Читать книгу Prose Fancies - Richard Le Gallienne - Страница 13

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O ma pauvre Muse! est-ce toi?

Fame in Athens and Florence took the form of laurel; in London it is represented by 'Romeikes.' Hyacinth Rondel, the very latest new poet, sat one evening not long ago in his elegant new chambers, with a cloud of those pleasant witnesses about him, as charmed by 'the rustle' of their 'loved Apollian leaves' as though they had been veritable laurel or veritable bank-notes. His rooms were provided with all those distinguished comforts and elegancies proper to a success that may any moment be interviewed. Needless to say, the walls had been decorated by Mr. Whistler, and there was not a piece of furniture in the room that had not belonged to this or that poet deceased. Priceless autograph portraits of all the leading actors and actresses littered the mantelshelf with a reckless prodigality; the two or three choice etchings were, of course, no less conspicuously inscribed to their illustrious confrère by the artists—naturally, the very latest hatched in Paris. There was hardly a volume in the elegant Chippendale bookcases not similarly inscribed. Mr. Rondel would as soon have thought of buying a book as of paying for a stall. To the eye of imagination, therefore, there was not an article in the room which did not carry a little trumpet to the distinguished poet's honour and glory. Hidden from view in his buhl cabinet, but none the less vivid to his sensitive egoism, were those tenderer trophies of his power, spoils of the chase, which the adoring feminine had offered up at his shrine: all his love-letters sorted in periods, neatly ribboned and snugly ensconced in various sandalwood niches—much as urns are ranged at the Crematorium, Woking—with locks of hair of many hues. He loved most to think of those letters in which the women had gladly sought a spiritual suttee, and begged him to cement the stones of his temple of fame with the blood of their devoted hearts. To have had a share in building so distinguished a life—that was enough for them! They asked no such inconvenient reward as marriage: indeed, one or two of them had already obtained that boon from others. To serve their purpose, and then, if it must be, to be forgotten, or—wild hope—to be embalmed in a sonnet sequence: that was reward enough.

In the midst of this silent and yet so eloquent orchestra, which from morn to night was continually crying 'Glory, glory, glory' in the ear of the self-enamoured poet, Hyacinth Rondel was sitting one evening. The last post had brought him the above-mentioned leaves of the Romeike laurel, and he sat in his easiest chair by the bright fire, adjusting them, metaphorically, upon his high brow, a decanter at his right-hand and cigarette smoke curling up from his left. At last he had drained all the honey from the last paragraph, and, with rustling shining head, he turned a sweeping triumphant gaze around his room. But, to his surprise, he found himself no longer alone. Was it the Muse in dainty modern costume and delicately tinted cheek? Yes! it was one of those discarded Muses who sometimes remain upon the poet's hands as Fates.

When she raised her veil she certainly looked more of a Fate than a Muse. Her expression was not agreeable. The poet, afterwards describing the incident and remembering his Dante, spoke of her in an allegorical sonnet as 'lady of terrible aspect,' and symbolised her as Nemesis.

He now addressed her as 'Annette,' and in his voice were four notes of exclamation. She came closer to him, and very quietly, but with an accent that was the very quintessence of Ibsenism, made the somewhat mercantile statement: 'I have come for my half-profits!'

'Half-profits! What do you mean? Are you mad?'

'Not in the least! I want my share in the profits of all this pretty poetry,' and she contemptuously ran her fingers over the several slim volumes on the poet's shelves which represented his own contribution to English literature.

Rondel began to comprehend, but he was as yet too surprised to answer.

'Don't you understand?' she went on. 'It takes two to make poetry like yours—