Grey Roses. Harland Henry
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'We have changed things a little, have we not?' she demanded, with a gesture that left the room, and included the house, the street, the quarter.
'In effect,' assented I.
'Monsieur desires his hot water?' she asked, abruptly irrelevant.
But I could be, or at least seem, abruptly irrelevant too. 'Mademoiselle—is she up?'
'Ah, yes, monsieur. Mademoiselle has been up since eight. She awaits you in the salon. La voilà qui joue,' she added, pointing to the floor.
Nina had begun to play scales in the room below.
'Then you may bring me my hot water,' I said.
II.
The scales continued while I was dressing, and many desultory reminiscences of the player, and vague reflections upon the unlikelihood of her adventures, went flitting through my mind to their rhythm. Here she was, scarcely turned thirty, beautiful, brilliant, rich in her own right, as free in all respects to follow her own will as any man could be, with Camille happily at her side, a well grown, rosy, merry miss of twelve—here was Nina, thus, to-day; and yet, a mere little ten years ago, I remembered her … ah, in a very different plight indeed. True, she has got no more than her deserts; she has paid for her success, every pennyweight of it, in hard work and self-denial. But one is so expectant, here below, to see Fortune capricious, that, when for once in a way she bestows her favours where they are merited, one can't help feeling rather dazed. One is so inured to seeing honest Effort turn empty-handed from her door.
Ten little years ago—but no. I must begin further back. I must tell you something about Nina's father.
III.
He was an Englishman who lived for the greater part of his life in Paris. I would say he was a painter, if he had not been equally a sculptor, a musician, an architect, a writer of verse, and a university coach. A doer of so many things is inevitably suspect; you will imagine that he must have bungled them all. On the contrary, whatever he did, he did with a considerable degree of accomplishment. The landscapes he painted were very fresh and pleasing, delicately coloured, with lots of air in them, and a dreamy, suggestive sentiment. His brother sculptors declared that his statuettes were modelled with exceeding dash and directness; they were certainly fanciful and amusing. I remember one that I used to like immensely—Titania driving to a tryst with Bottom, her chariot a lily, daisies for wheels, and for steeds a pair of mettlesome field-mice. I doubt if he ever got a commission for a complete house; but the staircases he designed, the fire-places, and other bits of buildings, everybody thought original and graceful. The tunes he wrote were lively and catching, the words never stupid, sometimes even strikingly happy, epigrammatic; and he sang them delightfully, in a robust, hearty baritone. He coached the youth of France, for their examinations, in Latin and Greek, in history, mathematics, general literature—in goodness knows what not; and his pupils failed so rarely that, when one did, the circumstance became a nine days' wonder. The world beyond the Students' Quarter had never heard of him, but there he was a celebrity and a favourite; and, strangely enough for a man with so many strings to his bow, he contrived to pick up a sufficient living.
He was a splendid creature to look at, tall, stalwart, full-blooded, with a ruddy open-air complexion; a fine bold brow and nose; brown eyes, humorous, intelligent, kindly, that always brightened flatteringly when they met you; and a vast quantity of bluish-grey hair and beard. In his dress he affected (very wisely, for they became him excellently) velvet jackets, flannel shirts, loosely-knotted ties, and wide-brimmed soft felt hats. Marching down the Boulevard St. Michel, his broad shoulders well thrown back, his head erect, chin high in air, his whole person radiating health, power, contentment, and the pride of them: he was a sight worth seeing, spirited, picturesque, prepossessing. You could not have passed him without noticing him—without wondering who he was, confident he was somebody—without admiring him, and feeling that there went a man it would be interesting to know.
He was, indeed, charming to know; he was the hero, the idol, of a little sect of worshippers, young fellows who loved nothing better than to sit at his feet. On the Rive Gauche, to be sure, we are, for the most part, birds of passage; a student arrives, tarries a little, then departs. So, with the exits and entrances of seniors and nouveaux, the personnel of old Childe's following varied from season to season; but numerically it remained pretty much the same. He had a studio, with a few living-rooms attached, somewhere up in the fastnesses of Montparnasse, though it was seldom thither that one went to seek him. He received at his café, the Café Bleu—the Café Bleu which has since blown into the monster café of the Quarter, the noisiest, the rowdiest, the most flamboyant. But I am writing (alas) of twelve, thirteen, fifteen years ago; in those days the Café Bleu consisted of a single oblong room—with a sanded floor, a dozen tables, and two waiters, Eugène and Hippolyte—where Madame Chanve, the patronne, in lofty insulation behind her counter, reigned, if you please, but where Childe, her principal client, governed. The bottom of the shop, at any rate, was reserved exclusively to his use. There he dined, wrote his letters, dispensed his hospitalities; he had his own piano there, if you can believe me, his foils and boxing-gloves; from the absinthe hour till bed-time there was his habitat, his den. And woe to the passing stranger who, mistaking the Café Bleu for an ordinary house of call, ventured, during that consecrated period, to drop in. Nothing would be said, nothing done; we would not even trouble to stare at the intruder. Yet he would seldom stop to finish his consommation, or he would bolt it. He would feel something in the air; he would know he was out of place. He would fidget a little, frown a little, and get up meekly, and slink into the street. Human magnetism is such a subtle force. And Madame Chanve didn't mind in the least; she preferred a bird in the hand to a brace in the bush. From half a dozen to a score of us dined at her long table every evening; as many more drank her appetisers in the afternoon, and came again at night for grog or coffee. You see, it was a sort of club, a club of which Childe was at once the chairman and the object. If we had had a written constitution, it must have begun: 'The purpose of this association is the enjoyment of the society of Alfred Childe.'
Ah, those afternoons, those dinners, those ambrosial nights! If the weather was kind, of course, we would begin our session on the terrasse, sipping our vermouth, puffing our cigarettes, laughing our laughs, tossing hither and thither our light ball of gossip, vaguely conscious of the perpetual ebb and flow and murmur of people in the Boulevard, while the setting sun turned Paris to a marvellous water-colour, all pale lucent tints, amber and alabaster and mother-of-pearl, with amethystine shadows. Then, one by one, those of us who were dining elsewhere would slip away; and at a sign from Hippolyte the others would move indoors, and take their places down either side of the long narrow table, Childe at the head, his daughter Nina next him. And presently with what a clatter of knives and forks, clinking of glasses, and babble of human voices the Café Bleu would echo. Madame Chanve's kitchen was not a thing to boast of, and her price, for the Latin Quarter, was rather high—I think we paid three francs, wine included, which would be for most of us distinctly a prix-de-luxe. But oh, it was such fun; we were so young; Childe was so delightful. The fun was best, of course, when we were few, and could all sit up near to him, and none need lose a word. When we were many there would be something like a scramble for good seats.
I ask myself whether, if I could hear him again to-day, I should think his talk as wondrous as I thought it then. Then I could thrill at the verse of Musset, and linger lovingly over the prose of Théophile, I could laugh at the wit of Gustave Droz, and weep at the pathos … it costs me a pang to own it, but yes, I'm afraid … I could weep at the pathos of Henry Mürger; and these have all suffered such a sad sea-change since. So I could sit, hour after hour, in a sort of ecstasy, listening to the talk of Nina's father. It flowed from him like wine from a full measure, easily, smoothly, abundantly. He had a ripe, genial voice, and an enunciation that made crystals of his words;