The House of Mirth (19 page)

     Intimacy with the Dorsets was not likely to lessen such difficulties on the material side. Mrs. Dorset had none of Judy Trenor's lavish impulses, and Dorset's admiration was not likely to express itself in financial "tips," even had Lily cared to renew her experiences in that line. What she required, for the moment, of the Dorsets' friendship, was simply its social sanction. She knew that people were beginning to talk of her; but this fact did not alarm her as it had alarmed Mrs. Peniston. In her set such gossip was not unusual, and a handsome girl who flirted with a married man was merely assumed to be pressing to the limit of her opportunities. It was Trenor himself who frightened her. Their walk in the Park had not been a success. Trenor had married young, and since his marriage his intercourse with women had not taken the form of the sentimental small-talk which doubles upon itself like the paths in a maze. He was first puzzled and then irritated to find himself always led back to the same starting-point, and Lily felt that she was gradually losing control of the situation. Trenor was in truth in an unmanageable mood. In spite of his understanding with Rosedale he had been somewhat heavily "touched" by the fall in stocks; his household expenses weighed on him, and he seemed to be meeting, on all sides, a sullen opposition to his wishes, instead of the easy good luck he had hitherto encountered.
     Mrs. Trenor was still at Bellomont, keeping the town-house open, and descending on it now and then for a taste of the world, but preferring the recurrent excitement of week-end parties to the restrictions of a dull season. Since the holidays she had not urged Lily to return to Bellomont, and the first time they met in town Lily fancied there was a shade of coldness in her manner. Was it merely the expression of her displeasure at Miss Bart's neglect, or had disquieting rumours reached her? The latter contingency seemed improbable, yet Lily was not without a sense of uneasiness. If her roaming sympathies had struck root anywhere, it was in her friendship with Judy Trenor. She believed in the sincerity of her friend's affection, though it sometimes showed itself in self-interested ways, and she shrank with peculiar reluctance from any risk of estranging it. But, aside from this, she was keenly conscious of the way in which such an estrangement would react on herself. The fact that Gus Trenor was Judy's husband was at times Lily's strongest reason for disliking him, and for resenting the obligation under which he had placed her. To set her doubts at rest, Miss Bart, soon after the New Year, "proposed" herself for a week-end at Bellomont. She had learned in advance that the presence of a large party would protect her from too great assiduity on Trenor's part, and his wife's telegraphic "come by all means" seemed to as sure her of her usual welcome.
     Judy received her amicably. The cares of a large party always prevailed over personal feelings, and Lily saw no change in her hostess's manner. Nevertheless, she was soon aware that the experiment of coming to Bellomont was destined not to be successful. The party was made up of what Mrs. Trenor called "poky people"–her generic name for persons who did not play bridge–and, it being her habit to group all such obstructionists in one class, she usually invited them together, regardless of their other characteristics. The result was apt to be an irreducible combination of persons having no other quality in common than their abstinence from bridge, and the antagonisms developed in a group lacking the one taste which might have amalgamated them, were in this case aggravated by bad weather, and by the ill-concealed boredom of their host and hostess. In such emergencies, Judy would usually have turned to Lily to fuse the discordant elements; and Miss Bart, assuming that such a service was expected of her, threw herself into it with her accustomed zeal. But at the outset she perceived a subtle resistance to her efforts. If Mrs. Trenor's manner toward her was unchanged, there was certainly a faint coldness in that of the other ladies. An occasional caustic allusion to "your friends the Wellington Brys," or to "the little Jew who has bought the Greiner house–some one told us you knew him, Miss Bart,"–showed Lily that she was in disfavour with that portion of society which, while contributing least to its amusement, has assumed the right to decide what forms that amusement shall take. The indication was a slight one, and a year ago Lily would have smiled at it, trusting to the charm of her personality to dispel any prejudice against her. But now she had grown more sensitive to criticism and less confident in her power of disarming it. She knew, moreover, that if the ladies at Bellomont permitted themselves to criticize her friends openly, it was a proof that they were not afraid of subjecting her to the same treatment behind her back. The nervous dread lest anything in Trenor's manner should seem to justify their disapproval made her seek every pretext for avoiding him, and she left Bellomont conscious of having failed in every purpose which had taken her there.
     In town she returned to preoccupations which, for the moment, had the happy effect of banishing troublesome thoughts. The Welly Brys, after much debate, and anxious counsel with their newly acquired friends, had decided on the bold move of giving a general entertainment. To attack society collectively, when one's means of approach are limited to a few acquaintances, is like advancing into a strange country with an insufficient number of scouts; but such rash tactics have sometimes led to brilliant victories, and the Brys had determined to put their fate to the touch. Mrs. Fisher, to whom they had entrusted the conduct of the affair, had decided that
tableaux vivants
and expensive music were the two baits most likely to attract the desired prey, and after prolonged negotiations, and the kind of wire-pulling in which she was known to excel, she had induced a dozen fashionable women to exhibit themselves in a series of pictures which, by a farther miracle of persuasion, the distinguished portrait painter, Paul Morpeth, had been prevailed upon to organize.
     Lily was in her element on such occasions. Under Morpeth's guidance her vivid plastic sense, hitherto nurtured on no higher food than dress-making and upholstery, found eager expression in the disposal of draperies, the study of attitudes, the shifting of lights and shadows. Her dramatic instinct was roused by the choice of subjects, and the gorgeous reproductions of historic dress stirred an imagination which only visual impressions could reach. But keenest of all was the exhilaration of displaying her own beauty under a new aspect: of showing that her loveliness was no mere fixed quality, but an element shaping all emotions to fresh forms of grace.
     Mrs. Fisher's measures had been well-taken, and society, surprised in a dull moment, succumbed to the temptation of Mrs. Bry's hospitality. The protesting minority were forgotten in the throng which abjured and came; and the audience was almost as brilliant as the show.
     Lawrence Selden was among those who had yielded to the proffered inducements. If he did not often act on the accepted social axiom that a man may go where he pleases, it was because he had long since learned that his pleasures were mainly to be found in a small group of the like-minded. But he enjoyed spectacular effects, and was not insensible to the part money plays in their production: all he asked was that the very rich should live up to their calling as stage-managers, and not spend their money in a dull way. This the Brys could certainly not be charged with doing. Their recently built house, whatever it might lack as a frame for domesticity, was almost as well-designed for the display of a festal assemblage as one of those airy pleasure-halls which the Italian architects improvised to set off the hospitality of princes. The air of improvisation was in fact strikingly present: so recent, so rapidly-evoked was the whole
mise-en-scene
that one had to touch the marble columns to learn they were not of cardboard, to seat one's self in one of the damask-and-gold arm-chairs to be sure it was not painted against the wall.
     Selden, who had put one of these seats to the test, found himself, from an angle of the ball-room, surveying the scene with frank enjoyment. The company, in obedience to the decorative instinct which calls for fine clothes in fine surroundings, had dressed rather with an eye to Mrs. Bry's background than to herself. The seated throng, filling the immense room without undue crowding, presented a surface of rich tissues and jewelled shoulders in harmony with the festooned and gilded walls, and the flushed splendours of the Venetian ceiling. At the farther end of the room a stage had been constructed behind a proscenium arch curtained with folds of old damask; but in the pause before the parting of the folds there was little thought of what they might reveal, for every woman who had accepted Mrs. Bry's invitation was engaged in trying to find out how many of her friends had done the same.
     Gerty Farish, seated next to Selden, was lost in that indiscriminate and uncritical enjoyment so irritating to Miss Bart's finer perceptions. It may be that Selden's nearness had something to do with the quality of his cousin's pleasure; but Miss Farish was so little accustomed to refer her enjoyment of such scenes to her own share in them, that she was merely conscious of a deeper sense of contentment.
     "Wasn't it dear of Lily to get me an invitation? Of course it would never have occurred to Carry Fisher to put me on the list, and I should have been so sorry to miss seeing it all-and especially Lily herself. Some one told me the ceiling was by Veronese–you would know, of course, Lawrence. I suppose it's very beautiful, but his women are so dreadfully fat. Goddesses? Well, I can only say that if they'd been mortals and had to wear corsets, it would have been better for them. I think our women are much handsomer. And this room is wonderfully becoming–every one looks so well! Did you ever see such jewels? Do look at Mrs. George Dorset's pearls–I suppose the smallest of them would pay the rent of our Girls' Club for a year. Not that I ought to complain about the dub; every one has been so wonderfully kind. Did I tell you that Lily had given us three hundred dollars? Wasn't it splendid of her? And then she collected a lot of money from her friends–Mrs. Bry gave us five hundred, and Mr. Rosedale a thousand. I wish Lily were not so nice to Mr. Rosedale, but she says it's no use being rude to him, because he doesn't see the difference. She really can't bear to hurt people's feelings–it makes me so angry when I hear her called cold and conceited! The girls at the dub don't call her that. Do you know she has been there with me twice?–yes, Lily! And you should have seen their eyes! One of them said it was as good as a day in the country just to look at her. And she sat there, and laughed and talked with them–not a bit as if she were being
charitable,
you know, but as if she liked it as much as they did. They've been asking ever since when she's coming back; and she's promised me–-oh!"
     Miss Farish's confidences were cut short by the parting of the curtain on the first
tableau
–a group of nymphs dancing across flower-strewn sward in the rhythmic postures of Botticelli's Spring.
Tableaux vivants
depend for their effect not only on the happy disposal of lights and the delusive-interposition of layers of gauze, but on a corresponding adjustment of the mental vision. To unfurnished minds they remain, in spite of every enhancement of art, only a superior kind of wax-works; but to the responsive fancy they may give magic glimpses of the boundary world between fact and imagination. Selden's mind was of this order: he could yield to vision-making influences as completely as a child to the spell of a fairy-tale. Mrs. Bry's
tableaux
wanted none of the qualities which go to the producing of such illusions, and under Morpeth's organizing hand the pictures succeeded each other with the rhythmic march of some splendid frieze, in which the fugitive curves of living flesh and the wandering light of young eyes have been subdued to plastic harmony without losing the charm of life.
     The scenes were taken from old pictures, and the participators had been cleverly fitted with characters suited to their types. No one, for instance, could have made a more typical Goya than Carry Fisher, with her short dark-skinned face, the exaggerated glow of her eyes, the provocation of her frankly-painted smile. A brilliant Miss Smedden from Brooklyn showed to perfection the sumptuous curves of Titian's Daughter, lifting her gold salver laden with grapes above the harmonizing gold of rippled hair and rich brocade, and a young Mrs. Van Alstyne, who showed the frailer Dutch type, with high blue-veined forehead and pale eyes and lashes, made a characteristic Vandyck, in black satin, against a curtained archway. Then there were Kauffmann nymphs garlanding the altar of Love; a Veronese supper, all sheeny textures, pearl-woven heads and marble architecture; and a Watteau group of lute-playing comedians, lounging by a fountain in a sunlit glade.
     Each evanescent picture touched the vision-building faculty in Selden, leading him so far down the vistas of fancy that even Gerty Farish's running commentary–"Oh, how lovely Lulu Melson looks!" or: "That must be Kate Corby, to the right there, in purple"–did not break the spell of the illusion. Indeed, so skilfully had the personality of the actors been subdued to the scenes they figured in that even the least imaginative of the audience must have felt a thrill of contrast when the curtain suddenly parted on a picture which was simply and undisguisedly the portrait of Miss Bart.
     Here there could be no mistaking the predominance of personality–the unanimous "Oh!" of the spectators was a tribute, not to the brush-work of Reynolds's "Mrs. Lloyd" but to the flesh and blood loveliness of Lily Bart. She had shown her artistic intelligence in selecting a type so like her own that she could embody the person represented without ceasing to be herself. It was as though she had stepped, not out of, but into, Reynolds's canvas, banishing the phantom of his dead beauty by the beams of her living grace. The impulse to show herself in a splendid setting–she had thought for a moment of representing Tiepolo's Cleopatra–had yielded to the truer instinct of trusting to her unassisted beauty, and she had purposely chosen a picture without distracting accessories of dress or surroundings. Her pale draperies, and the background of foliage against which she stood, served only to relieve the long dryad-like curves that swept upward from her poised foot to her lifted arm. The noble buoyancy of her attitude, its suggestion of soaring grace, revealed the touch of poetry in her beauty that Selden always felt in her presence, yet lost the sense of when he was not with her. Its expression was now so vivid that for the first time he seemed to see before him the real Lily Bart, divested of the trivialities of her little world, and catching for a moment a note of that eternal harmony of which her beauty was a part.