The Tragic Muse. Генри Джеймс

the secret reflexion that he liked her better lugubrious, as the note of pertness was not totally absent from her mode of emitting these few words. He was irritated, moreover, for in the brief conference he had just had with the young lady's introducer he had had to meet the rather difficult call of speaking of her hopefully. Mr. Nash had said with his bland smile, "And what impression does my young friend make?"—in respect to which Peter's optimism felt engaged by an awkward logic. He answered that he recognised promise, though he did nothing of the sort;—at the same time that the poor girl, both with the exaggerated "points" of her person and the vanity of her attempt at expression, constituted a kind of challenge, struck him as a subject for inquiry, a problem, an explorable tract. She was too bad to jump at and yet too "taking"—perhaps after all only vulgarly—to overlook, especially when resting her tragic eyes on him with the trust of her deep "Really?" This note affected him as addressed directly to his honour, giving him a chance to brave verisimilitude, to brave ridicule even a little, in order to show in a special case what he had always maintained in general, that the direction of a young person's studies for the stage may be an interest of as high an order as any other artistic appeal.

      "Mr. Nash has rendered us the great service of introducing us to Madame Carré, and I'm sure we're immensely indebted to him," Mrs. Rooth said to her daughter with an air affectionately corrective.

      "But what good does that do us?" the girl asked, smiling at the actress and gently laying her finger-tips upon her hand. "Madame Carré listens to me with adorable patience, and then sends me about my business—ah in the prettiest way in the world."

      "Mademoiselle, you're not so rough; the tone of that's very juste. A la bonne heure; work—work!" the actress cried. "There was an inflexion there—or very nearly. Practise it till you've got it."

      "Come and practise it to me, if your mother will be so kind as to bring you," said Peter Sherringham.

      "Do you give lessons—do you understand?" Miriam asked.

      "I'm an old play-goer and I've an unbounded belief in my own judgement."

      "'Old,' sir, is too much to say," Mrs. Rooth remonstrated. "My daughter knows your high position, but she's very direct. You'll always find her so. Perhaps you'll say there are less honourable faults. We'll come to see you with pleasure. Oh I've been at the embassy when I was her age. Therefore why shouldn't she go to-day? That was in Lord Davenant's time."

      "A few people are coming to tea with me to-morrow. Perhaps you'll come then at five o'clock."

      "It will remind me of the dear old times," said Mrs. Rooth.

      "Thank you; I'll try and do better to-morrow," Miriam professed very sweetly.

      "You do better every minute!" Sherringham returned—and he looked at their hostess in support of this declaration.

      "She's finding her voice," Madame Carré acknowledged.

      "She's finding a friend!" Mrs. Rooth threw in.

      "And don't forget, when you come to London, my hope that you'll come and see me," Nick Dormer said to the girl. "To try and paint you—that would do me good!"

      "She's finding even two," said Madame Carré.

      "It's to make up for one I've lost!" And Miriam looked with very good stage-scorn at Gabriel Nash. "It's he who thinks I'm bad."

      "You say that to make me drive you home; you know it will," Nash returned.

      "We'll all take you home; why not?" Sherringham asked.

      Madame Carré looked at the handsome girl, handsomer than ever at this moment, and at the three young men who had taken their hats and stood ready to accompany her. A deeper expression came for an instant into her hard, bright eyes. "Ah la jeunesse!" she sighed. "You'd always have that, my child, if you were the greatest goose on earth!"

      VIII

      At Peter Sherringham's the next day Miriam had so evidently come with the expectation of "saying" something that it was impossible such a patron of the drama should forbear to invite her, little as the exhibition at Madame Carré's could have contributed to render the invitation prompt. His curiosity had been more appeased than stimulated, but he felt none the less that he had "taken up" the dark-browed girl and her reminiscential mother and must face the immediate consequences of the act. This responsibility weighed upon him during the twenty-four hours that followed the ultimate dispersal of the little party at the door of the Hôtel de la Garonne.

      On quitting Madame Carré the two ladies had definitely declined Mr. Nash's offered cab and had taken their way homeward on foot and with the gentlemen in attendance. The streets of Paris at that hour were bright and episodical, and Sherringham trod them good-humouredly enough and not too fast, leaning a little to talk with Miriam as he went. Their pace was regulated by her mother's, who advanced on the arm of Gabriel Nash (Nick Dormer was on her other side) in refined deprecation. Her sloping back was before them, exempt from retentive stillness in spite of her rigid principles, with the little drama of her lost and recovered shawl perpetually going on.

      Sherringham said nothing to the girl about her performance or her powers; their talk was only of her manner of life with her mother—their travels, their pensions, their economies, their want of a home, the many cities she knew well, the foreign tongues and the wide view of the world she had acquired. He guessed easily enough the dolorous type of exile of the two ladies, wanderers in search of Continental cheapness, inured to queer contacts and compromises, "remarkably well connected" in England, but going out for their meals. The girl was but indirectly communicative; though seemingly less from any plan of secrecy than from the habit of associating with people whom she didn't honour with her confidence. She was fragmentary and abrupt, as well as not in the least shy, subdued to dread of Madame Carré as she had been for the time. She gave Sherringham a reason for this fear, and he thought her reason innocently pretentious. "She admired a great artist more than anything in the world; and in the presence of art, of great art, her heart beat so fast." Her manners were not perfect, and the friction of a varied experience had rather roughened than smoothed her. She said nothing that proved her intelligent, even though he guessed this to be the design of two or three of her remarks; but he parted from her with the suspicion that she was, according to the contemporary French phrase, a "nature."

      The Hôtel de la Garonne was in a small unrenovated street in which the cobble-stones of old Paris still flourished, lying between the Avenue de l'Opéra and the Place de la Bourse. Sherringham had occasionally traversed the high dimness, but had never noticed the tall, stale maison meublée, the aspect of which, that of a third-rate provincial inn, was an illustration of Mrs. Rooth's shrunken standard. "We would ask you to come up, but it's quite at the top and we haven't a sitting-room," the poor lady bravely explained. "We had to receive Mr. Nash at a café."

      Nick Dormer declared that he liked cafés, and Miriam, looking at his cousin, dropped with a flash of passion the demand: "Do you wonder I should want to do something—so that we can stop living like pigs?"

      Peter recognised the next day that though it might be boring to listen to her it was better to make her recite than to let her do nothing, so effectually did the presence of his sister and that of Lady Agnes, and even of Grace and Biddy, appear, by a strange tacit opposition, to deprive hers, ornamental as it was, of a reason. He had only to see them all together to perceive that she couldn't pass for having come to "meet" them—even her mother's insinuating gentility failed to put the occasion on that footing—and that she must therefore be assumed to have been brought to show them something. She was not subdued, not colourless enough to sit there for nothing, or even for conversation—the sort of conversation that was likely to come off—so that it was inevitable to treat her position as connected with the principal place on the carpet, with silence and attention and the pulling together of chairs. Even when so established it struck him at first as precarious, in the light, or the darkness, of the inexpressive faces of the other ladies, seated in couples and rows on sofas—there were several in addition to Julia and the Dormers; mainly the wives, with their husbands, of Sherringham's fellow-secretaries—scarcely one of whom he felt he might count upon for a modicum of gush when the girl should have finished.

      Miss Rooth gave a representation of Juliet