But he felt thirsty, and went into the kitchen to get himself some water. Here, too, was order. On a rack were the plates that she had used for dinner on the night of her quarrel with Strickland, and they had been carefully washed. The knives and forks were put away in a drawer. Under a cover were the remains of a piece of cheese, and in a tin box was a crust of bread. She had done her marketing from day to day, buying only what was strictly needful, so that nothing was left over from one day to the next. Stroeve knew from the inquiries made by the police that Strickland had walked out of the house immediately after dinner, and the fact that Blanche had washed up the things as usual gave him a little thrill of horror. Her methodicalness made her suicide more deliberate. Her self-possession was frightening. A sudden pang seized him, and his knees felt so weak that he almost fell. He went back into the bedroom and threw himself on the bed. He cried out her name:
'Blanche. Blanche.'
The thought of her suffering was intolerable. He had a sudden vision of her standing in the kitchen – it was hardly larger than a cupboard – washing the plates and glasses, the forks and spoons, giving the knives a rapid polish on the knife-board; then putting everything away, giving the sink a scrub, and hanging the dish-cloth up to dry – it was there still, a grey, torn rag. Then looking round to see that everything was clean and nice. He saw her roll down her sleeves and remove her apron – the apron hung on a peg behind the door – and take the bottle of oxalic acid and go with it into the bedroom.
The agony of it drove him up from the bed and out of the room. He went into the studio. It was dark, for the curtains had been drawn over the great window, and he pulled them quickly back; but a sob broke from him as with a rapid glance he took in the place where he had been so happy. Nothing was changed here, either. Strickland was indifferent to his surroundings, and he had lived in the other's studio without thinking of altering a thing. It was deliberately artistic. It represented Stroeve's idea of the proper environment for an artist. There were bits of old brocade on the walls, and the piano was covered with a piece of silk, beautiful and tarnished; in one corner was a copy of the Venus of Milo, and in another of the Venus of the Medici. Here and there was an Italian cabinet surmounted with Delft, and here and there a bas-relief. In a handsome gold frame was a copy of Velasquez' Innocent X, that Stroeve had made in Rome, and placed so as to make the most of their decorative effect were a number of Stroeve's pictures, all in splendid frames. Stroeve had always been very proud of his taste. He had never lost his appreciation for the romantic atmosphere of a studio, and though now the sight of it was like a stab at his heart, without thinking what he was at, he changed slightly the position of a Louis XV table which was one of his treasures. Suddenly he caught sight of a canvas with its face to the wall. It was a much larger one than he himself was in the habit of using, and he wondered what it did there. He went over to it and leaned it towards him so that he could see the painting. It was a nude. His heart began to beat quickly, for he guessed at once that it was one of Strickland's pictures. He flung it back against the wall angrily – what did he mean by leaving it there? – but his movement caused it to fall, face downward, on the ground. No matter whose the picture, he could not leave it there in the dust, and he raised it; but then curiosity got the better of him. He thought he would like to have a proper look at it, so he brought it along and set it on the easel. Then he stood back in order to see it at his ease.
He gave a gasp. It was the picture of a woman lying on a sofa, with one arm beneath her head and the other along her body; one knee was raised, and the other leg was stretched out. The pose was classic. Stroeve's head swam. It was Blanche. Grief and jealousy and rage seized him, and he cried out hoarsely; he was inarticulate; he clenched his fists and raised them threateningly at an invisible enemy. He screamed at the top of his voice. He was beside himself. He could not bear it. That was too much. He looked round wildly for some instrument; he wanted to hack the picture to pieces; it should not exist another minute. He could see nothing that would serve his purpose; he rummaged about his painting things; somehow he could not find a thing; he was frantic. At last he came upon what he sought, a large scraper, and he pounced on it with a cry of triumph. He seized it as though it were a dagger, and ran to the picture.
As Stroeve told me this he became as excited as when the incident occurred, and he took hold of a dinner-knife on the table between us, and brandished it. He lifted his arm as though to strike, and then, opening his hand, let it fall with a clatter to the ground. He looked at me with a tremulous smile. He did not speak.
'Fire away', I said.
'I don't know what happened to me. I was just going to make a great hole in the picture, I had my arm all ready for the blow, when suddenly I seemed to see it.'
'See what?'
'The picture. It was a work of art. I couldn't touch it. I was afraid.'
Stroeve was silent again, and he stared at me with his mouth open and his round blue eyes starting out of his head.
'It was a great, a wonderful picture. I was seized with awe. I had nearly committed a dreadful crime. I moved a little to see it better, and my foot knocked against the scraper. I shuddered.'
I really felt something of the emotion that had caught him. I was strangely impressed. It was as though I were suddenly transported into a world in which the values were changed. I stood by, at a loss, like a stranger in a land where the reactions of man to familiar things are all different from those he has known. Stroeve tried to talk to me about the picture, but he was incoherent, and I had to guess at what he meant. Strickland had burst the bonds that hitherto had held him. He had found, not himself, as the phrase goes, but a new soul with unsuspected powers. It was not only the bold simplification of the drawing which showed so rich and so singular a personality; it was not only the painting, though the flesh was painted with a passionate sensuality which had in it something miraculous; it was not only the solidity, so that you felt extraordinarily the weight of the body; there was also a spirituality, troubling and new, which led the imagination along unsuspected ways, and suggested dim empty spaces, lit only by the eternal stars, where the soul, all naked, adventured fearful to the discovery of new mysteries.
If I am rhetorical it was because Stroeve was rhetorical. (Do we not know that man in moments of emotion expresses himself naturally in the terms of a novelette?) Stroeve was trying to express a feeling which he had never known before, and he did not know how to put it into common terms. He was like the mystic seeking to describe the ineffable. But one fact was made clear to me: people talk of beauty lightly, and having no feeling for words, they use that one carelessly, so that it loses its force; and the thing it stands for, sharing its name with a hundred trivial objects, is deprived of dignity. They call beautiful a dress, a dog, a sermon; and when they are face to face with Beauty cannot recognize it. The false emphasis with which they try to deck their worthless thoughts blunts their susceptibilities. Like the charlatan who counterfeits a spiritual force he has sometimes felt, they lose the power they have abused. But Stroeve, the unconquerable buffoon, had a love and an understanding of beauty which were as honest and sincere as was his own sincere and honest soul. It meant to him what God means to the believer, and when he saw it he was afraid.
'What did you say to Strickland when you saw him?'
'I asked him to come with me to Holland.'
I was dumbfounded. I could only look at Stroeve in stupid amazement.
'We both loved Blanche. There would have been room for him in my mother's house. I think the company of poor, simple people would have done his soul a great good. I think he might have learnt from them something that would be very useful to him.'
'What did he say?'
'He smiled a little. I suppose he thought me very silly. He said he had other fish to fry.'
I could have wished that Strickland had used some other phrase to indicate his refusal.
'He gave me the picture of Blanche.'
I wondered
why Strickland had done that. But I made no remark, and for some time we kept silence.
'What have you done with all your things?' I said at last.
'I got a Jew in, and he gave me a round sum for the lot. I'm taking my pictures home with me. Besides them I own nothing in the world now but a box of clothes and a few books.'
'I'm glad you're going home', I said.
I felt that his chance was to put all the past behind him. I hoped that the grief which now seemed intolerable would be softened by the lapse of time, and a merciful forgetful-ness would help him to take up once more the burden of life. He was young still, and in a few years he would look back on all his misery with a sadness in which there would be something not unpleasurable. Sooner or later he would marry some honest soul in Holland, and I felt sure he would be happy. I smiled at the thought of the vast number of bad pictures he would paint before he died.
Next day I saw him off for Amsterdam.
40
For the next month, occupied with my own affairs, I saw no one connected with this lamentable business, and my mind ceased to be occupied with it. But one day, when I was walking along, bent on some errand, I passed Charles Strickland. The sight of him brought back to me all the horror which I was not unwilling to forget, and I felt in me a sudden repulsion for the cause of it. Nodding, for it would have been childish to cut him, I walked on quickly; but in a minute I felt a hand on my shoulder.
'You're in a great hurry', he said cordially.
It was characteristic of him to display geniality with anyone who showed a disinclination to meet him, and the coolness of my greeting can have left him in little doubt of that.
'I am', I answered briefly.
'I'll walk along with you', he said.
'Why?' I asked.
'For the pleasure of your society.'
I did not answer, and he walked by my side silently. We continued thus for perhaps a quarter of a mile. I began to feel a little ridiculous. At last we passed a stationer's, and it occurred to me that I might as well buy some paper. It would be an excuse to be rid of him.
'I'm going in here,' I said. 'Good-bye.'
'I'll wait for you.'
I shrugged my shoulders, and went into the shop. I reflected that French paper was bad, and that, foiled of my purpose, I need not burden myself with a purchase I did not need. I asked for something I knew could not be provided, and in a minute came out into the street.
'Did you get what you wanted?' he asked.
'No.'
We walked on in silence, and then came to a place where several streets met. I stopped at the kerb.
'Which way do you go?' I inquired.
'Your way', he smiled.
'I'm going home.'
'I'll come along with you and smoke a pipe.'
'You might wait for an invitation', I retorted frigidly.
'I would if I thought there was any chance of getting one.'
'Do you see that wall in front of you?' I said, pointing.
'Yes.'
'In that case I should have thought you could see also that I don't want your company.'
'I vaguely suspected it, I confess.'
I could not help a chuckle. It is one of the defects of my character that I cannot altogether dislike anyone who makes me laugh. But I pulled myself together.
'I think you're detestable. You're the most loathsome beast that it's ever been my misfortune to meet. Why do you seek the society of someone who hates and despises you?'
'My dear fellow, what the hell do you suppose I care what you think of me?'
'Damn it all,' I said, more violently because I had an inkling my motive was none too creditable, 'I don't want to know you.'
'Are you afraid I shall corrupt you?'
His tone made me feel not a little ridiculous. I knew that he was looking at me sideways, with a sardonic smile.
'I suppose you are hard up', I remarked insolently.
'I should be a damned fool if I thought I had any chance of borrowing money from you.'
'You've come down in the world if you can bring yourself to flatter.'
He grinned.
'You'll never really dislike me so long as I give you the opportunity to get off a good thing now and then.'
I had to bite my lip to prevent myself from laughing. What he said had a hateful truth in it, and another defect of my character is that I enjoy the company of those, however depraved, who can give me a Roland for my Oliver. I began to feel that my abhorrence for Strickland could only be sustained by an effort on my part. I recognized my moral weakness, but saw that my disapprobation had in it already something of a pose; and I knew that if I felt it, his own keen instinct had discovered it too. He was certainly laughing at me up his sleeve. I left him the last word, and sought refuge in a shrug of the shoulders and taciturnity.
41
We arrived at the house in which I lived. I would not ask him to come in with me, but walked up the stairs without a word. He followed me, and entered the apartment on my heels. He had not been in it before, but he never gave a glance at the room I had been at pains to make pleasing to the eye. There was a tin of tobacco on the table, and, taking out his pipe, he filled it. He sat down on the only chair that had no arms and tilted himself on the back legs.
'If you're going to make yourself at home, why don't you sit in an arm-chair?' I asked irritably.
'Why are you concerned about my comfort?'
'I'm not,' I retorted, 'but only about my own. It makes me uncomfortable to see someone sit on an uncomfortable chair.'
He chuckled, but did not move. He smoked on in silence, taking no further notice of me, and apparently was absorbed in thought. I wondered why he had come.
Until long habit has blunted the sensibility, there is something disconcerting to the writer in the instinct which causes him to take an interest in the singularities of human nature so absorbing that his moral sense is powerless against it. He recognizes in himself an artistic satisfaction in the contemplation of evil which a little startles him; but sincerity forces him to confess that the disapproval he feels for certain actions is not nearly so strong as his curiosity in their reasons. The character of a scoundrel, logical and complete, has a fascination for his creator which is an outrage to law and order. I expect that Shakespeare devised Iago with a gusto which he never knew when, weaving moonbeams with his fancy, he imagined Desdemona. It may be that in his rogues the writer gratifies instincts deep-rooted in him, which the manners and customs of a civilized world have forced back to the mysterious recesses of the subconscious. In giving to the character of his invention flesh and bones he is giving life to that part of himself which finds no other means of expression. His satisfaction is a sense of liberation.
The writer is more concerned to know than to judge.
There was in my soul a perfectly genuine horror of Strickland, and side by side with it a cold curiosity to discover his motives. I was puzzled by him, and I was eager to see how he regarded the tragedy he had caused in the lives of people who had used him with so much kindness. I applied the scalpel boldly.
'Stroeve told me that picture you painted of his wife was the best thing you've ever done.'
Strickland took his pipe out of his mouth, and a smile lit up his eyes.
'It was great fun to do.'
'Why did you give it him?'
'I'd finished it. It wasn't any good to me.'
'Do you know that Stroeve nearly destroyed it?'
'It wasn't altogether satisfactory.'
He was quiet for a moment or two, then he took his pipe out of his mouth again, and chuckled.
'Do you know that the little man came to see me?'
'Weren't you rather touched by what he had to say?'
'No; I thought it damned silly and sentimental.'
'I suppose it escaped your memory that you'd ruined his life?' I remarked.
He rubbed his bearded chin reflectively.
'He's a very bad painter.'
/> 'But a very good man.'
'And an excellent cook', Strickland added derisively.
His callousness was inhuman, and in my indignation I was not inclined to mince my words.
'As a mere matter of curiosity I wish you'd tell me, have you felt the smallest twinge of remorse for Blanche Stroeve's death?'
I watched his face for some change of expression, but it remained impassive.
'Why should I?' he asked.
'Let me put the facts before you. You were dying, and Dirk Stroeve took you into his own house. He nursed you like a mother. He sacrificed his time and his comfort and his money for you. He snatched you from the jaws of death.'
Strickland shrugged his shoulders.
'The absurd little man enjoys doing things for other people. That's his life.'
'Granting that you owed him no gratitude, were you obliged to go out of your way to take his wife from him? Until you came on the scene they were happy. Why couldn't you leave them alone?'
'What makes you think they were happy?'
'It was evident.'
'You are a discerning fellow. Do you think she could ever have forgiven him for what he did for her?'
'What do you mean by that?'
'Don't you know why he married her?'
I shook my head.
'She was a governess in the family of some Roman prince, and the son of the house seduced her. She thought he was going to marry her. They turned her out into the street neck and crop. She was going to have a baby, and she tried to commit suicide. Stroeve found her and married her.'
'It was just like him. I never knew anyone with so compassionate a heart.'