Robert Orange. John Oliver Hobbes
auditorium.
“Really, town is very full,” said he; “I suppose many of them are up for the Hauconberg wedding. There's old Cliddesdon—just look at him. Did you ever see such an infernal ass? Hullo! I thought that Millie Warfield wouldn't be far off. She's a perfect rack of bones. Lady Michelmarsh is getting rather pretty—it's wonderful how these dowdy girls can work up their profiles after a month or two in town. She was a lump as a bride—a regular lump. You never met anything like it. Aumerle is talking to her now. He was at the Capitol this afternoon. He begins to give himself airs. I can't stand him. In fact, I cannot understand those fellows on my sub-committee. Sometimes they are—if anything—too civil. A bit servile, in fact. Then they turn out and look as though they would like to make their teeth meet in my backbone. They sulk, and whisper in groups, and snicker. I am getting sick of it. I must get rid of them. By Jove! there's David Rennes, the painter. I thought he was at Amesbury—with the Carillons, doing Agnes's portrait. It can't be finished. She said distinctly in her letter this morning—“I may not add more because I have to give Mr. Rennes a sitting while the light is good.” Where's the letter? I must have left it on the breakfast-table. Anyhow that is what she said. I'll catch Rennes' eye and have him up. He is not a bad sort.”
The act-drop had now descended, the lights were turned on to their full power, and Orange, following the direction of Reckage's gaze, saw, in the last row of the stalls, a large man about nine-and-thirty with an emotional, nervous face, a heavy beard, and dense black hair. He was leaning forward, for the seat in front of him was, at the moment, vacant; his hands were tightly locked, his eyes fixed on the curtain. At last Reckage's determined stare produced its effect. He moved, glanced toward the box, and, in response to his lordship's signal, left his place. Two minutes later Orange heard a tap at the door.
“That's right,” said Reckage, as Rennes entered, “take Orange's chair. He doesn't care a bit about the play, or anything in it. He is going to get married to-morrow. You know Robert Orange, don't you? You ought to paint him. Saint Augustine with a future. Mon devoir, mes livres, et puis … et puis, madame, ma femme.”
The Emperor's burgundy, indeed, had not been opened in vain. Rennes could talk well, sometimes brilliantly, often with originality, and, with the tact of all highly sensitive beings, he led the conversation into impersonal themes. He said Miss Carillon's portrait was not yet finished, but he changed that subject immediately, and the evening, which had been to Orange a trial of patience, ended rather better than it began. Lord Reckage invited Rennes to accompany them home. The artist did not appear, at first, in the mood to accept that invitation. He, too, seemed to have many things he wished to think about undisturbed, and in the silence of his own company. His hesitation passed, however; the kindness in his nature had been roused by something unusual, haunting, ominous in Robert's face.
“I will come,” said he.
All the way, on their walk to Almouth House, he kept Reckage amused. Orange never once felt under the necessity to speak. He was able to dream, to hold his breath, to remember that he loved and was loved again, that he would see her to-morrow—to-morrow quite early, and then, no more unutterable farewells, heart-desolating separations. He surprised himself by saying aloud—“I love you … I love you.” The two men, engrossed in talk, did not hear him. But he had caught the words, and it seemed as though he heard his own voice for the first time.
“You must want some supper,” said Reckage—“a rum omelette.”
“No! no! I couldn't.”
He sat down to the table, however, and watched them eat. First the burlesque was discussed, then the actresses, the dresses, the dancing.
“Russia is the place for dancing,” said Reckage, “I assure you. There was a dancer at Petersburg. … Something-or-other-ewski was her name, and a fellow shot himself while I was there on her account. An awful fool. I can tell you who painted her portrait. A Frenchman called Carolus-Duran. I believe he has a career before him. What is your opinion of French art?”
Rennes had studied in Paris and was well acquainted with the artist in question. They talked about the exhibitions of the year and the prices paid at a recent sale of pictures.
“Old Garrow has some fine pictures,” said Reckage. “I would give a good deal for his Ghirlandajo. Do you know it? And then that noble Tintoret? There are so many persons whose position in life compels them to encourage art without having any real enjoyment of it. Garrow is one of those persons. But his daughter, Lady Sara, has a touch of genius. She's a musician. You have heard her play, haven't you, Robert?”
“Yes.”
Robert had, at that instant, observed upon the mantelpiece a letter addressed to himself. It was from Brigit. He grew pale, and retired, with the little envelope lightly written on, to a far corner of the room. For some moments he could not break the seal. The sight of her writing filled him with a kind of agony—something beyond his control, beyond his comprehension. What did it mean—this tightening of the heart, this touch of fear, and love, and fear again, so deep that the whole web of life trembled and its strings grew confused one with another, and all was anguish, darkness, self-renunciation, and a wild, a dreadful mystery of human influence? At last he opened the letter.
“My dearest,” it began, “I can never say all that I wish to say, because when I am with you I forget everything and watch your face. When I am away from you I forget your face, and I long to see it again in order that I may remember it more perfectly! It is so hard not to think of you too often. But I have had a great deal of sorrow, and everything I have in the world—except you—is a grief. I know that we are not born to be happy, and so, I wonder, have we stolen our happiness? If it is a gift—I know not what to do with it. I cannot speak a happy language: the atmosphere is strange and frightens me. Dear Robert, I am terrified, uncertain, but when we meet to-morrow you will give me courage. And then, as we shall not part again, I need never again be, as I am now, too anxious. Your Brigit.”
Reckage's voice broke in again.
“I do wish you would try this rum omelette. It is capital.”
Orange laughed, but left the room. Rennes remarked that he had a powerful face.
“Yes. He has a strong character. And he would never deceive another. But he deceives himself hourly—daily.”
“In what way?” asked Rennes.
“He doesn't know,” said Reckage, “what a devilish fine chap he is! I wish to God that I could prevent this marriage.”
“Why?”
“I say nothing against Mrs. Parflete. She's a high-class woman and so on. Awfully beautiful, too. As clever as they make 'em, and not a breath against her. All the same, I am not very sweet on love matches for men of Orange's calibre. They never answer—never.”
“I don't agree with you there,” replied the artist, “because I believe that a love match—even when it dissolves, as it may, into a mistake—is the best thing that can happen to any man.”
After this they discussed bindings. Lord Reckage was the first amateur authority on the subject.
CHAPTER VI
At five the next morning Robert was writing letters. Then, as soon as the gates of Hyde Park were open, he walked out. The recurrence of familiar sentiments on the essentials that make up the condition known as happiness would neither convince, nor inspire, the powers of an imagination which, with all its richness, was, apart from the purely artistic faculty, analytical and foreboding. Self-doubt, however, has no part in passion. Of the many miseries it may bring, this, perhaps the worst of human woes, can never be in its train. Men in love—and women also—may distrust all things and all creatures, but their own emotion, like the storm, proves the reality of its force by the mischief it wreaks. Robert's spirit, borne along by this vehemence of feeling, caught the keen sweetness