The Troll Garden and Selected Stories - Willa Cather (ebook reader for surface pro .TXT) 📗

point of being ridiculous, but Ellen’s sense of humor is not her strongest quality. He had the charm of celebrity, the air of a man who could storm his way through anything to get what he wanted. That sort of vehemence is particularly effective with women like Ellen, who can be warmed only by reflected heat, and she couldn’t at all stand out against it. He convinced her of his necessity; and that done, all’s done.”

“I can’t help thinking that, even on such a basis, the marriage should have turned out better,” MacMaster remarked reflectively.

“The marriage,” Lady Mary continued with a shrug, “was made on the basis of a mutual misunderstanding. Ellen, in the nature of the case, believed that she was doing something quite out of the ordinary in accepting him, and expected concessions which, apparently, it never occurred to him to make. After his marriage he relapsed into his old habits of incessant work, broken by violent and often brutal relaxations. He insulted her friends and foisted his own upon her—many of them well calculated to arouse aversion in any well-bred girl. He had Ghillini constantly at the house—a homeless vagabond, whose conversation was impossible. I don’t say, mind you, that he had not grievances on his side. He had probably overrated the girl’s possibilities, and he let her see that he was disappointed in her. Only a large and generous nature could have borne with him, and Ellen’s is not that. She could not at all understand that odious strain of plebeian pride which plumes itself upon not having risen above its sources.

As MacMaster drove back to his hotel he reflected that Lady Mary Percy had probably had good cause for dissatisfaction with her brother-in-law. Treffinger was, indeed, the last man who should have married into the Percy family. The son of a small tobacconist, he had grown up a sign-painter’s apprentice; idle, lawless, and practically letterless until he had drifted into the night classes of the Albert League, where Ghillini sometimes lectured. From the moment he came under the eye and influence of that erratic Italian, then a political exile, his life had swerved sharply from its old channel. This man had been at once incentive and guide, friend and master, to his pupil. He had taken the raw clay out of the London streets and molded it anew. Seemingly he had divined at once where the boy’s possibilities lay, and had thrown aside every canon of orthodox instruction in the training of him. Under him Treffinger acquired his superficial, yet facile, knowledge of the classics; had steeped himself in the monkish Latin and medieval romances which later gave his work so naive and remote a quality. That was the beginning of the wattle fences, the cobble pave, the brown roof beams, the cunningly wrought fabrics that gave to his pictures such a richness of decorative effect.

As he had told Lady Mary Percy, MacMaster had found the imperative inspiration of his purpose in Treffinger’s unfinished picture, the <i>Marriage of Phaedra</i>. He had always believed that the key to Treffinger’s individuality lay in his singular education; in the <i>Roman de la Rose</i>, in Boccaccio, and Amadis, those works which had literally transcribed themselves upon the blank soul of the London street boy, and through which he had been born into the world of spiritual things. Treffinger had been a man who lived after his imagination; and his mind, his ideals and, as MacMaster believed, even his personal ethics, had to the last been colored by the trend of his early training. There was in him alike the freshness and spontaneity, the frank brutality and the religious mysticism, which lay well back of the fifteenth century. In the <i>Marriage of Phaedra</i> MacMaster found the ultimate expression of this spirit, the final word as to Treffinger’s point of view.

As in all Treffinger’s classical subjects, the conception was wholly medieval. This Phaedra, just turning from her husband and maidens to greet her husband’s son, giving him her first fearsome glance from under her half-lifted veil, was no daughter of Minos. The daughter of <i>heathenesse</i> and the early church she was; doomed to torturing visions and scourgings, and the wrangling of soul with flesh. The venerable Theseus might have been victorious Charlemagne, and Phaedra’s maidens belonged rather in the train of Blanche of Castile than at the Cretan court. In the earlier studies Hippolytus had been done with a more pagan suggestion; but in each successive drawing the glorious figure bad been deflowered of something of its serene unconsciousness, until, in the canvas under the skylight, he appeared a very Christian knight. This male figure, and the face of Phaedra, painted with such magical preservation of tone under the heavy shadow of the veil, were plainly Treffinger’s highest achievements of craftsmanship. By what labor he had reached the seemingly inevitable composition of the picture—with its twenty figures, its plenitude of light and air, its restful distances seen through white porticoes—countless studies bore witness.

From James’s attitude toward the picture MacMaster could well conjecture what the painter’s had been. This picture was always uppermost in James’s mind; its custodianship formed, in his eyes, his occupation. He was manifestly apprehensive when visitors—not many came nowadays—lingered near it. “It was the <i>Marriage</i> as killed ‘im,” he would often say, “and for the matter ‘o that, it did like to ‘av been the death of all of us.”

By the end of his second week in London MacMaster had begun the notes for his study of Hugh Treffinger and his work. When his researches led him occasionally to visit the studios of Treffinger’s friends and erstwhile disciples, he found their Treffinger manner fading as the ring of Treffinger’s personality died out in them. One by one they were stealing back into the fold of national British art; the hand that had wound them up was still. MacMaster despaired of them and confined himself more and more exclusively to the studio, to such of Treffinger’s letters as were available—they were for the most part singularly negative and colorless—and to his interrogation of Treffinger’s man.

He could not himself have traced the successive steps by which he was gradually admitted into James’s confidence. Certainly most of his adroit strategies to that end failed humiliatingly, and whatever it was that built up an understanding between them must have been instinctive and intuitive on both sides. When at last James became anecdotal, personal, there was that in every word he let fall which put breath and blood into MacMaster’s book. James had so long been steeped in that penetrating personality that he fairly exuded it. Many of his very phrases, mannerisms, and opinions were impressions that he had taken on like wet plaster in his daily contact with Treffinger. Inwardly he was lined with cast-off epitheliums, as outwardly he was clad in the painter’s discarded coats. If the painter’s letters were formal and perfunctory, if his expressions to his friends had been extravagant, contradictory, and often apparently insincere—still, MacMaster felt himself not entirely without authentic sources. It was James who possessed Treffinger’s legend; it was with James that he had laid aside his pose. Only in his studio, alone, and face to face with his work, as it seemed, had the man invariably been himself. James had known him in the one attitude in which he was entirely honest; their relation had fallen well within the painter’s only indubitable integrity. James’s report of Treffinger was distorted by no hallucination of artistic insight, colored by no interpretation of his own. He merely held what he had heard and seen; his mind was a sort of camera obscura. His very limitations made him the more literal and minutely accurate.

One morning, when MacMaster was seated before the <i>Marriage of Phaedra</i>, James entered on his usual round of dusting.

“I’ve ‘eard from Lydy Elling by the post, sir,” he remarked, “an’ she’s give h’orders to ‘ave the ‘ouse put in readiness. I doubt she’ll be ‘ere by Thursday or Friday next.”

“She spends most of her time abroad?” queried MacMaster; on the subject of Lady Treffinger James consistently maintained a very delicate reserve.

“Well, you could ‘ardly say she does that, sir. She finds the ‘ouse a bit dull, I daresay, so durin’ the season she stops mostly with Lydy Mary Percy, at Grosvenor Square. Lydy Mary’s a h’only sister.” After a few moments he continued, speaking in jerks governed by the rigor of his dusting: “H’only this morning I come upon this scarfpin,” exhibiting a very striking instance of that article, “an’ I recalled as ‘ow Sir ‘Ugh give it me when ‘e was acourting of Lydy Elling. Blowed if I ever see a man go in for a ‘oman like ‘im! ‘E was that gone, sir. ‘E never went in on anythink so ‘ard before nor since, till ‘e went in on the <i>Marriage</i> there—though ‘e mostly went in on things pretty keen; ‘ad the measles when ‘e was thirty, strong as cholera, an’ come close to dyin’ of ‘em. ‘E wasn’t strong for Lydy Elling’s set; they was a bit too stiff for ‘im. A free an’ easy gentleman, ‘e was; ‘e liked ‘is dinner with a few friends an’ them jolly, but ‘e wasn’t much on what you might call big affairs. But once ‘e went in for Lydy Elling ‘e broke ‘imself to new paces; He give away ‘is rings an’ pins, an’ the tylor’s man an’ the ‘aberdasher’s man was at ‘is rooms continual. ‘E got ‘imself put up for a club in Piccadilly; ‘e starved ‘imself thin, an’ worrited ‘imself white, an’ ironed ‘imself out, an’ drawed ‘imself tight as a bow string. It was a good job ‘e come a winner, or I don’t know w’at’d ‘a been to pay.”

The next week, in consequence of an invitation from Lady Ellen Treffinger, MacMaster went one afternoon to take tea with her. He was shown into the garden that lay between the residence and the studio, where the tea table was set under a gnarled pear tree. Lady Ellen rose as he approached—he was astonished to note how tall she was-and greeted him graciously, saying that she already knew him through her sister. MacMaster felt a certain satisfaction in her; in her reassuring poise and repose, in the charming modulations of her voice and the indolent reserve of her full, almond eyes. He was even delighted to find her face so inscrutable, though it chilled his own warmth and made the open frankness he had wished to permit himself impossible. It was a long face, narrow at the chin, very delicately featured, yet steeled by an impassive mask of self-control. It was behind just such finely cut, close-sealed faces, MacMaster reflected, that nature sometimes hid astonishing secrets. But in spite of this suggestion of hardness he felt that the unerring taste that Treffinger had always shown in larger matters had not deserted him when he came to the choosing of a wife, and he admitted that he could not himself have selected a woman who looked more as Treffinger’s wife should look.

While he was explaining the purpose of his frequent visits to the studio she heard him with courteous interest. “I have read, I think, everything that has been published on Sir Hugh Treffinger’s work, and it seems to me that there is much left to be said,” he concluded.

“I believe they are rather inadequate,” she remarked vaguely. She hesitated a moment, absently fingering the ribbons of her gown, then continued, without raising her eyes; “I hope you will not think me too exacting if I ask to see the proofs of such chapters of your work as have to do with Sir Hugh’s personal life. I have always asked that privilege.”

MacMaster hastily assured her as to this, adding, “I mean to touch on only such facts in his personal life as have to do directly with