Trilby. Du Maurier George

at the old houses opposite, some of which were being pulled down, no doubt lest they should fall of their own sweet will. In the gaps between he would see discolored, old, cracked, dingy walls, with mysterious windows and rusty iron balconies of great antiquity – sights that set him dreaming dreams of mediæval French love and wickedness and crime, bygone mysteries of Paris!

      One gap went right through the block, and gave him a glimpse of the river, the "Cité," and the ominous old Morgue; a little to the right rose the gray towers of Notre Dame de Paris into the checkered April sky. Indeed, the top of nearly all Paris lay before him, with a little stretch of the imagination on his part; and he gazed with a sense of novelty, an interest and a pleasure for which he could not have found any expression in mere language.

      Paris! Paris!! Paris!!!

      The very name had always been one to conjure with, whether he thought of it as a mere sound on the lips and in the ear, or as a magical written or printed word for the eye. And here was the thing itself at last, and he, he himself, ipsissimus, in the very midst of it, to live there and learn there as long as he liked, and make himself the great artist he longed to be.

      Then, his meal finished, he lit a pipe, and flung himself on the divan and sighed deeply, out of the over-full contentment of his heart.

      He felt he had never known happiness like this, never even dreamed its possibility. And yet his life had been a happy one. He was young and tender, was Little Billee; he had never been to any school, and was innocent of the world and its wicked ways; innocent of French especially, and the ways of Paris and its Latin quarter. He had been brought up and educated at home, had spent his boyhood in London with his mother and sister, who now lived in Devonshire on somewhat straitened means. His father, who was dead, had been a clerk in the Treasury.

      He and his two friends, Taffy and the Laird, had taken this studio together. The Laird slept there, in a small bedroom off the studio. Taffy had a bedroom at the Hôtel de Seine, in the street of that name. Little Billee lodged at the Hôtel Corneille, in the Place de l'Odéon.

      He looked at his two friends, and wondered if any one, living or dead, had ever had such a glorious pair of chums as these.

      Whatever they did, whatever they said, was simply perfect in his eyes; they were his guides and philosophers as well as his chums. On the other hand, Taffy and the Laird were as fond of the boy as they could be.

      His absolute belief in all they said and did touched them none the less that they were conscious of its being somewhat in excess of their deserts. His almost girlish purity of mind amused and charmed them, and they did all they could to preserve it, even in the quartier latin, where purity is apt to go bad if it be kept too long.

      They loved him for his affectionate disposition, his lively and caressing ways; and they admired him far more than he ever knew, for they recognized in him a quickness, a keenness, a delicacy of perception, in matters of form and color, a mysterious facility and felicity of execution, a sense of all that was sweet and beautiful in nature, and a ready power of expressing it, that had not been vouchsafed to them in any such generous profusion, and which, as they ungrudgingly admitted to themselves and each other, amounted to true genius.

      And when one within the immediate circle of our intimates is gifted in this abnormal fashion, we either hate or love him for it, in proportion to the greatness of his gift; according to the way we are built.

      So Taffy and the Laird loved Little Billee – loved him very much indeed. Not but what Little Billee had his faults. For instance, he didn't interest himself very warmly in other people's pictures. He didn't seem to care for the Laird's guitar-playing toreador, nor for his serenaded lady – at all events, he never said anything about them, either in praise or blame. He looked at Taffy's realisms (for Taffy was a realist) in silence, and nothing tries true friendship so much as silence of this kind.

      But, then, to make up for it, when they all three went to the Louvre, he didn't seem to trouble much about Titian either, or Rembrandt, or Velasquez, Rubens, Veronese, or Leonardo. He looked at the people who looked at the pictures, instead of at the pictures themselves; especially at the people who copied them, the sometimes charming young lady painters – and these seemed to him even more charming than they really were – and he looked a great deal out of the Louvre windows, where there was much to be seen: more Paris, for instance – Paris, of which he could never have enough.

      But when, surfeited with classical beauty, they all three went and dined together, and Taffy and the Laird said beautiful things about the old masters, and quarrelled about them, he listened with deference and rapt attention, and reverentially agreed with all they said, and afterwards made the most delightfully funny little pen-and-ink sketches of them, saying all these beautiful things (which he sent to his mother and sister at home); so life-like, so real, that you could almost hear the beautiful things they said; so beautifully drawn that you felt the old masters couldn't have drawn them better themselves; and so irresistibly droll that you felt that the old masters could not have drawn them at all – any more than Milton could have described the quarrel between Sairey Gamp and Betsy Prig; no one, in short, but Little Billee.

      Little Billee took up the "Ballad of the Bouillabaisse" where the Laird had left it off, and speculated on the future of himself and his friends, when he should have got to forty years – an almost impossibly remote future.

      These speculations were interrupted by a loud knock at the door, and two men came in.

      First, a tall, bony individual of any age between thirty and forty-five, of Jewish aspect, well-featured but sinister. He was very shabby and dirty, and wore a red béret and a large velveteen cloak, with a big metal clasp at the collar. His thick, heavy, languid, lustreless black hair fell down behind his ears on to his shoulders, in that musicianlike way that is so offensive to the normal Englishman. He had bold, brilliant black eyes, with long, heavy lids, a thin, sallow face, and a beard of burnt-up black which grew almost from his under eyelids; and over it his mustache, a shade lighter, fell in two long spiral twists. He went by the name of Svengali, and spoke fluent French with a German accent, and humorous German twists and idioms, and his voice was very thin and mean and harsh, and often broke into a disagreeable falsetto.

      His companion was a little swarthy young man – a gypsy, possibly – much pitted with the small-pox, and also very shabby. He had large, soft, affectionate brown eyes, like a King Charles spaniel. He had small, nervous, veiny hands, with nails bitten down to the quick, and carried a fiddle and a fiddlestick under his arm, without a case, as though he had been playing in the street.

      "Ponchour, mes enfants," said Svengali. "Che vous amène mon ami Checko, qui choue du fiolon gomme un anche!"

      Little Billee, who adored all "sweet musicianers," jumped up and made Gecko as warmly welcome as he could in his early French.

      "Ha! le biâno!" exclaimed Svengali, flinging his red béret on it, and his cloak on the ground. "Ch'espère qu'il est pon, et pien t'accord!"

      And sitting down on the music-stool, he ran up and down the scales with that easy power, that smooth, even crispness of touch, which reveal the master.

      Then he fell to playing Chopin's impromptu in A flat, so beautifully that Little Billee's heart went nigh to bursting with suppressed emotion and delight. He had never heard any music of Chopin's before, nothing but British provincial home-made music – melodies with variations, "Annie Laurie," "The Last Rose of Summer," "The Blue Bells of Scotland;" innocent little motherly and sisterly tinklings, invented to set the company at their ease on festive evenings, and make all-round conversation possible for shy people; who fear the unaccompanied sound of their own voices, and whose genial chatter always leaves off directly the music ceases.

      He never forgot that impromptu, which he was destined to hear again one day in strange circumstances.

      Then Svengali and Gecko made music together, divinely. Little fragmentary things, sometimes consisting but of a few bars, but these bars of such beauty and meaning! Scraps, snatches, short melodies, meant to fetch, to charm immediately, or to melt or sadden or madden just for a moment, and that knew just when to leave off – czardas, gypsy dances, Hungarian love-plaints, things little known out of eastern Europe in the fifties of this century, till the Laird and Taffy were almost as wild in their enthusiasm