Читать книгу The Light of the Star - Garland Hamlin - Страница 4

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OUGLASS rose next morning with a bound, as if life had somehow become surcharged with fresh significance, fresh opportunity. His professional career seemed dull and prosaic—his critical work of small avail. His whole mind centred on his play.

His was a moody, sensitive nature. Stern as he looked, and strong as he really was, he could be depressed by a trifle or exalted by a word. And reviewing his meeting with Helen in the light of the morning, he had more than a suspicion that he had allowed himself to talk too freely in the presence of the brother and mother, and that he had been over-enthusiastic, not to say egotistic; but he was saved from dejection by the memory of the star's great, brown-black eyes. There was no pretence in them. She had been rapt—carried out of conventional words and graces by something which rose from the lines he had written, the characters he had depicted.

The deeper his scrutiny went the more important she became to him. She was not simple—she was very complex, and an artist of wonderful range, and certainty of appeal. He liked the plain and simple (almost angular) gestures and attitudes she used when talking to him. They were so broadly indicative of the real Helen Merival, and so far from the affectations he had expected to see. Of course, she was the actress—the mobility of her face, her command of herself, was far beyond that of any untrained woman, no matter how versatile; but she was nobly the actress, broadened and deepened by her art.

He was very eager to see her again, and as the day wore on this desire grew to be an ache at his heart most disturbing. He became very restless at last, and did little but walk around the park, returning occasionally as the hour for the postman came. "I don't know why I should expect a letter from her. I know well the dilatory methods of theatrical people—and to-day is rehearsal, too. I am unreasonable. If I hear from her in a week I may count myself lucky."

A message from the dramatic editor of The Blazon, asking him to do a special study of an English actor opening that night at the Broadway, annoyed him. "I can't do it," he answered. "I have another engagement." And recklessly put aside the opportunity to earn a week's board, so exalted was he by reason of the word of the woman.

At dinner he lacked appetite entirely, and as he had taken but an egg and a cup of coffee for breakfast, and had missed luncheon altogether, he began to question himself as to the meaning of his ailment, with sad attempt at humor. "It isn't exactly as serious as dying. Even if she reconsiders and returns my play, I can still make a living." He would not admit that any other motive was involved.

He had barely returned to his room before a knock at the door announced a boy with a note. As he took it in his hand his nerves tingled as though he had touched the wondrous woman's hand. The note was brief, yet fateful:

"I enclose a ticket for the manager's box. I hope you can come. I want to talk about your play. I will send my brother to bring you in back to see me. I have been rehearsing all the afternoon, but I re-read the play this morning while in bed. I like it better and better, but you can do more with it—I feel that you have suppressed the poetry here and there. My quarrel with you realists is that you are afraid to put into your representations of life the emotions that make life a dynamic thing. But it is stirring and suggestive as it is. Come in and talk with me, for I am full of it and see great possibilities in the final act."

His hands were tremulous and his eyes glowing as he put the note down and faced himself in the glass. The pleasure of meeting her again under such conditions made him forget, for the moment, the rôle she was to play—a part he particularly detested. Truly he was the most fortunate and distinguished of men—to be thus taken by the hand and lifted from nameless obscurity to the most desired position beside a great star.

He dressed with unusual care, and was a noticeably handsome figure as he sat alone in the box; and elated, tense, self-conscious. When she came on and walked close down to the foot-lights nearest him, flashing a glance of recognition into his eyes, his breath quickened and his face flushed. A swift interchange of light and fire took place at the moment, her eyelids fell. She recoiled as if in dismay, then turned and apparently forgot him and every one else in the fervor of her art.

A transforming readjustment of all the lines of her face took place. She became sinister, mocking, and pitiless. An exultant cruelty croaked in her voice. Minute, repulsive remodellings of her neck and cheeks changed her to a harpy, and seeing these evidences of her great genius Douglass grew bitterly resentful, and when she laughed, with the action of a vulture thrusting her head forward from the shoulders, he sickened and turned away. It was marvellous work, but how desecrating to her glorious womanhood. Coming so close on that moment of mystic tenderness it was horrible. "My God! She must not play such parts. They will leave their mark upon her."

When the curtain fell he did not applaud, but drew back into the shadow, sullen, brooding, sorrowful. In the tableau which followed the recall, her eyes again sought for him (though she still moved in character), and the curtain fell upon the scene while yet she was seeking him.

Here now began a transformation in the man. He had come to the theatre tremulous with eagerness to look upon her face, to touch her hand, but when her brother entered the box, saying, "Mr. Douglass, this is the best time to see my sister," he rose slowly with a curious reluctance.

Through devious passages beneath the theatre, Hugh led the way, while with greater poignancy than ever before the young playwright sensed the vulgarity, the immodesty, and the dirt of the world behind and below the scenes. It was all familiar enough to him, for he had several friends among the actors, but the thought of one so sovereign as Helen in the midst of a region so squalid stung him. He was jealous of the actors, the scene-shifters, who were permitted to see her come and go.

He was reserved and rather pale, but perfectly self-contained, as he entered the little reception-hall leading to her dressing-room. He faced her with a sense of dread—apprehensive of some disenchantment. She met him cordially, without the slightest reference to her make-up, which was less offensive than he had feared; but he winced, nevertheless, at the vulgarity of her part so skilfully suggested by paint and powder. She gave him her hand with a frank gesture. "You didn't applaud my scenes to-night," she said, with a smile as enigmatic as the one she used in The Baroness.

His voice was curt with emotion as he replied, "No, I did not; I couldn't. They saddened me."

"What do you mean?" she asked, with a startled, anxious paling beneath her rouge.

His voice was low, but fiercely reproachful in answer. "I mean you should treat your beautiful self and your splendid art with greater consideration."

"You mean I should not be playing such women? I know it—I hate them. But no one ever accused me of taking my art lightly. I work harder on these uncongenial rôles than upon any other. They require infinitely more effort, because I loathe them so."

"I mean more than that. I am afraid to have you simulate such passions. They will leave their mark on you. It is defilement. Your womanhood is too fine, too beautiful to be so degraded."

She put her hand to her bosom and looked about her restlessly. His intensity scared her. "I know what you mean, but let us not talk of that now; let us discuss your play. I want to suggest something for your third act, but I must dress now. You will wait, won't you? We will have a few minutes before I go on. Please sit here and wait for me."

He acquiesced silently, as was his fashion. There was little of the courtier about him, but he became very ill at ease as he realized how significant his waiting must seem to those who saw him there. Deeply in the snare as he was, this sitting beside an actress's dressing-room door became intolerable to his arrogant soul, and he was about to flee when Hugh came back and engaged him in conversation. So gratified was Douglass for this kindness, he made himself agreeable till such time as Helen, in brilliant evening-dress, came out; and when Hugh left them together he was less assertive and brusque in manner.

She was so luminous, so queenly, she dissipated his cloud of doubts and scruples, and the tremor of the boyish lover came back into his limbs as he turned to meet her. His voice all but failed him as he answered to her question.

For some ten minutes from behind her mask she talked of the play with enthusiasm—her sweet eyes untouched of the part she was about to resume. At last she said: "There is my cue. Good-bye! Can you breakfast with us to-morrow, at eleven-thirty? It's really a luncheon. I know you are an early riser; but we will have something substantial. Will you come?"

Her smooth, strong fingers closed cordially on his hand as she spoke, and he answered, quickly, "With the greatest pleasure in the world."

"We can talk at our leisure then. Good-bye!" and as she opened the canvas door in the "box-scene" he heard her say, with high, cool, insulting voice, "Ah, my dear Countess, you are early." She was The Baroness again. After the fall of the curtain at the end, Douglass slipped out upon the pavement, his eyes blinded by the radiant picture she made in her splendid bridal robes. It was desolating to see her represent such a rôle, such agony, such despair; and yet his feet were reluctant to carry him away.

He was like a famishing man, who has been politely turned from the glittering, savory dining-room into the street—only his hunger, immaterial as light, was a thousand times keener than that of the one who lacks only bread and meat. He demanded her face, her voice, as one calls for sunlight, for air. He knew that this day, this night, marked a new era in his life. Old things were passed away—new things, sweet, incredible things, were now happening.

Nothing like this unrest and deep-seated desire had ever come into his life, and the realization troubled him as a dangerous weakness. It enslaved him, and he resented it. He secured a new view on his play, also, with its accusing defiance of dramatic law and custom. In this moment of clear vision he was permitted a prevision of Helen struggling with the rebellious critics. Now that he had twice taken her hand he was no longer so indifferent to the warfare of the critics, though he knew they could not harm one so powerful as she.

In the end of his tumult he wrote her a letter, wherein he began by begging her pardon for seeming to interfere in the slightest degree with her work in the world. His letter continued:

"I have back of me the conscience of my Scotch forebears, and though my training in college and in my office has covered my conscience with a layer of office dust it is still there. Of course (and obviously) you are not touched by the words and deeds of the women you represent, but I somehow feel that it is a desecration of your face and voice to put them to such uses. That is the reason I dreaded to go back and see you to-night. If you were seeking praise of your own proper self, the sincerity of this compliment is unquestionable. I ought to say, 'I hope my words to-night did not disturb you,' but I will not, for I hope to see you speedily drop all such hideous characters as The Baroness Telka. I felt as an artist might upon seeing a glorious statue befouled with mire. I say this not because I wish you to do Lillian. In the light of last night's performance my own play is a gray autumn day with a touch of frost in the air. It is inconceivable that you should be vitally interested in it. I fear no play that I care to write will please a sufficient number of people to make its production worth your while. I release you from your promise. Believe me, I am shaken in my confidence to-night. Your audience seemed so heartless, so debased of taste. They applauded most loudly the things most revolting to me. Since I have come to know you I cannot afford to have you make a sacrifice of yourself to produce my play, much as I desire to see you in new characters."

As he dropped this letter into the box a storm-wave of his former bitterness and self-accusation swept over him.

"That ends another attempt to get my play staged. Her manager will unquestionably refuse to consider it."