Sketches in Lavender, Blue and Green

PORTRAIT OF A LADY

My work pressed upon me, but the louder it challenged me—such is the heart of the timid fighter—the less stomach I felt for the contest. I wrestled with it in my study, only to be driven to my books. I walked out to meet it in the streets, only to seek shelter from it in music-hall or theatre. Thereupon it waxed importunate and over-bearing, till the shadow of it darkened all my doings. The thought of it sat beside me at the table, and spoilt my appetite. The memory of it followed me abroad, and stood between me and my friends, so that all talk died upon my lips, and I moved among men as one ghost-ridden.

Then the throbbing town, with its thousand distracting voices, grew maddening to me. I felt the need of converse with solitude, that master and teacher of all the arts, and I bethought me of the Yorkshire Wolds, where a man may walk all day, meeting no human creature, hearing no voice but the curlew's cry; where, lying prone upon the sweet grass, he may feel the pulsation of the earth, travelling at its eleven hundred miles a minute through the ether. So one morning I bundled many things, some needful, more needless, into a bag, hurrying lest somebody or something should happen to stay me, and that night I lay in a small northern town that stands upon the borders of smokedom at the gate of the great moors; and at seven the next morning I took my seat beside a one-eyed carrier behind an ancient piebald mare. The one-eyed carrier cracked his whip, the piebald horse jogged forward. The nineteenth century, with its turmoil, fell away behind us; the distant hills, creeping nearer, swallowed us up, and we became but a moving speck upon the face of the quiet earth.

Late in the afternoon we arrived at a village, the memory of which had been growing in my mind. It lies in the triangle formed by the sloping walls of three great fells, and not even the telegraph wire has reached it yet, to murmur to it whispers of the restless world—or had not at the time of which I write. Nought disturbs it save, once a day, the one-eyed carrier—if he and his piebald mare have not yet laid their ancient bones to rest—who, passing through, leaves a few letters and parcels to be called for by the people of the scattered hill-farms round about. It is the meeting-place of two noisy brooks. Through the sleepy days and the hushed nights, one hears them ever chattering to themselves as children playing alone some game of make-believe. Coming from their far-off homes among the hills, they mingle their waters here, and journey on in company, and then their converse is more serious, as becomes those who have joined hands and are moving onward towards life together. Later they reach sad, weary towns, black beneath a never-lifted pall of smoke, where day and night the clang of iron drowns all human voices, where the children play with ashes, where the men and women have dull, patient faces; and so on, muddy and stained, to the deep sea that ceaselessly calls to them. Here, however, their waters are fresh and clear, and their passing makes the only stir that the valley has ever known. Surely, of all peaceful places, this was the one where a tired worker might find strength.

My one-eyed friend had suggested I should seek lodgings at the house of one Mistress Cholmondley, a widow lady, who resided with her only daughter in the white-washed cottage that is the last house in the village, if you take the road that leads over Coll Fell.

"Tha' can see th' house from here, by reason o' its standing so high above t'others," said the carrier, pointing with his whip. "It's theer or nowhere, aw'm thinking, for folks don't often coom seeking lodgings in these parts."

The tiny dwelling, half smothered in June roses, looked idyllic, and after a lunch of bread and cheese at the little inn I made my way to it by the path that passes through the churchyard. I had conjured up the vision of a stout, pleasant, comfort-radiating woman, assisted by some bright, fresh girl, whose rosy cheeks and sunburnt hands would help me banish from my mind all clogging recollections of the town; and hopeful, I pushed back the half-opened door and entered.

The cottage was furnished with a taste that surprised me, but in themselves my hosts disappointed me. My bustling, comely housewife turned out a wizened, blear-eyed dame. All day long she dozed in her big chair, or crouched with shrivelled hands spread out before the fire. My dream of winsome maidenhood vanished before the reality of a weary-looking, sharp-featured woman of between forty and fifty. Perhaps there had been a time when the listless eyes had sparkled with roguish merriment, when the shrivelled, tight-drawn lips had pouted temptingly; but spinsterhood does not sweeten the juices of a woman, and strong country air, though, like old ale, it is good when taken occasionally, dulls the brain if lived upon. A narrow, uninteresting woman I found her, troubled with a shyness that sat ludicrously upon her age, and that yet failed to save her from the landlady's customary failing of loquacity concerning "better days," together with an irritating, if harmless, affectation of youthfulness.

All other details were, however, most satisfactory; and at the window commanding the road that leads through the valley towards the distant world I settled down to face my work.

But the spirit of industry, once driven forth, returns with coy steps. I wrote for perhaps an hour, and then throwing down my halting pen I looked about the room, seeking distraction. A Chippendale book-case stood against the wall and I strolled over to it. The key was in the lock, and opening its glass doors, I examined the well-filled shelves. They held a curious collection: miscellanies with quaint, glazed bindings; novels and poems; whose authors I had never heard of; old magazines long dead, their very names forgotten; "keepsakes" and annuals, redolent of an age of vastly pretty sentiments and lavender-coloured silks. On the top shelf, however, was a volume of Keats wedged between a number of the Evangelical Rambler and Young's Night Thoughts, and standing on tip-toe, I sought to draw it from its place.

The book was jambed so tightly that my efforts brought two or three others tumbling about me, covering me with a cloud of fine dust, and to my feet there fell, with a rattle of glass and metal, a small miniature painting, framed in black wood.

I picked it up, and, taking it to the window, examined it. It was the picture of a young girl, dressed in the fashion of thirty years ago—I mean thirty years ago then. I fear it must be nearer fifty, speaking as from now—when our grandmothers wore corkscrew curls, and low-cut bodices that one wonders how they kept from slipping down. The face was beautiful, not merely with the conventional beauty of tiresome regularity and impossible colouring such as one finds in all miniatures, but with soul behind the soft deep eyes. As I gazed, the sweet lips seemed to laugh at me, and yet there lurked a sadness in the smile, as though the artist, in some rare moment, had seen the coming shadow of life across the sunshine of the face. Even my small knowledge of Art told me that the work was clever, and I wondered why it should have lain so long neglected, when as a mere ornament it was valuable. It must have been placed in the book-case years ago by someone, and forgotten.

I replaced it among its dusty companions, and sat down once more to my work. But between me and the fading light came the face of the miniature, and would not be banished. Wherever I turned it looked out at me from the shadows. I am not naturally fanciful, and the work I was engaged upon—the writing of a farcical comedy—was not of the kind to excite the dreamy side of a man's nature. I grew angry with myself, and made a further effort to fix my mind upon the paper in front of me. But my thoughts refused to return from their wanderings. Once, glancing back over my shoulder, I could have sworn I saw the original of the picture sitting in the big chintz-covered chair in the far corner. It was dressed in a faded lilac frock, trimmed with some old lace, and I could not help noticing the beauty of the folded hands, though in the portrait only the head and shoulders had been drawn.

Next morning I had forgotten the incident, but with the lighting of the lamp the memory of it awoke within me, and my interest grew so strong that again I took the miniature from its hiding-place and looked at it.

And then the knowledge suddenly came to me that I knew the face. Where had I seen her, and when? I had met her and spoken to her. The picture smiled at me, as if rallying me on my forgetfulness. I put it back upon its shelf, and sat racking my brains trying to recollect. We had met somewhere—in the country—a long time ago, and had talked of common-place things. To the vision of her clung the scent of roses and the murmuring voices of haymakers. Why had I never seen her again? Why had she passed so completely out of my mind?

My landlady entered to lay my supper, and I questioned her assuming a careless tone. Reason with or laugh at myself as I would, this shadowy memory was becoming a romance to me. It was as though I were talking of some loved, dead friend, even to speak of whom to commonplace people was a sacrilege. I did not want the woman to question me in return.

"Oh, yes," answered my landlady. Ladies had often lodged with her. Sometimes people stayed the whole summer, wandering about the woods and fells, but to her thinking the great hills were lonesome. Some of her lodgers had been young ladies, but she could not remember any of them having impressed her with their beauty. But then it was said women were never a judge of other women. They had come and gone. Few had ever returned, and fresh faces drove out the old.

"You have been letting lodgings for a long time?" I asked. "I suppose it could be fifteen—twenty years ago that strangers to you lived in this room?"

"Longer than that," she said quietly, dropping for the moment all affectation. "We came here from the farm when my father died. He had had losses, and there was but little left. That is twenty-seven years ago now."

I hastened to close the conversation, fearing long-winded recollections of "better days." I have heard such so often from one landlady and another. I had not learnt much. Who was the original of the miniature, how it came to be lying forgotten in the dusty book-case were still mysteries; and with a strange perversity I could not have explained to myself I shrank from putting a direct question.

So two days more passed by. My work took gradually a firmer grip upon my mind, and the face of the miniature visited me less often. But in the evening of the third day, which was a Sunday, a curious thing happened.

I was returning from a stroll, and dusk was falling as I reached the cottage. I had been thinking of my farce, and I was laughing to myself at a situation that seemed to me comical, when, passing the window of my room, I saw looking out the sweet fair face that had become so familiar to me. It stood close to the latticed panes, a slim, girlish figure, clad in the old-fashioned lilac-coloured frock in which I had imagined it on the first night of my arrival, the beautiful hands clasped across the breast, as then they had been folded on the lap. Her eyes were gazing down the road that passes through the village and goes south, but they seemed to be dreaming, not seeing, and the sadness in them struck upon one almost as a cry. I was close to the window, but the hedge screened me, and I remained watching, until, after a minute I suppose, though it appeared longer, the figure drew back into the darkness of the room and disappeared.

I entered, but the room was empty. I called, but no one answered. The uncomfortable suggestion took hold of me that I must be growing a little crazy. All that had gone before I could explain to myself as a mere train of thought, but this time it had come to me suddenly, uninvited, while my thoughts had been busy elsewhere. This thing had appeared not to my brain but to my senses. I am not a believer in ghosts, but I am in the hallucinations of a weak mind, and my own explanation was in consequence not very satisfactory to myself.

I tried to dismiss the incident, but it would not leave me, and later that same evening something else occurred that fixed it still clearer in my thoughts. I had taken out two or three books at random with which to amuse myself, and turning over the leaves of one of them, a volume of verses by some obscure poet, I found its sentimental passages much scored and commented upon in pencil as was common fifty years ago—as may be common now, for your Fleet Street cynic has not altered the world and its ways to quite the extent that he imagines.

One poem in particular had evidently appealed greatly to the reader's sympathies. It was the old, old story of the gallant who woos and rides away, leaving the maiden to weep. The poetry was poor, and at another time its conventionality would have excited only my ridicule. But, reading it in conjunction with the quaint, naive notes scattered about its margins, I felt no inclination to jeer. These hackneyed stories that we laugh at are deep profundities to the many who find in them some shadow of their own sorrows, and she—for it was a woman's handwriting—to whom this book belonged had loved its trite verses, because in them she had read her own heart. This, I told myself, was her story also. A common enough story in life as in literature, but novel to those who live it.

There was no reason for my connecting her with the original of the miniature, except perhaps a subtle relationship between the thin nervous handwriting and the mobile features; yet I felt instinctively they were one and the same, and that I was tracing, link by link, the history of my forgotten friend.

I felt urged to probe further, and next morning while my landlady was clearing away my breakfast things, I fenced round the subject once again.

"By the way," I said, "while I think of it, if I leave any books or papers here behind me, send them on at once. I have a knack of doing that sort of thing. I suppose," I added, "your lodgers often do leave some of their belongings behind them."

It sounded to myself a clumsy ruse. I wondered if she would suspect what was behind it.

"Not often," she answered. "Never that I can remember, except in the case of one poor lady who died here."

I glanced up quickly.

"In this room?" I asked.

My landlady seemed troubled at my tone.

"Well, not exactly in this very room. We carried her upstairs, but she died immediately. She was dying when she came here. I should not have taken her in had I known. So many people are prejudiced against a house where death has occurred, as if there were anywhere it had not. It was not quite fair to us."

I did not speak for a while, and the rattle of the plates and knives continued undisturbed.

"What did she leave here?" I asked at length.

"Oh, just a few books and photographs, and such-like small things that people bring with them to lodgings," was the reply. "Her people promised to send for them, but they never did, and I suppose I forgot them. They were not of any value."

The woman turned as she was leaving the room.

"It won't drive you away, sir, I hope, what I have told you," she said. "It all happened a long while ago.

"Of course not," I answered. "It interested me, that was all." And the woman went out, closing the door behind her.

So here was the explanation, if I chose to accept it. I sat long that morning, wondering to myself whether things I had learnt to laugh at could be after all realities. And a day or two afterwards I made a discovery that confirmed all my vague surmises.

Rummaging through this same dusty book-case, I found in one of the ill-fitting drawers, beneath a heap of torn and tumbled books, a diary belonging to the fifties, stuffed with many letters and shapeless flowers, pressed between stained pages; and there—for the writer of stories, tempted by human documents, is weak—in faded ink, brown and withered like the flowers, I read the story I already knew.

Such a very old story it was, and so conventional. He was an artist—was ever story of this type written where the hero was not an artist? They had been children together, loving each other without knowing it till one day it was revealed to them. Here is the entry:-

"May 18th.—I do not know what to say, or how to begin. Chris loves me. I have been praying to God to make me worthy of him, and dancing round the room in my bare feet for fear of waking them below. He kissed my hands and clasped them round his neck, saying they were beautiful as the hands of a goddess, and he knelt and kissed them again. I am holding them before me and kissing them myself. I am glad they are so beautiful. O God, why are you so good to me? Help me to be a true wife to him. Help me that I may never give him an instant's pain! Oh, that I had more power of loving, that I might love him better,"—and thus foolish thoughts for many pages, but foolish thoughts of the kind that has kept this worn old world, hanging for so many ages in space, from turning sour.

Later, in February, there is another entry that carries on the story:-

"Chris left this morning. He put a little packet into my hands at the last moment, saying it was the most precious thing he possessed, and that when I looked at it I was to think of him who loved it. Of course I guessed what it was, but I did not open it till I was alone in my room. It is the picture of myself that he has been so secret about, but oh, so beautiful. I wonder if I am really as beautiful as this. But I wish he had not made me look so sad. I am kissing the little lips. I love them, because he loved to kiss them. Oh, sweetheart! it will be long before you kiss them again. Of course it was right for him to go, and I am glad he has been able to manage it. He could not study properly in this quiet country place, and now he will be able to go to Paris and Rome and he will be great. Even the stupid people here see how clever he is. But, oh, it will be so long before I see him again, my love! my king!"

With each letter that comes from him, similar foolish rhapsodies are written down, but these letters of his, I gather, as I turn the pages, grow after a while colder and fewer, and a chill fear that dare not be penned creeps in among the words.

"March 12th. Six weeks and no letter from Chris, and, oh dear! I am so hungry for one, for the last I have almost kissed to pieces. I suppose he will write more often when he gets to London. He is working hard, I know, and it is selfish of me to expect him to write more often, but I would sit up all night for a week rather than miss writing to him. I suppose men are not like that. O God, help me, help me, whatever happens! How foolish I am to-night! He was always careless. I will punish him for it when he comes back, but not very much."

Truly enough a conventional story.

Letters do come from him after that, but apparently they are less and less satisfactory, for the diary grows angry and bitter, and the faded writing is blotted at times with tears. Then towards the end of another year there comes this entry, written in a hand of strange neatness and precision:-

"It is all over now. I am glad it is finished. I have written to him, giving him up. I have told him I have ceased to care for him, and that it is better we should both be free. It is best that way. He would have had to ask me to release him, and that would have given him pain. He was always gentle. Now he will be able to marry her with an easy conscience, and he need never know what I have suffered. She is more fitted for him than I am. I hope he will be happy. I think I have done the right thing."

A few lines follow, left blank, and then the writing is resumed, but in a stronger, more vehement hand.

"Why do I lie to myself? I hate her! I would kill her if I could. I hope she will make him wretched, and that he will come to hate her as I do, and that she will die! Why did I let them persuade me to send that lying letter? He will show it to her, and she will see through it and laugh at me. I could have held him to his promise; he could not have got out of it.

"What do I care about dignity, and womanliness, and right, and all the rest of the canting words! I want him. I want his kisses and his arms about me. He is mine! He loved me once! I have only given him up because I thought it a fine thing to play the saint. It is only an acted lie. I would rather be evil, and he loved me. Why do I deceive myself? I want him. I care for nothing else at the bottom of my heart—his love, his kisses!"

And towards the end. "My God, what am I saying? Have I no shame, no strength? O God, help me!"

And there the diary closes.

I looked among the letters lying between the pages of the book. Most of them were signed simply "Chris." or "Christopher." But one gave his name in full, and it was a name I know well as that of a famous man, whose hand I have often shaken. I thought of his hard-featured, handsome wife, and of his great chill place, half house, half exhibition, in Kensington, filled constantly with its smart, chattering set, among whom he seemed always to be the uninvited guest; of his weary face and bitter tongue. And thinking thus there rose up before me the sweet, sad face of the woman of the miniature, and, meeting her eyes as she smiled at me from out of the shadows, I looked at her my wonder.

I took the miniature from its shelf. There would be no harm now in learning her name. So I stood with it in my hand till a little later my landlady entered to lay the cloth.

"I tumbled this out of your book-case," I said, "in reaching down some books. It is someone I know, someone I have met, but I cannot think where. Do you know who it is?"

The woman took it from my hand, and a faint flush crossed her withered face. "I had lost it," she answered. "I never thought of looking there. It's a portrait of myself, painted years ago, by a friend."

I looked from her to the miniature, as she stood among the shadows, with the lamplight falling on her face, and saw her perhaps for the first time.

"How stupid of me," I answered. "Yes, I see the likeness now."