We two were curiously quiet. “No, I suppose there is no good in talking now.” We stood there, as yet, hand in hand. The mirror was candid. “Oh, Signorina, I want to laugh as God laughs, and I cannot!”
III
But I lack the heart to set down all that brief and dreary talk of ours. How does it matter what we said? We two at least knew, even as we talked, that all we said meant in the outcome, nothing. Yet we talked awhile and spoke, I think, quite honestly.
She was not unhappy; and there were inbred Lichfeldian traditions which prompted me to virtuous indignation over her defects in remorse and misery. There were my memories, too.
“I don’t sing very well, of course, but then I’m not dependent on my singing, you know. Oh, why not be truthful? And Von Anspach always sees to it I get the tendered of criticism—in print. And, moreover, I’ve a deal put by. I’m a miser, he says, and I suppose I am, because I know what it is to be poor. So when the rainy day comes—as of course it will—I’ll have quite enough to purchase a serviceable umbrella. Meanwhile, I have pretty much everything I want. People talk of course, but it is only on the stage they ever drive you out into a snowstorm. Besides, they don’t talk to me.”
In fine, I found that the Neroni was a very different being from Miss Montmorenci. …
IV
Then I left her. I had not any inclination just now to pursue my fair Elena. Rather I sat alone in my new bedroom, thinking, confusedly, first of Amelia Van Orden, and how I danced with her a good eight years ago; of that woman who had come to me in remote Fairhaven, coming through the world’s gutter, unsullied—because that much I yet believe, although I do not know. … She may have been always the same, even in the old days when Lichfield thought her “fast,” and she was more or less “compromised,”—and years before I met her, a blind, inexperienced boy. Only she may then have been a better actress than I suspected. … I thought, in any event, of those execrable rhymes that likened her to the Lady in Comus, moving serene and unafraid among a rabble of threatening bestial shapes; and I thought of the woman who would, by this time, be with Von Anspach.
For here again were inbred Lichfieldian traditions of the sort I rarely dare confess to, even to myself, because they are so patently hidebound and ridiculous. These traditions told me that this woman, whom I had loved, was Von Anspach’s harlot. I might—and I did—endeavor to be ironical and to be broadminded and to be up-to-date about the whole affair, and generally to view the matter through the sophisticated eyes of the author of The Apostates, that Robert Etheridge Townsend who was a connoisseur of ironies and human foibles; but these futilities did no good at all. Lichfield had got at and into me when I was too young to defend myself; and I could no more alter the inbred traditions of Lichfield, that were a part of me, than a carpet could change its texture. My traditions merely told me that the dear woman whom I remembered had come—in fleeing from discomforts which were unbearable, if that mattered—to be Von Anspach’s harlot: and finding her this, my traditions declined to be the least bit broadminded. In Lichfield such women were simply not respectable; nor could you get around that fact by going to Liége.
There was in the room a Matin, which contained a brief account of the burning of the Continental, and a very lengthy one of the Neroni’s appearance the night before. Drearily, to keep from thinking, I read a deal concerning la gracieuse cantatrice américaine. Whether or not she had made a fool of me with histrionics in Fairhaven, there was no doubt that she had chosen wisely in forsaking Lethbury, and the round of village “Opera Houses.” She had chosen, after all, and precisely as I had done, to make the most of youth while it lasted; and she appeared, just now, to harvest prodigally.
“On jouait Faust,” I read, “et jamais le célèbre personnage de Goethe n’adore plus exquise Gretchen. Miss Nadine Neroni est, en effet, une idéale Marguerite à la taille bien prise, au visage joli éclairé des deux yeux grands et doux. Et lorsqu’elle commença à chanter, ce fut un véritable ravissement: sa voix se fit l’interprète rêvée de la divine musique de Gounod, tandis que sa personne et son coeur incarnaient physiquement et moralement l’héroine de Goethe.” …
And so on, for Von Anspach had “seen to it,” prodigally. And “Oh, well!” I thought; “if everybody else is so extravagantly pleased, what in heaven’s name is the use of my being squeamish? Besides, she is only doing what I am doing, and getting all the pleasure out of life that is possible. She and I are very sensible people. At least, I suppose we are. I wonder, though? Meanwhile, I had better go and look for that preposterously beautiful Elena. And a fig for the provincial notions of Lichfield, that are poisoning me with their nonsense! and for the notions of Fairhaven, too, I suppose—”
V
Then Charteris came into the room. “John,” said I, “this is a truly remarkable world, and only hypercriticism would venture to suggest that it is probably conducted by an inveterate humourist. So lend me that pocket-piece of yours, and we will permit chance to settle the entire matter. That is the one intelligent way of treating anything which is really serious. You probably believe I am Robert Etheridge Townsend, but as a matter
