Trilby. Du Maurier George

to please – to make herself both useful and ornamental if it suited her purpose to do so.

      Her first step in this direction was to borrow Père Martin's basket and lantern and pick (he had more than one set of these trade properties) for the use of Taffy, whom she feared she might have offended by the freedom of her comments on his picture.

      Then, as often as she felt it to be discreet, she sounded her war-cry at the studio door and went in and made kind inquiries, and, sitting cross-legged on the model-throne, ate her bread and cheese and smoked her cigarette and "passed the time of day," as she chose to call it; telling them all such news of the quartier as had come within her own immediate ken. She was always full of little stories of other studios, which, to do her justice, were always good-natured, and probably true – quite so, as far as she was concerned; she was the most literal person alive; and she told all these "ragots, cancans, et potins d'atelier" in a quaint and amusing manner. The slightest look of gravity or boredom on one of those three faces, and she made herself scarce at once.

      She soon found opportunities for usefulness also. If a costume were wanted, for instance, she knew where to borrow it, or hire it or buy it cheaper than any one anywhere else. She procured stuffs for them at cost price, as it seemed, and made them into draperies and female garments of any kind that was wanted, and sat in them for the toreador's sweetheart (she made the mantilla herself), for Taffy's starving dress-maker about to throw herself into the Seine, for Little Billee's studies of the beautiful French peasant girl in his picture, now so famous, called "The Pitcher Goes to the Well."

      Then she darned their socks and mended their clothes, and got all their washing done properly and cheaply at her friend Madame Boisse's, in the Rue des Cloîtres Ste. Pétronille.

      And then again, when they were hard up and wanted a good round sum of money for some little pleasure excursion, such as a trip to Fontainebleau or Barbizon for two or three days, it was she who took their watches and scarf-pins and things to the Mount of Piety in the Street of the Well of Love (where dwelt "ma tante," which is French for "my uncle" in this connection), in order to raise the necessary funds.

      She was, of course, most liberally paid for all these little services, rendered with such pleasure and good-will – far too liberally, she thought. She would have been really happier doing them for love.

      Thus in a very short time she became a persona gratissima– a sunny and ever welcome vision of health and grace and liveliness and unalterable good-humor, always ready to take any trouble to please her beloved "Angliches," as they were called by Madame Vinard, the handsome shrill-voiced concierge, who was almost jealous; for she was devoted to the Angliches too – and so was Monsieur Vinard – and so were the little Vinards.

      She knew when to talk and when to laugh and when to hold her tongue; and the sight of her sitting cross-legged on the model-throne darning the Laird's socks or sewing buttons on his shirts or repairing the smoke-holes in his trousers was so pleasant that it was painted by all three. One of these sketches (in water-color, by Little Billee) sold the other day at Christie's for a sum so large that I hardly dare to mention it. It was done in an afternoon.

      Sometimes on a rainy day, when it was decided they should dine at home, she would fetch the food and cook it, and lay the cloth, and even make the salad. She was a better saladist than Taffy, a better cook than the Laird, a better caterer than Little Billee. And she would be invited to take her share in the banquet. And on these occasions her tremulous happiness was so immense that it would be quite pathetic to see – almost painful; and their three British hearts were touched by thoughts of all the loneliness and homelessness, the expatriation, the half-conscious loss of caste, that all this eager childish clinging revealed.

      And that is why (no doubt) that with all this familiar intimacy there was never any hint of gallantry or flirtation in any shape or form whatever – bonne camaraderie, voilà tout. Had she been Little Billee's sister she could not have been treated with more real respect. And her deep gratitude for this unwonted compliment transcended any passion she had ever felt. As the good Lafontaine so prettily says,

      "Ces animaux vivaient entre eux comme cousins;

      Cette union si douce, et presque fraternelle,

      Edifiait tous les voisins!"

      And then their talk! It was to her as the talk of the gods in Olympus, save that it was easier to understand, and she could always understand it. For she was a very intelligent person, in spite of her wofully neglected education, and most ambitious to learn – a new ambition for her.

      So they lent her books – English books: Dickens, Thackeray, Walter Scott – which she devoured in the silence of the night, the solitude of her little attic in the Rue des Pousse-Cailloux, and new worlds were revealed to her. She grew more English every day; and that was a good thing.

      Trilby speaking English and Trilby speaking French were two different beings. Trilby's English was more or less that of her father, a highly-educated man; her mother, who was a Scotch woman, although an uneducated one, had none of the ungainliness that mars the speech of so many English women in that humble rank – no droppings of the h, no broadening of the o's and a's.

      Trilby's French was that of the quartier latin – droll, slangy, piquant, quaint, picturesque – quite the reverse of ungainly, but in which there was scarcely a turn of phrase that would not stamp the speaker as being hopelessly, emphatically "no lady!" Though it was funny without being vulgar, it was perhaps a little too funny!

      And she handled her knife and fork in the dainty English way, as no doubt her father had done – and his; and, indeed, when alone with them she was so absolutely "like a lady" that it seemed quite odd (though very seductive) to see her in a grisette's cap and dress and apron. So much for her English training.

      But enter a Frenchman or two, and a transformation effected itself immediately – a new incarnation of Trilbyness – so droll and amusing that it was difficult to decide which of her two incarnations was the most attractive.

      It must be admitted that she had her faults – like Little Billee.

      For instance, she would be miserably jealous of any other woman who came to the studio, to sit or scrub or sweep or do anything else, even of the dirty tipsy old hag who sat for Taffy's "found drowned" – "as if she couldn't have sat for it herself!"

      And then she would be cross and sulky, but not for long – an injured martyr, soon ready to forgive and be forgiven.

      She would give up any sitting to come and sit to her three English friends. Even Durien had serious cause for complaint.

      Then her affection was exacting: she always wanted to be told one was fond of her, and she dearly loved her own way, even in the sewing on of buttons and the darning of socks, which was innocent enough. But when it came to the cutting and fashioning of garments for a toreador's bride, it was a nuisance not to be borne!

      "What could she know of toreadors' brides and their wedding-dresses?" the Laird would indignantly ask – as if he were a toreador himself; and this was the aggravating side of her irrepressible Trilbyness.

      In the caressing, demonstrative tenderness of her friendship she "made the soft eyes" at all three indiscriminately. But sometimes Little Billee would look up from his work as she was sitting to Taffy or the Laird, and find her gray eyes fixed on him with an all-enfolding gaze, so piercingly, penetratingly, unutterably sweet and kind and tender, such a brooding, dovelike look of soft and warm solicitude, that he would feel a flutter at his heart, and his hand would shake so that he could not paint; and in a waking dream he would remember that his mother had often looked at him like that when he was a small boy, and she a beautiful young woman untouched by care or sorrow; and the tear that always lay in readiness so close to the corner of Little Billee's eye would find it very difficult to keep itself in its proper place – unshed.

      And at such moments the thought that Trilby sat for the figure would go through him like a knife.

      She did not sit promiscuously to anybody who asked, it is true. But she still sat to Durien; to the great Gérôme; to M. Carrel, who scarcely used any other model.

      It was poor Trilby's sad distinction that she surpassed all other