THE PORTRAIT.
Dreary life,
Aching fears,
Endless strife,
Bitter tears,
Lo, a lovely face I see,
Changing all the world to me.
Love’s delight,
Beauty’s face,
Smilings bright,
Woman’s grace,
Thus beholding these in thee,
Thou hast changed the world to me.
The studio which Maurice had fitted up for himself at the Grange was a
very workmanlike apartment, as it was quite barren of the artistic
frippery with which painters love to decorate their rooms. Sculpture is
a much more virile art than painting, and, scorning frivolous adornments
of all kinds, the artist of the chisel devotes himself to the severest
and highest forms of beauty, so that, he finds quite enough loveliness
in his coldly perfect marble figures, without furnishing his studio like
a Wardour Street toy-shop. Of course, he who works in colors loves to
gaze on colors; and therefore a fantastic Eastern carpet, a quaint
figured tapestry, a gold-broidered curtain of Indian silk, a yellow
shield of antique workmanship, a porous red jar from Egypt, and such
like brilliances, are pleasing to the artistic eye, and the constant
sight of their blended hues keeps the sense of color, so to speak, up to
the mark. The sculptor, however, has but one color, white, which is not
a color; and the less luxurious his studio, the more likely is he to
concentrate his attention on the statue growing to perfection under his
busy chisel.
These sentiments, which would seem to narrow down a sculptor to the
severest and least graceful form of art, were uttered by Crispin in
approval of that bare barn attached to the Grange which Maurice called
his studio. But then Crispin knew nothing about art, and a painter or a
sculptor reading the above views of their profession will probably laugh
to scorn such fanciful notions. Yet it is true that the sculptor by his
art is shut off from the world of color, unless, like the old
Greeks,—according to some critics,—he tints his statues, and thereby
turns them into wax figures. But doubtless those Hellenic sculptors who
wrought nude gods and draped goddesses from the marbles of Paros and
Pentelicus, did not fail to notice how the background of the blue Attic
sky enhanced the beauty of their creations, and therefore must have
concluded that the world of color, to which they were strangers, could
accentuate the fairness and beauty of their statues. Again these are the
artistic sentiments of Crispin the poet, delivered to Maurice with much
daring, seeing the speaker was ignorant of the world of art, and but
promulgated his ideas in a purely poetical fashion. But Crispin’s crude
view of art and artists may doubtless fail to interest many people;
therefore, to come back in a circle to the starting-point of the
disquisition, Maurice’s studio was a very workmanlike apartment.
The floor consisted merely of bare boards, although at one end, in front
of the fireplace, there was an oasis of carpet, on which rested a table
for pipes and tobacco, together with two comfortable arm-chairs.
Scattered here and there were statues finished and unfinished, some
completed in marble, others incomplete in clay. Maurice had gratified
his artistic desires for the perfection of sculpture by surrounding
himself with copies in marble of some famous statues, for now, as he was
wealthy, he could afford to do so. Here danced the Faun with his
grotesque visage and lissome pose; there smiled Hebe, holding her cup
for the banquet of the gods; Bacchus with his crown of vine-leaves gazed
serenely on the sad face of the draped Ariadne in the distance; Apollo
watched the lizard crawling up the tree-trunk; and Hermes, with winged
feet, poised himself on his pedestal as if for flight. The whole studio
was filled with the fair and gracious forms of Greek art, and no wonder
at times Maurice despaired of producing anything worth looking at beside
these immortal productions of the Hellenic brain and hands. The great
necessity now is, not to know what one can do, but what one cannot do;
and if these complacent artists, poets, sculptors, novelists, only abode
by this rule, the world would be spared the perpetration of many an
atrocity in marble, verse, or on canvas, which the conceited creators
think perfection. Maurice Roylands had a pretty taste for chipping
marble, but he was by no means a genius, and his statues, while
perfectly wrought in accordance with the canons of art, yet lacked that
soul which only the true sculptor can give to his creations. It was a
fortunate thing for him that he was a rich man, for assuredly he would
never have become a great sculptor. His ideas were excellent, but he
could not carry them out in accordance with the figment of his brain, as
he lacked the divine spark of genius which alone can fully accomplish
what it conceives.
At present, clad in a blouse, he was standing in front of a mass of wet
clay, manipulating the soft material with dexterous fingers into a
semblance of the fanciful Endymion of his brain and the real Endymion of
Caliphronas. That gentleman was posed on the model’s platform in the
distance, and was beguiling the time by incessant chattering of this,
that, and the other thing.
The artist had based his conception of this statue of Endymion on these
lines of Keats, poet laureate to Dian herself,—
“What is there in the Moon that thou shouldst move
My heart so potently?”
He intended to represent the shepherd sitting on Latmos top, chin on
hand, gazing at the moon with dreamy eyes, his mortal heart thrilling at
the thought that he would see the inviolate Artemis incarnate in the
flesh. In accordance with the Greek ideas of nudity, Maurice did not
drape his statue; but the shepherd sat on his chlamys, which was lightly
thrown over a rock, while beside him lay scrip, and flask, and pastoral
crook. Caliphronas was seated thus,—with his elbow resting on his knee
and his chin on his hand, gazing presumably at the moon, in reality at
Maurice, while the other hand lightly hung down by his side, and his
right leg was drawn back so that the foot bent in a delicate curve
calculated to show its full beauty. This pose showed all the perfect
lines of his figure, and with his nude body, his clean-shaven face, and
dreaming eyes, he looked the veritable Endymion who was waiting the
descent of the goddess from high Olympus. Though it was a warm day, a
fire burned in the grate, for the Greek was very susceptible to cold,
and after working for some time Maurice was fain to rest, so great was
the heat; whereupon Caliphronas flung himself back on the chlamys,
placed his hands behind his head, and began to talk.
“Will you be long at your work to-day, Mr. Maurice?” he asked with a
yawn.
“No, not if you are tired,” replied Roylands, throwing a cloak over the
Count. “You had better wrap yourself up, or you will catch cold. If you
don’t care to sit any more to-day, we can leave off now.”
“Well, I have some letters to write, but I will wait another half-hour.”
“All right!”
Maurice lighted his favorite pipe and established himself in a
comfortable chair, upon which the Count, finding the rock of Endymion
somewhat hard, forsook the platform, and, wrapping the cloak closely
round him, sat down opposite the sculptor.
“I wonder you don’t smoke, Caliphronas,” said Maurice, idly watching the
Greek with half-closed eyes. “You will find it an excellent way of
passing the time.”
“Of killing time, I suppose you mean; but I have no need to do that. At
least, not when I am at home in Greece. Here, yes, it is rather
difficult to get through the day comfortably; if it were not for these
sittings, I really do not know what I would do with myself.”
“I am afraid I will never be able to carry out my conception of
Endymion,” said Maurice, paying no attention to this remark.
Caliphronas shrugged his shoulders.
“Oh, your work is very good,” he said politely, “very good indeed; but
of course it is not perfect.”
“I know that, but practice makes perfect.”
“Not in the world of art. You may learn to paint in strict accordance
with the rules of art. You may sculpture to the inch every portion of
the human body, but that is only the outward semblance of the picture or
the statue. The great thing which makes a great work is the soul.”
“Quite true. And you think I cannot create the soul of my statues?” said
Maurice, rather nettled at the outspoken criticism.
“I say nothing, my friend. I know but little of art, so it would be an
impertinence of me to talk about that of which I am ignorant.”
“The longer we live the less we discover we know,” said Roylands
sententiously.
“I suppose that is true,” replied Caliphronas indolently; “but, thank
heaven, I have not the soul of an artist, for it seems to cause its
owner perpetual anxiety. No; I live healthy, joyous, and free, like the
other animals of Nature, and I am quite satisfied.”
“Is that not rather ignoble?”
“Perhaps; but that is nothing to me. I am happy, which is, to my mind,
the main aim of life. Why should I slave for money? I do not wish it.
Why should I toil for years at art, and gain at the end but ephemeral
fame? Besides, when one dies, what good does fame do? A large marble
tomb would not please me.”
“Still, the fame of being spoken of by succeeding generations.”
“Who would do nothing but wrangle over their different opinions
regarding one’s work. Present happiness is what I wish, not future
praise; but in this narrow island of yours you cannot understand the joy
of life. Come with me to the isles of Greece, and you will be so
fascinated with the free, wild life that you will never return to your
prison-house.”
“If all men thought like you, the world would not progress.”
“I don’t want all men to think the same as I do,” replied the Count
selfishly. “I suppose there must be slaves as well as freemen. I prefer
to be the last.”
“Slaves!”
“Yes. I do not mean the genuine article, but all men are slaves more or
less, if they don’t follow my mode of life. Slaves to gain, slaves to
art, slaves to conventionality, slaves to everything; and what do they
gain by such slavery? Nothing but what I do—a tomb—annihilation.”
“Well, you are a slave to your passions.”
“You mean I obey my impulses. Well, I do; but it is a very pleasant kind
of slavery.”
“And you believe in that horrible theory of annihilation?”
“Well, I don’t know what I believe. I trouble myself in no-wise about
the hereafter. I am alive, I am strong, I am happy. The sun is bright,
the winds are inspiriting,—I draw delight from mountain and plain,—so
why should I trouble myself about what I know nothing? The present is
just enough for me. Let the future take care of itself.”
“A selfish philosophy.”
“A very enjoyable one. Come with me to the East, and you will adopt my
creed. Are you happy here?”
“No.”
“I can see that. You are melancholy at times, you are devoured with
spleen, you find the life you lead too dreary for your soul. If you let
me be your physician, I will cure you.”
“And how?”
“By a very simple means. I will make you lead the same life as I do
myself,—open-air life,—and in a few months you will find these
nightmares of the soul completely disappear. No prisoner can be happy;
and as you are a prisoner in this dungeon of conventionality, and are
swathed in the mummy cloths of civilization, you cannot hope to be happy
unless you go out into the wilderness.”
“The life you describe is purely an animal one. What about the
intellect?”
“Intellect! pshaw! I know more about Nature than half your scientific
idiots with their books.”
“What an inconsistent being you are, Caliphronas!” said Maurice in an
amused tone. “You say you love art, admire pictures, adore statues; yet,
if every man followed the life you eulogize, such things would not be in
existence.”
“I tell you, I don’t want all the world to follow my example. I would be
very sorry to lose all these delights of the senses, so I am glad there
are men sufficiently self-denying to slave at such things for my
delight; but as regards myself, I desire to live as a natural man—an
animal, as you say. It is ignoble—yes; but it is pleasant.”
This speech somewhat opened the eyes of Maurice to the kind of soul
which was enshrined in the splendid body of this man; and he saw plainly
that the sensual part of Caliphronas had completely conquered the
spiritual. But with what result?—that this ignoble being was happy. What
an ironical comment of Fate on the strivings of great beings to
subordinate the senses to the soul. The soul agitated by a thousand
fears, the brain striving ever after the impossible—what do these give
their possessor, but a feeling of unrest, of unsatisfied hunger; whereas
the body, untortured by an inquiring spirit, brought contentment,
happiness—ignoble though they were—to the animal man.
By this time, Caliphronas, having made up his mind to sit no more that
day, was slowly dressing himself, singing a Greek song in his usual gay
manner.
“Three girls crossed my path in the twilight;
One did I love, but the others were nothing to me:
She frowned at my greeting, but her friends smiled sweetly,
Yet was she the loveliest of them all,
And I loved her frown more than their smiles inviting.”
“How happy you are, Caliphronas!”
“Thoroughly. I have not a care in the world. Come with me to the Island
of Fantasy, and you also will be happy.”
“The Island of Fantasy!”
“Yes; that is what Justinian calls it.”
“Who is Justinian? anything to do with the Pandects?”
“Pandects?” reiterated Caliphronas, puzzled by the word.
“Yes. Is he a ruler—a law-giver?”
“Oh yes; he is the king of the Island of Fantasy.”
“Which, I presume, exists only in your brain,” said Roylands jestingly.
“Pardon me, no,” replied the Count seriously, resuming his seat. “The
Island of Fantasy, or, to call it by its real name, Melnos, does exist
in the Ægean Sea. It is a but little known island, and Justinian, who is
my very good friend, rules over it as a kind of Homeric king. Ulysses
was just such another; and there you will find the calm, patriarchal
life of those antique times, which you of the modern world think has
vanished forever. My friend, the Golden Age still exists in Melnos, and
if you come with me, you will dwell in Arcady.”
“My dear Count,” said Maurice, much impressed by the fluency of the
man’s speech, “I have never yet heard a foreigner speak our tongue with
such ease as you do. Where did you learn such fluency—such a good
accent?”
“Ah, I will tell you that when we arrive at Melnos.”
“You are almost as much a riddle as is Crispin,” said Maurice, chafing
at this secrecy, which seemed to be so senseless.
“Doubtless; but if you are curious to know about us both, come to the
Ægean with me.”
“About you both?” repeated the Englishman: “why, do you know anything of
Crispin?”
Caliphronas knew a good deal about Crispin, but he was too wise to say
that he did. Silence regarding the past on his part was the only way to
secure silence on the part of Crispin; and much as Caliphronas, in his
enmity to the poet, would have liked to reveal what Crispin desired to
be kept secret, he had too much at stake to risk such a gratification of
his spite, and therefore passed off the question with a laugh.
“Know anything about Creespeen?” he reiterated, smiling. “I’m afraid I
know nothing more than you do. I met him at Athens, truly, but we were
but acquaintances, so I never made any inquiries about him. He was as
much a riddle there as here. Oh yes, I heard all the romances about him
in London; and no doubt one story is as true as another. The reason I
made such a remark as I did, was that, as Crispin says himself, he came
from the East like a wise man of to-day; you will probably learn his
past history in those parts.”
“And as to yourself?”
“Eh! I have told you all my past life, with the exception of Melnos, and
that I did not think worth while relating. But it is a charming place, I
assure you; and if you come with me, I am sure you will find a community
under the rule of Justinian, which is quite foreign to this century.”
“I have a good mind to accept your offer,” said Maurice musingly; “there
is nothing to keep me in England, and a glimpse of new lands would do me
good. Besides, Count, one does not get such an excellent guide as you
every day.”
“Oh, I know every island in the Ægean,” replied Caliphronas, smiling his
thanks for the compliment. “I have sailed all over the Archipelago, and
am quite a sailor in a small way. Lesbos, Cythera, Samos, Rhodes,—I know
them all intimately; so if you are fond of ruins, and the remains of old
Greece, I can show you plenty, tell you the legends, arrange about the
inns, and, in fact, act as a dragoman; but, of course, without his greed
for money.”
“It seems worth considering.”
“It will be a visit to paradise,” cried Caliphronas enthusiastically,
springing to his feet. “Here you do not know the true meaning of the
word beauty. Only under the blue sky, above the blue waves of the Ægean,
is it to be seen. Aphrodite arose from those waters, and she was but an
incarnation of the beauty which meets the eye on all sides. You have
been my host in England. I will be your host in Greece, and will
entertain you in my ruined abode,—misnamed a palace,—which is all that
remains to me of my forefathers. Together we will sail over those
laughing waters, and see the sun-kissed islands bloom on the wave.
Paradise! It is the Elysian fields of foam where rest the spirits of
wearied mariners. What says the song of the Greek sailors?
‘I will die! but the earth will not hold me in her breast,
For the blue sea will clasp me in its arms.
I will die! but let my soul not find the heaven of the orthodox.
Nay, let it wander among the flowery islands,
Where I can see my home and the girl who mourns me.
That only is the paradise I long for.’”
“You forget I do not know modern Greek,” said Maurice, smiling at the
enthusiasm of the Count; “nor indeed much ancient Greek, for the matter
of that. But see, Count, you have dropped a photograph.”
“You can look at it,” said the Count, who had let it fall purposely; “I
have no secrets.”
“Oh!”
“Ah, you think it a charming face?”
“Charming is too weak a word. It is Aphrodite herself.”
“Alas!” cried Caliphronas. with a merry laugh; “that goddess lived
before the days of sun-pictures, else Apollo might have photographed
her. No; that is no deity, but a mortal maiden whom I saw at Melnos. It
is not bad for an amateur effort, is it?”
“Oh, very good, very good!” replied Maurice hurriedly; “but the
face—what a heavenly face!”
“Ah, you see my paradise has got its Eve.”
“And its Adam, doubtless?”
“No, there is no Adam to that Eve,” said Caliphronas, shaking his head;
“at least, there was not when I was in Melnos six months ago. Why should
there be? You will find plenty of women as beautiful as Helena.”
“Helena—is that her name? Yes, I have no doubt you will find beautiful
women in Greece,—’tis their heritage from Phryne, Lais, and Aspasia; but
none can be as beautiful as Helen of Troy.”
“Possibly not; but that woman is Helena of Melnos, not of Troy.”
“I’ll swear she is as beautiful as the wife of Menelaus, whom Paris
loved.”
“You seem quite in raptures over this face,” said Caliphronas, with but
ill-concealed anger. “Pray, do you propose to be Menelaus or Paris!”
“Why, are you in love with her yourself?” asked Maurice, looking at the
Greek in some surprise.
This question touched Caliphronas more nearly than Maurice guessed, but,
whatever passion he may have felt for the lady of the picture, he said
nothing about it, but laughed in a somewhat artificial manner.
“I in love with her, my friend? No; she is beautiful, I grant you, but I
look upon her as I would an exquisite picture. She is nothing to me. Did
I not tell you I have a future bride in the East? Yes—in Constantinople;
a daughter of the old Byzantine nobles, a Fanariot beautiful as the
dawn, who dwells at Phanar.”
“Then I need fear no rivalry from you, Caliphronas?”
“Certainly not. But you seem to have fallen in love with this pictured
Helena.”
“I will not go so far as to say that; but you know I have the artistic
temperament, and therefore admire beauty always.”
“Of course—the artistic sense,” sneered Caliphronas in such a
disagreeable way, that Maurice again looked at him in astonishment.
The fact is, that Roylands’ admiration of the portrait seemed to ruffle
Caliphronas very much, and quite altered his usual nonchalance of
manner. Never before had Maurice seen his joyous nature so changed, for
he had now a frown on his usually smiling face, and appeared to be on
the verge of an angry outbreak. All the wild beast in his nature, which
was so carefully hidden by the civilized mask, seemed to show in the
most unexpected manner, and with flashing eyes, tightly drawn lips, and
scowling countenance, he looked anything but the serene Greek with whom
Roylands was acquainted. Maurice was astonished and rather annoyed at
this exhibition of temper, so, rising from his seat, he gave the picture
back to his guest with a dignified gesture.
“I have no wish to pry into your secrets, Count,” he said quietly,
walking towards the door; “you showed me that portrait of your own free
will, and if I admire it somewhat warmly, surely the beauty of the face
is my excuse. At present I will say _au revoir_, as I have some business
to do, and will be in my study till luncheon.”
When Maurice disappeared, the Greek stamped about the room in sheer
vexation at having betrayed himself, for he could not but see that for
once this simple Englishman had caught a glimpse of his real nature,
hitherto so carefully concealed.
“I am a fool, a fool!” he said savagely in Greek; “everything was going
well, and I spoil all by letting my temper get the better of me. Why did
I not let him admire Helena and say nothing? When we get to Melnos, that
will be a different thing, for Justinian cannot go back from his word;
and if I perform my part of the bargain, and bring this fool to Melnos,
he must perform his, and give me his daughter. I must recover my lost
ground if possible,—bah! it will not be difficult. I can see he is in
love with Helena, so that will smooth everything. In love with my
goddess!” he said ardently, gazing at the lovely face. “Ah, how can he
help being so?—there is much excuse; but he can only worship you at a
distance, my Venus, for you are mine—mine—mine!”
He thrust the picture into his pocket, and, recovering his serene
joyousness of mood, pondered for a few moments as to what was the best
course to pursue. At last he decided, and walked towards the door of the
studio with the air of a man who had made up his mind.
“I will give him the picture,” he said, with a great effort, “and I feel
sure he will make peace on those terms.”
Maurice was sitting at his desk, wondering why the even-tempered Greek
had thus given way to anger over the picture.
“If he is engaged to a lady of Stamboul, he cannot be in love with this
Helena,” he said to himself. “Perhaps he was jealous of my admiring the
beauty of a woman more than his own. All Greeks are vain, but, as far as
I can see, Caliphronas is simply mad with vanity. Come in.”
In answer to his invitation, the Count entered smiling, and laid the
picture on the desk before Maurice.
“You must not be angry with me, my friend,” he said volubly; “I am like
a child, and grow bad-tempered over nothing. This Helena is nothing to
me, and, to prove this, I give you her portrait, which I do not care to
keep. Come, am I forgiven?”
“Of course you are,” said Roylands hastily; “and I will not deprive you
of your picture.”
“No, no, I do not want it back,” replied Caliphronas, spreading out his
hands in token of refusal; “you love the face, so keep it by all means.”
“She is very beautiful,” said Maurice, gazing longingly at this modern
Helen.
“Is she worth a journey to the East?” asked Caliphronas in a soft voice,
like the sibilant hiss of a serpent.
Maurice made no reply; he was looking at the portrait.