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Love at Second Sight

<h3 id="id00673" style="margin-top: 3em">CHAPTER XI</h3> 'Lady Conroy,' said Bruce thoughtfully, at breakfast next day, 'is a very strict Roman Catholic.' Bruce was addicted to volunteering information, and making unanswerable remarks. Madame Frabelle said to Edith in a low, earnest tone: 'Pass me the butter, dear,' and looked attentively at Bruce. 'I sometimes think I shouldn't mind being one myself,' Bruce continued; 'I should rather like to eat fish on Fridays.' 'But you like eating fish on Thursdays,' said Edith. 'And Mr Ottley never seems to care very much for meat.' 'Unless it's particularly well cooked—in a particular way,' said Edith. 'Fasts,' said Madame Frabelle rather pompously, 'are meant for people who like feasts.' 'How true!' He gave her an admiring glance. 'I should not mind confessing, either,' continued Bruce, 'I think I should rather like it.' (He thought he was having a religious discussion.) 'But you always do confess,' said Edith, 'not to priests, perhaps, but to friends; to acquaintances, at clubs, to girls you take in to dinner. You don't call it confessing, you call it telling them a curious thing that you happen to remember.' 'He calls it conversing,' said Madame Frabelle. She then gave a slight flippant giggle, afterwards correcting it by a thoughtful sigh. 'The Rev. Byrne Fraser, of course, is very High Church,' Bruce said. 'I understood he was Anglican. By the way, was Aylmer Ross a Roman Catholic?' 'I think he is.' Bruce having mentioned his name, Edith now told him the news about her visit to their friend. Bruce liked good news—more, perhaps, because it was news than because it was good—yet the incident seemed to put him in a rather bad temper. He was sorry for Aylmer's illness, glad he was better, proud of knowing him, or, indeed, of knowing anyone who had been publicly mentioned; and jealous of the admiration visible in both Edith and Madame Frabelle. This medley of feeling resulted in his taking up a book and saying: 'Good heavens! Again I've found you've dog's-eared my book, Edith!' 'I only turned down a page,' she said gently. 'No, you haven't; you've dog's-eared it. It's frightfully irritating, dear, how you take no notice of my rebukes or my comments. Upon my word, what I say to you seems to go in at one ear and out at the other, just like water on a duck's back.' 'How does the water on a duck's back get into the dog's ears?—I mean the duck's ears. Oh, I'm sorry. I won't do it again.' Bruce sighed, flattened out the folded page and left the room with quiet dignity, but caught his foot in the mat. Both ladies ignored the accident. When he had gone, Madame Frabelle said: 'Poor Edith!' 'Bruce is only a little tidy,' said Edith. 'I know. My husband was dreadfully untidy, which is much worse.' 'I suppose they have their faults.' 'Oh, men are all alike!' exclaimed Madame Frabelle cynically. 'Only some men,' said Edith. 'Besides, to a woman—I mean, a nice woman—there is no such thing as men. There is a man; and either she is so fond of him that she can talk of nothing else, however unfavourably, or so much in love with him that she never mentions his name.' 'Men often say women are all alike,' said Madame Frabelle. 'When a man says that, he means there is only one woman in the world, and he's in love with her, and she is not in love with him.' 'Men are not so faithful as women,' remarked Madame Frabelle, with the air of a discovery. 'Perhaps not. And yet—well, I think the difference is that a man is often more in love with the woman he is unfaithful to than with the woman he is unfaithful with. With us it is different…. Madame Frabelle, I think I'll take Archie with me today to see Aylmer Ross. Tell Bruce so, casually; and will you come with me another day?' 'With the greatest pleasure,' said Madame Frabelle darkly, and with an expressive look. (Neither she nor Edith had any idea what it expressed.) Edith found Aylmer wonderfully better. The pretty little nurse with the dark face and pale blue eyes told her he had had a peaceful night and had bucked up tremendously. He was seated in an arm-chair with one leg on another chair, and with him was Arthur Coniston, a great admirer of his. It was characteristic of Aylmer, the moment he was able, to see as many friends as he was allowed. Aylmer was a very gregarious person, though—or perhaps because—he detested parties. He liked company, but hated society. Arthur Coniston, who always did his best to attract attention by his modest, self-effacing manner, was sitting with his handsome young head quite on one side from intense respect for his host, whom he regarded with the greatest admiration as a man of culture, and a judge of art. He rejoiced to be one of the first to see him, just returned after three years' absence from England, and having spent the last three months at the front. Arthur Coniston (also in khaki), who was a born interviewer, was anxious to know Aylmer's impression of certain things over here, after his long absence. 'I should so very much like to know,' he said, 'what your view is of the attitude to life of the Post-Impressionists.' Aylmer smiled. He said: 'I think their attitude to life, as you call it, is best expressed in some of Lear's Nonsense Rhymes: "His Aunt Jobiska said, 'Everyone knows that a pobble is better without his toes.'"' Archie looked up in smiling recognition of these lines, and Edith laughed. 'Excuse me, but I don't quite follow you,' said young Coniston gravely. 'Why, don't you see? Of course, Lear is the spirit they express. A portrait by a post-Impressionist is sure to be "A Dong with a luminous nose." And don't you remember, "The owl and the pussycat went to sea in a beautiful pea-green boat"? Wouldn't a boat painted by a Post-Impressionist be pea-green?' 'Perfectly. I see that. But—why the pobble without its toes?' 'Why, the sculptor always surrenders colour, and the painted form. Each has to give up something for the limitation of art. But the more modern artist gives up much more—likeness, beauty, a few features here and there—a limb now and then.' 'Ah yes. I quite see what you mean. Like the statuary of Rodin or Epstein. One sees really only half the form, as if growing out of the sketchy sculpture. And then there's another thing—I hope I'm not wearying you?' 'No, indeed. It's great fun: such a change to hear about this sort of thing again.' 'The Futurists?' asked Arthur. 'What is your view of them?' 'Well, of course, they are already past, They always were. But I should say their attitude to life is that of the man who is looking at the moon reflected in a lake, but can't see it; he sees the reflection of a coal-scuttle instead.' 'Ah yes. They see things wrong, you mean. They're not so real, not so logical, as the Post-Impressionists.' 'Yes, the Futurist is off the rails entirely, and he seems to see hardly anything but railways. But all that noisy nonsense of the Futurists always bored me frightfully,' Aylmer said. 'Affectation for affectation, I prefer the pose of depression and pessimism to that of bullying and high spirits. When the affected young poet pretended to be used up and worn out, one knew there was vitality under it all. But when I see a cheerful young man shrieking about how full of life he is, banging on a drum, and blowing on a tin trumpet, and speaking of his good spirits, it depresses me, since naturally it gives the contrary impression. It can't be real. It ought to be but it isn't. If the noisy person meant what he said, he wouldn't say it.' 'I see. The modern poseurs aren't so good as the old ones. Odle is not so clever as Beardsley.' 'Of course not. Beardsley had the gift of line—though he didn't always know where to draw it—but his illustrations to Wilde's work were unsuitable, because Beardsley wanted everything down in black and white, and Wilde wanted everything in purple and gold. But both had their restraints, and their pose was reserve, not flamboyance.' 'I think you mean that if people are so sickening as to have an affectation at all, you would rather they kept it quiet,' said Edith. 'Exactly! At least, it brings a smile to one's lips to see a very young man pretend he is bored with life. I have often wondered what the answer would be from one of these chaps, and what he would actually say, if you held a loaded pistol to his head—I mean the man who says he doesn't think life worth living.' 'What do you think he would say?' asked Coniston. 'He would scream: "Good heavens! What are you doing? Put that down!"' said Edith. 'She's right,' said Aylmer. 'She always is.' Dulcie came in and brought tea. 'I hope we're not tiring him,' Edith asked her. 'Oh no. I think it does him good. He enjoys it.' She sat down with Archie and talked to him gently in the corner. 'After living so much among real things,' Coniston was saying, 'one feels half ashamed to discuss our old subjects.' However, he and Aylmer continued to talk over books and pictures, Coniston hanging on his lips as though afraid of missing or forgetting a word he said. Presently Edith told Aylmer about their new friend, Madame Frabelle. He was very curious to see her. 'What is she like?' he asked. 'I can't imagine her living with you. Is she a skeleton at the feast?' 'A skeleton!' exclaimed Coniston. 'Good heavens—no! Quite the contrary.' 'A skeleton who was always feasting would hardly remain one long,' suggested Edith. 'Anyhow,' said Aylmer, 'the cupboard is the proper place for a skeleton.' Archie had joined the group round Aylmer. Edith sat in a corner for some time, chatting with Dulcie. They arranged that Bruce was to call the next day, and Edith and Madame Frabelle the day after. When they went away Archie, who had listened very closely to the conversation, said: 'What a lot of manners Mr Coniston has! What did he mean by saying that Spanish painters painted a man in a gramophone?' Edith racked her brain to remember the sentence. Then she said, with a laugh: 'Oh yes, I know! Mr Coniston said: "The Spanish artists painted—to a man—in monochrome." I can't explain it, Archie. It doesn't matter. Why did you leave Miss Clay and come back to us?' 'Why, I like her all right, but you get tired of talking to women. I get bored with Dilly sometimes.' 'Then you're looking forward to going back to school?' 'I shall like the society of boys of my own sex again,' he said grandly. 'You're not always very nice to Dilly, Archie. I've noticed when anything is given to her, you always snatch at it. You must remember Ladies first.' 'Yes, that's all very well. But then Dilly takes it all, and only gives me what's left.' Archie looked solemn. <div style="break-after:column;"></div>

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