, if it could be so called, into the long hall of blue steel, silver-gilt, and the myriad facets of many oddly bevelled mirrors. The effect was unlike that of any part of the Decorative Arts Exhibition – for there were people in it, not in front of it. Rosemary had the detached false-and-exalted feeling of being on a set and she guessed that every one else present had that feeling too.
There were about thirty people, mostly women, and all fashioned by Louisa M. Alcott[144] or Madame de Ségur[145]; and they functioned on this set as cautiously, as precisely, as does a human hand picking up jagged broken glass. Neither individually nor as a crowd could they be said to dominate the environment, as one comes to dominate a work of art he may possess, no matter how esoteric, no one knew what this room meant because it was evolving into something else, becoming everything a room was not; to exist in it was as difficult as walking on a highly polished moving stairway, and no one could succeed at all save with the aforementioned qualities of a hand moving among broken glass – which qualities limited and defined the majority of those present.
These were of two sorts. There were the Americans and English who had been dissipating all spring and summer, so that now everything they did had a purely nervous inspiration. They were very quiet and lethargic: at certain hours and then they exploded into sudden quarrels and breakdowns and seductions. The other class, who might be called the exploiters, was formed by the sponges, who were sober, serious people by comparison, with a purpose in life and no time for fooling. These kept their balance best in that environment, and what tone there was, beyond the apartment’s novel organization of light values, came from them.
The Frankenstein[146] took down Dick and Rosemary at a gulp – it separated them immediately and Rosemary suddenly discovered herself to be an insincere little person, living all in the upper registers of her throat and wishing the director would come. There was however such a wild beating of wings in the room that she did not feel her position was more incongruous than any one else’s. In addition, her training told and after a series of semi-military turns, shifts, and marches she found herself presumably talking to a neat, slick girl with a lovely boy’s face, but actually absorbed by a conversation taking place on a sort of gun-metal ladder diagonally opposite her and four feet away.
There was a trio of young women sitting on the bench. They were all tall and slender with small heads groomed like manikins’ heads, and as they talked the heads waved gracefully about above their dark tailored suits, rather like long-stemmed flowers and rather like cobras’ hoods.
“Oh, they give a good show,” said one of them, in a deep rich voice. “Practically the best show in Paris – I’d be the last one to deny that. But after all —” She sighed. “Those phrases he uses over and over – ’Oldest inhabitant gnawed by rodents.’ You laugh once.”
“I prefer people whose lives have more corrugated surfaces,” said the second, “and I don’t like her.”
“I’ve never really been able to get very excited about them, or their entourage either. Why, for example, the entirely liquid Mr. North?”
“He’s out,” said the first girl. “But you must admit that the party in question can be one of the most charming human-beings you have ever met.”
It was the first hint Rosemary had had that they were talking about the Divers, and her body grew tense with indignation. But the girl talking to her, in the starched blue shirt with the bright blue eyes and the red cheeks and the very gray suit, a poster of a girl, had begun to play up. Desperately she kept sweeping things from between them, afraid that Rosemary couldn’t see her, sweeping them away until presently there was not so much as a veil of brittle humor hiding the girl, and with distaste Rosemary saw her plain.
“Couldn’t you have lunch, or maybe dinner, or lunch the day after?” begged the girl. Rosemary looked about for Dick, finding him with the hostess, to whom he had been talking since they came in. Their eyes met and he nodded slightly, and simultaneously the three cobra women noticed her; their long necks darted toward her and they fixed finely critical glances upon her. She looked back at them defiantly, acknowledging that she had heard what they said. Then she threw off her exigent vis-á-vis with a polite but clipped parting that she had just learned from Dick, and went over to join him. The hostess – she was another tall rich American girl, promenading insouciantly upon the national prosperity – was asking Dick innumerable questions about Gausse’s Hôtel, whither she evidently wanted to come, and battering persistently against his reluctance. Rosemary’s presence reminded her that she had been recalcitrant as a hostess and glancing about she said: “Have you met anyone amusing, have you met Mr. —” Her eyes groped for a male who might interest Rosemary, but Dick said they must go. They left immediately, moving over the brief threshold of the future to the sudden past of the stone façade without.
“Wasn’t it terrible?” he said.
“Terrible,” she echoed obediently.
“Rosemary?”
She murmured, “What?” in an awed voice.
“I feel terribly about this.”
She was shaken with audibly painful sobs. “Have you got a handkerchief?” she faltered. But there was little time to cry, and lovers now they fell ravenously on the quick seconds while outside the taxi windows the green and cream twilight faded, and the fire-red, gas-blue, ghost-green signs began to shine smokily through the tranquil rain. It was nearly six, the streets were in movement, the bistros gleamed, the Place de la Concorde[147] moved by in pink majesty as the cab turned north.
They looked at each other at last, murmuring names that were a spell. Softly the two names lingered on the air, died away more slowly than other words, other names, slower than music in the mind.
“I don’t know what came over me last night,” Rosemary said. “That glass of champagne? I’ve never done anything like that before.”
“You simply said you loved me.”
“I do love you – I can’t change that.” It was time for Rosemary to cry, so she cried a little in her handkerchief.
“I’m afraid I’m in love with you,” said Dick, “and that’s not the best thing that could happen.”
Again the names – then they lurched together as if the taxi had swung them. Her breasts crushed flat against him, her mouth was all new and warm, owned in common. They stopped thinking with an almost painful relief, stopped seeing; they only breathed and sought each other. They were both in the gray gentle world of a mild hangover of fatigue when the nerves relax in bunches like piano strings, and crackle suddenly like wicker chairs. Nerves so raw and tender must surely join other nerves, lips to lips, breast to breast…
They were still in the happier stage of love. They were full of brave illusions about each other, tremendous illusions, so that the communion of self with self seemed to be on a plane where no other human relations mattered. They both seemed to have arrived there with an extraordinary
hewn – (зд.) перестроенный
Cardinal de Retz’s – Жан Франсуа Поль де Ретц (1614– 1679), кардинал, один из представителей фрондистского движения во Франции
Louisa M. Alcott – Луиза Олкотт (1832–1888), американская писательница, автор назидательных книг для детей
Madame de Ségur – Софи де Сегюр (урожд. Ростопчина, 1799–1894), французская детская писательница русского происхождения
Frankenstein – (зд.) монстр, чудовище. Франкенштейн, герой романа английской писательницы Мэри Шелли (Mary Shelley, 1797–1851) «Франкенштейн, или современный Прометей» (Frankenstein, or the Modern Prometheus, 1818), создал человекоподобное чудовище из неживой материи; поскольку М. Шелли не дала этому монстру никакого имени, его часто называют Франкенштейном по имени создавшего его ученого
Place de la Concorde – (фр.) площадь Согласия