The Tragic Muse. Генри Джеймс

as conscious of a bright advantage.

HENRY JAMES.

      BOOK FIRST

      I

      The people of France have made it no secret that those of England, as a general thing, are to their perception an inexpressive and speechless race, perpendicular and unsociable, unaddicted to enriching any bareness of contact with verbal or other embroidery. This view might have derived encouragement, a few years ago, in Paris, from the manner in which four persons sat together in silence, one fine day about noon, in the garden, as it is called, of the Palais de l'Industrie—the central court of the great glazed bazaar where, among plants and parterres, gravelled walks and thin fountains, are ranged the figures and groups, the monuments and busts, which form in the annual exhibition of the Salon the department of statuary. The spirit of observation is naturally high at the Salon, quickened by a thousand artful or artless appeals, but it need have put forth no great intensity to take in the characters I mention. As a solicitation of the eye on definite grounds these visitors too constituted a successful plastic fact; and even the most superficial observer would have marked them as products of an insular neighbourhood, representatives of that tweed-and-waterproof class with which, on the recurrent occasions when the English turn out for a holiday—Christmas and Easter, Whitsuntide and the autumn—Paris besprinkles itself at a night's notice. They had about them the indefinable professional look of the British traveller abroad; the air of preparation for exposure, material and moral, which is so oddly combined with the serene revelation of security and of persistence, and which excites, according to individual susceptibility, the ire or the admiration of foreign communities. They were the more unmistakable as they presented mainly the happier aspects of the energetic race to which they had the honour to belong. The fresh diffused light of the Salon made them clear and important; they were finished creations, in their way, and, ranged there motionless on their green bench, were almost as much on exhibition as if they had been hung on the line.

      Three ladies and a young man, they were obviously a family—a mother, two daughters and a son; a circumstance which had the effect at once of making each member of the group doubly typical and of helping to account for their fine taciturnity. They were not, with each other, on terms of ceremony, and also were probably fatigued with their course among the pictures, the rooms on the upper floor. Their attitude, on the part of visitors who had superior features even if they might appear to some passers-by to have neglected a fine opportunity for completing these features with an expression, was after all a kind of tribute to the state of exhaustion, of bewilderment, to which the genius of France is still capable of reducing the proud.

      "En v'là des abrutis!" more than one of their fellow-gazers might have been heard to exclaim; and certain it is that there was something depressed and discouraged in this interesting group, who sat looking vaguely before them, not noticing the life of the place, somewhat as if each had a private anxiety. It might have been finely guessed, however, that though on many questions they were closely united this present anxiety was not the same for each. If they looked grave, moreover, this was doubtless partly the result of their all being dressed in such mourning as told of a recent bereavement. The eldest of the three ladies had indeed a face of a fine austere mould which would have been moved to gaiety only by some force more insidious than any she was likely to recognise in Paris. Cold, still, and considerably worn, it was neither stupid nor hard—it was firm, narrow and sharp. This competent matron, acquainted evidently with grief but not weakened by it, had a high forehead to which the quality of the skin gave a singular polish—it glittered even when seen at a distance; a nose which achieved a high free curve; and a tendency to throw back her head and carry it well above her, as if to disengage it from the possible entanglements of the rest of her person. If you had seen her walk you would have felt her to tread the earth after a fashion suggesting that in a world where she had long since discovered that one couldn't have one's own way one could never tell what annoying aggression might take place, so that it was well, from hour to hour, to save what one could. Lady Agnes saved her head, her white triangular forehead, over which her close-crinkled flaxen hair, reproduced in different shades in her children, made a looped silken canopy like the marquee at a garden-party. Her daughters were as tall as herself—that was visible even as they sat there—and one of them, the younger evidently, altogether pretty; a straight, slender, grey-eyed English girl of the sort who show "good" figures and fresh complexions. The sister, who was not pretty, was also straight and slender and grey-eyed. But the grey in this case was not so pure, nor were the straightness and the slenderness so maidenly. The brother of these young ladies had taken off his hat as if he felt the air of the summer day heavy in the great pavilion. He was a lean, strong, clear-faced youth, with a formed nose and thick light-brown hair which lay continuously and profusely back from his forehead, so that to smooth it from the brow to the neck but a single movement of the hand was required. I cannot describe him better than by saying that he was the sort of young Englishman who looks particularly well in strange lands and whose general aspect—his inches, his limbs, his friendly eyes, the modulation of his voice, the cleanness of his flesh-tints and the fashion of his garments—excites on the part of those who encounter him in far countries on the ground of a common speech a delightful sympathy of race. This sympathy may sometimes be qualified by the seen limits of his apprehension, but it almost revels as such horizons recede. We shall see quickly enough how accurate a measure it might have taken of Nicholas Dormer. There was food for suspicion perhaps in the wandering blankness that sat at moments in his eyes, as if he had no attention at all, not the least in the world, at his command; but it is no more than just to add without delay that this discouraging symptom was known among those who liked him by the indulgent name of dreaminess. By his mother and sisters, for instance, his dreaminess was constantly noted. He is the more welcome to the benefit of such an interpretation as there is always held to be something engaging in the combination of the muscular and the musing, the mildness of strength.

      After some time, an interval during which these good people might have appeared to have come, individually, to the Palais de l'Industrie much less to see the works of art than to think over their domestic affairs, the young man, rousing himself from his reverie, addressed one of the girls.

      "I say, Biddy, why should we sit moping here all day? Come and take a turn about with me."

      His younger sister, while he got up, leaned forward a little, looking round her, but she gave for the moment no further sign of complying with his invitation.

      "Where shall we find you, then, if Peter comes?" asked the other Miss Dormer, making no movement at all.

      "I daresay Peter won't come. He'll leave us here to cool our heels."

      "Oh Nick dear!" Biddy exclaimed in a small sweet voice of protest. It was plainly her theory that Peter would come, and even a little her fond fear that she might miss him should she quit that spot.

      "We shall come back in a quarter of an hour. Really I must look at these things," Nick declared, turning his face to a marble group which stood near them on the right—a man with the skin of a beast round his loins, tussling with a naked woman in some primitive effort of courtship or capture.

      Lady Agnes followed the direction of her son's eyes and then observed: "Everything seems very dreadful. I should think Biddy had better sit still. Hasn't she seen enough horrors up above?"

      "I daresay that if Peter comes Julia'll be with him," the elder girl remarked irrelevantly.

      "Well then he can take Julia about. That will be more proper," said Lady Agnes.

      "Mother dear, she doesn't care a rap about art. It's a fearful bore looking at fine things with Julia," Nick returned.

      "Won't you go with him, Grace?"—and Biddy appealed to her sister.

      "I think she has awfully good taste!" Grace exclaimed, not answering this inquiry.

      "Don't say nasty things about her!" Lady Agnes broke out solemnly to her son after resting her eyes on him a moment with an air of reluctant reprobation.

      "I say nothing but what she'd say herself," the young man urged. "About some things she has very good taste, but about this kind of thing she has no taste at all."

      "That's better, I think," said Lady Agnes, turning her eyes again to the "kind of thing" her son appeared