A BROKEN SYMBOL
i
Vera by this time was in high, romantic quest of that which cannot
be found outside oneself. She had a passion to be utterly free. It
was a cold, intellectual phantasy, defeated in every possibility by
some strange, morbid no-saying of her emotional nature. Her delusion
had been that circumstances enthralled her. That refuge now was gone.
Wealth gave her control over the circumstances of her life. She could
do what she pleased. She was free to seek freedom and her mind was
strong and daring.
She leased an old house in West Tenth Street and had it all made over
into studio apartments, four above to be let by favor to whom she liked
and one very grand on the ground floor for herself. Then she became a
patron of the arts. It is an easy road. Art is hungry for praise and
attention. Artists are democratic. They keep no rules, go anywhere,
have lots of time and love to be entertained by wealth, if only to put
their contempt upon it. The hospitality of a buyer must be bad indeed
if they refuse it. Vera’s hospitality was attractive in itself. Her
teas were man teas. Her dinners were gay and excellent. They were
popular at once and soon became smart in a special, exotic way. Her
private exhibitions were written up in the art columns.
She had first a conventional phase and harbored academic art. That
passed. Her taste became more and more radical; so also of course did
her company. I went often to see her there,--to her teas and sometimes
to her dinners, because one could seldom see her anywhere else. But it
was a trial for both of us. She introduced me always with an air which
meant, “He doesn’t belong, as you see, but he is all right.” I was
accepted for her sake. The men were not polite with each other. They
quarrelled and squabbled incessantly, mulishly, pettishly, in terms as
strange to me as the language of my trade would have been to them. They
were polite to me. That was the distinction they made.
As Vera progressed, her understanding of art becoming higher and
higher, new figures appeared, some of them grossly uncouth, either
naturally so or by affectation. She discovered a sculptor who brought
his things with him to be admired,--small ones in his pockets, larger
ones in his arms. I could not understand them. They resembled the
monstrosities children dream of when they need paregoric. He had been
stoker, prize-fighter, mason, poet, tramp,--heaven knows what!--with
this marvellous gift inside of him all the time. He wore brogans,
trousers that sagged, a shirt open to the middle of his hairy chest, a
red handkerchief around his neck and often no hat at all.
Vera seemed quite mad about him. She took me one day to his studio,
saying particularly that she had never been there. It was a small
room at the top of a palsied fire trap near Gramercy Park, reached by
many turnings through dark hallways with sudden steps up and down. In
it, besides the sculptor in a gunny-sack smock, there was nothing but
some planks laid over the tops of barrels, some heaps of clay, and
his things, which he called pieces of form. On the walls, scrawled in
pencil, were his social engagements, all with women. Vera’s name was
there.
Once he came to tea with nothing of his own to show, but from under his
coat he produced and held solemnly aloft an object which proved to be a
stuffed toy beast,--dog, cow, bear or what you couldn’t tell, it was so
battered. One of its shoe-button eyes, one ear and the tail were gone.
Its hide was cotton flannel, now the color of grimy hands.
“What is it?” everybody asked.
He wouldn’t tell until he had found something to stand it on. A book
would serve. Then he held it out at arm’s length.
“I found it on the East Side in a rag picker’s place!” he said. “I seem
to see something in it ... what?... a force ... something elemental ...
something.”
The respect with which this twaddle was received by a sane company,
some of it distinguished, even by Vera herself, filled me with
indignation.
Later the sculptor sat by me and asked ingratiatingly how matters were
in Wall Street.
“You are the third man who has asked me that question today,” I said.
“Why are artists so much interested in Wall Street?”
“I’m not,” he said. “I only thought it was a proper question to ask.
Some of them are. I hear them talking about it. Pictures sell better
when people are making money in Wall Street. Sculpture never sells
anyway. Mine won’t.”
I said men were doing very well in Wall Street. Times were prosperous
again.
“So I understand,” he replied. “It seems very easy to make money there
if you get in right. Do you know of anything sure?”
I said I didn’t.
“You are with Mr. Galt?” he asked.
“Yes.”
“He is a great money maker, isn’t he? What is he like?”
“He’s an elemental force,” I said, leaving him.
ii
But Vera was shrewd and purposeful, having always her ends in view.
Manifestations such as the sculptor person were kept in their place.
They were not permitted to dominate the scene. They played against a
background that was at once exquisite and reassuring. In a mysterious
way she created an atmosphere of pagan, metaphysical tranquillity,
which rejects nothing and refines whatever it accepts. No thought, no
representation of fact or experience, however extreme, was forbidden.
But you must perceive all things æsthetically. Vulgarity was the only
sin. Emotions were objects. You might enjoy them in any way you liked
save one. You must not touch them. For this was the higher sensuality,
ethereal and philosophical,--a sensuality of the mind alone.
All of this was the unconscious expression of herself. Eros
intellectualized! It can be done.
Her achievement became known in a cultish way. She made admission to
her circle more and more difficult and the harder it was the more
anxious people were to get in. On Mrs. Valentine’s world she turned the
tables. She flouted society and it began to knock at her door. She had
something it wanted and sold it dear.
There are always those who seek in art that which they have lost or
used up or never dared take in life. There are those whose desires
are projected upon the mind and obsess it long after the capacity for
direct experience is ruined. There are those to whom anything esoteric
and new is irresistible. There were those, besides, who sought Vera,
notably among them a tall blond animal of the golden series.
He was the man I saw bring Vera home that evening I waited to have
it out with her. I met him again in London on Galt’s business while
soliciting proxies among our foreign stockholders. At that time he
was acting for his father’s estate with an English syndicate that had
large investments in American railroads. Since then, by the will of
Providence, he had come into possession of the estate together with an
hereditary title of great social distinction.
Enter, as he pleases, Lord Porteous. With a thin, cynical head, a
definite simplicity of outline and an exaggerated, voluptuous grace
of body, he remarkably resembled an old Greek drawing. How he had
found Vera in the first place I never knew. That happened, at any
rate, before she was rich. He had the trained British instinct
for putting money with the right people, and it was true that the
English discovered Galt from afar while he was yet almost unknown in
Wall Street. But when I saw him that first time with Vera the Great
Midwestern was on its way to bankruptcy and Galt’s interest in it was
extremely precarious.
Well, no matter. It was inevitable however it happened. When he
returned to this country as Lord Porteous he found her again and
immediately added his prestige to her circle. Art bored him. He
played the part of beguiled Philistine and amused himself by uttering
bourgeoise comments of the most astonishing banality. Whether he
truly meant them or not nobody knew for sure. He never by any chance
betrayed his form. If satire, it was art; if not, it was incredible.
Sensitive victims were reduced to a state of grinning horror. One who
committed suicide was believed to have been driven to it by something
Lord Porteous said to him in a moment of their being accidentally alone
at the sideboard. The artist dropped his glass in a gibbering rage
and went headlong forth. He was never seen alive again, and as m’lord
couldn’t be asked we never knew what it was.
For all that, Lord Porteous was a capital social asset, and a valiant
protagonist. He carried Vera’s name with him wherever he went, even
to Mrs. Valentine’s table,--there especially, in fact, because he
discovered how much it annoyed her. He disliked her; and she was
helpless.
iii
Like her father, Vera was adventurous with success. No measure was
enough. She began to import art objects that were bound to be talked
about,--not old masters, nothing so trite as that, but daring,
controversial things, the latest word of a modern school or the most
authentic fetich of a new movement in thought. Her grand stroke was
the purchase in London of the rarest piece of antique negro sculpture
then known to exist in the world. It had been miraculously discovered
in Africa and was brought to England for sale. Its importance lay
in the fact that a certain self-advertised cult, leading a revolt
against classic Greek tradition, acclaimed it on sight as the perfect
demonstration of some theory which only artists could pretend to
understand. Modern sculpture, these people said, was pure in but two of
its three dimensions. This African thing, wrought by savages in a time
of great antiquity, was pure also in the third dimension. Therefore
it excelled anything that was Greek or derived therefrom. A storm of
controversy broke upon the absurd little idol’s head. Photographs of it
were printed in hundreds of magazines and newspapers in Europe and the
United States. And when it came to be sold at auction it was one of the
most notorious objects on earth.
The British Museum retired after the second bid. Agents acting for
private collectors ran the price up rapidly. The bidding, according to
the news reports cabled to this country the next morning, was “very
spirited,” and the treasure passed at a fabulous price to the agent of
“Miss Vera Galt, the well known American collector.” She had engaged
the assistance of a dealer who knew how to get publicity in these high
matters. English art critics politely regretted that an object of such
rare æsthetic interest should leave Europe; American critics exulted
accordingly and praised Miss Galt’s enterprise.
I was at the studio the day the thing arrived and was unpacked. Besides
the initiates, votaries and friends, a number of art critics were
present by invitation. Vera, as usual, was detached and tentative, with
no air of proprietorship whatever. She was like one of the spectators.
Yet every detail of the ceremony had been rigidly ordained. The place
prepared to receive the idol was not too conspicuous. It was to be
important but not paramount. It must not dominate the scene.
As one not entitled to participate in the chatter I was free to listen.
There were _oh’s_ and _ah’s_ and guttural sounds, meant in each case to
express that person’s whole unique comprehension and theory of art. The
more articulate had almost done better, I thought, to limit themselves
to similar exclamations. What they said was quite meaningless, to me
at least. With the enthusiasm of original discovery one declared that
it was wholly free of any representational quality. Another said with
profound wisdom that it was neither the symbol nor the representation
of anything, but purely and miraculously a thing in itself. Its
unrepresentationalness and thing-in-itselfness were thereupon asserted
over and over, everyone perceiving that to be the safe slant of
opinion. They were wonderfully excited. No lay person may hope to
understand these commotions of æsthetic feeling. The idea was to me
grotesque that this strange, discolored figure, not more than fifteen
inches high, with its upturned nose, its cylindrical trunk, cylindrical
arms not pertaining to the trunk, cylindrical legs pertaining to
neither the trunk nor the arms, terminating in block feet, should be an
august event in the world of art.
Lord Porteous came in. He helped himself to tea and sat down with Vera
at some distance from the murmuring group that surrounded the idol.
Voices kept calling him to come. He went, holding his tea and munching
his cake, and gave it one casual look.
“How very ugly,” he said, and returned to Vera’s side.
I hated him for having the assurance to say it. No one else would
have dared. I hated him for his possessive ways. I hated him for all
the reasons there were. A malicious spirit invaded me. I sat near
them, wishing my proximity to be disagreeable. He was very polite and
friendly, which gave me extra reasons. He made some reference to a
recent occurrence in Wall Street. He asked me what I made of the negro
carving.
“I don’t understand it,” I said.
“We are the barbarians here,” he said. “They understand it. Look at
them.”
Vera was silent.
iv
Gradually the party dispersed, everyone stopping on the way forth to
inform Vera of her greatness, her service to art, her hold upon their
adoration and affection. At length only Lord Porteous and I remained.
The tea things were removed, twilight passed, lights were made, and
still we lingered, making artificial conversation. Suddenly, with a
subtle air of declining the competition, he took his leave.
Vera lay in a great black, ivory-mounted chair, her head far back, her
feet on a hassock, smoking a cigarette in a long shell holder, staring
into the smoke as a man does. The presence of Lord Porteous seemed to
linger between us long after his corporeal entity was gone.
“He says he thinks it very ugly,” I remarked.
“Yes?” she said with that unresolved, rising inflexion which provokes a
man to open the quarrel.
“No one else could have carried off that audacity,” I said.
She let that pass.
“I wonder what your archaic sculptor man would think of it?” I said.
“He wasn’t here.... We haven’t seen him for a long time.”
She shrugged her shoulders and continued to gaze into the smoke of her
cigarette.
“So you are bored,” I said. “A world of your own, a lord at your feet,
and still you are bored.”
“Do you mean to pick a quarrel with me?” she asked.
“I wish to cancel our bargain,” I said. “The one we made that time long
ago in the tea shop.”
“Very well,” she said. “It is cancelled.”
“Is that all?”
“What more could there be?” she asked, looking at me for the first
time, with that naïve expression of blameless innocence which was Eve’s
fig leaf.
“You have nothing to say?”
“No,” she said. “Women are not as vocal about these things as men seem
to be.”
“You were vocal enough when we were making the bargain,” I said. “Have
you no curiosity to know why I wish to cancel it?”
“Friendship does not satisfy a man,” she said.
“Have you made the same bargain with others? ... with Lord Porteous?” I
asked.
“No.”
“Why not?”
“Please don’t be stupid,” she said, lighting another cigarette and
beginning to toy with the smoke. “Are you staying for dinner?”
“I’m going,” I said, “but not until I have told you.”
“What?”
“Why I ask to cancel our bargain.”
“Oh,” she said. “I thought that was quite done with.”
“Well, then, why you are bored.”
“Yes,” she said, “why I am bored. You will tell me that?”
Her profile was in silhouette against the black of the chair. She was
smiling derisively.
“It is because you have imprisoned yourself in a lonely castle,” I
said. “You used that figure of speech yourself when we were making
the bargain. ‘It is my castle,’ you said. Therefore you know it. The
name of that castle is Selfishness. The name of your jailer is Vera
Afraid. What you fear is life, for its pain and scars. You hail it from
afar. You call it inside the walls under penalities. It must be good.
It shall not bite or scratch or kiss you. You are too precious to be
touched.”
“You haven’t named the prisoner,” she said, slowly.
“She is Vera Desireful,” I said. “She is starved for life, for the
bread of participation.... She lives upon the poisonous crusts of
phantasy. She is probably in danger of going mad. Her dreams are
terrible.”
“You cannot be saying these things to me!” she exclaimed, with a
startled, incredulous face.
“Long ago I might have said them just as well,” I answered. “I have
known always what an unnatural, self-saving woman you are, how
treacherous you are to the impulse which brings you again and again
to the verge of experience. There, in the act of embracing life, you
suddenly freeze with selfish fear. Do you think life can be so cheated?
If it cannot burn you it will wither you. When it is too late you may
realize that to have one must give. Well, it is impossible of course.
You cannot give yourself. The impulse is betrayed on the threshold. I
knew it when I was fool enough to ask you to marry me.”
“You never asked me,” she said, thoughtfully, as reviewing a state of
facts. “You only said you wanted to marry me.”
I construed it as a challenge. No, that is as I think of it now.
What happened to me then was beyond any process of thought. It
occurred outside of me, if that means anything. There was a sense of
dissolving. Objects, ideas, place, planes, dimensions, my own egoistic
importance, all seemed to dissolve in one significant sensation. There
is a recollection that at this moment something became extremely vivid.
What it was that became vivid I do not know. The word that comprehends
without defining it is completion. In the whole world there was nothing
else of consequence or meaning.
“I ask you now,” I said.
I heard my own words from afar. They were uttered by someone who had
been sitting where I sat and for all I knew or cared might be sitting
there still. _I_ was a body moving through space, with a single
anxiety, which was to meet another body in space for a purpose I could
not stop to examine. I remember thinking, “I may. I may. The bargain is
cancelled.”
She leaped to her feet, evading me, and laughed with her head tossed
back,--an icy, brilliant laugh that made me rigid. I could not
interpret it. I do not know yet what it meant. Nor do I comprehend the
astonishing gesture that followed.
Slowly she moved to the African idol, picked it up, brought it to the
mantel under a strong light and began to examine it carefully. She
explored every plane of its surface and became apparently quite lost
in contemplation of its hideous beauty. Holding it at arm’s length and
still looking at it she spoke.
“Lord Porteous thinks it very ugly?”
“So he said,” I replied.
“He may be right,” she said. “Perhaps it is. So many things turn ugly
when you look at them closely ... friendship even.”
Then she dropped it.
As it crashed on the hearthstone she turned, without a glance at the
fragments or at me, and walked out of the room.
Three days later her engagement to Lord Porteous was announced.