Strange reading, at this distance of time. These, I thought--these are the things which used to give us something of a thrill.

If they no longer provide that sensation, it may well be that we have absorbed their spirit so thoroughly into our system that we forget whence we drew it. They have become part of ourselves. Even now, one cannot help admiring Gautier's precision of imagery, his gift of being quaint and yet lucid as a diamond; one pictures those crocodiles fainting in the heat, and notes, too, whence the author of the "Sphinx"

drew his hard, glittering, mineralogical flavour. The verse is not so much easy as facile. And not all the grace of internals can atone for external monotony. That trick--that full stop at the end of nearly every fourth line--it impairs the charm of the music and renders its flow jerky; coming, as it does, like an ever-repeated blow, it grows wearisome to the ear, and finally abhorrent.

Baudelaire, in form, is more cunning and variegated. He can also delve down to deeps which the other never essayed to fathom. "Fuyez l'infini que vous portez en vous"--a line which, in my friend's copy of the book, had been marked on the margin with a derisive exclamation-point. (It gave me food for thought, that exclamation-point.) But, as to substance, he contains too many nebulosities and abstractions for my taste; a veritable mist of them, out of which emerges--what? The figure of one woman. Reading these "Fleurs du Mal" we realise, not for the first time, that there is something to be said in favour of libertinage for a poet.

We do not need Petrarca, much less the Love-Letters of a Violinist--no, we do not need those Love-Letters at all--to prove that a master can draw sweet strains from communion with one mistress, from a lute with one string; a formidable array of songsters, on the other hand, will demonstrate how much fuller and richer the melody grows when the instrument is provided with the requisite five, the desirable fifty.

Monogamous habits have been many a bard's undoing.

Twenty years' devotion to that stupid and spiteful old cat of a semi-negress! They make one conscious of the gulf between the logic of the emotions and that other one--that logic of the intellect which ought to shape our actions. Here was Baudelaire, a man of ruthless self-a.n.a.lysis. Did he never see himself as others saw him? Did he never say: "You are making a fool of yourself"?

Be sure he did.

You are making a fool of yourself: are not those the words I ought to have uttered when, standing in the centre of the Piazza del Popolo--the sunny centre: so it had been inexorably arranged--I used to wait and wait, with eyes glued to the clock hard by, in the slender shadow of that obelisque which crawled reluctantly, like the finger of fate, over the burning stones?

And I crawled with it, more than content.

Days of infatuation!

I never pa.s.s that way now without thanking G.o.d for a misspent youth. Why not make a fool of yourself? It is good fun while it lasts; it yields mellow mirth for later years, and are not our fellow-creatures, those solemn buffoons, ten times more ridiculous? Where is the use of experience, if it does not make you laugh? The Logic of the Intellect--what next! If any one had treated me to such tomfoolery while standing there, petrified into a pillar of fidelity in that creeping shadow, I should have replied gravely:

"The Logic of the Intellect, my dear Sir, is incompatible with situations like mine. It was not invented for so stupendous a crisis. I am waiting for my negress--can't you understand?--and she is already seven minutes late...."

A flaming morning, forestaste of things to come.

I find myself, after an early visit to the hospital where things are doing well, glancing down, towards midday, into Trajan's Forum, as one looks into some torrid bear-pit.

Broken columns glitter in the sunshine; the gra.s.s is already withered to hay. Drenched in light and heat, this Sahara-like enclosure is altogether devoid of life save for the cats. The majority are dozing in a kind of torpor, or moribund, or dead. My experiences in the hospital half an hour ago dispose me, perhaps, to regard this menagerie in a more morbid fashion than usual. To-day, in particular, it seems as if all the mangy and decrepit cats of Rome had given themselves a rendezvous on this cla.s.sic soil; cats of every colour and every age--quite young ones among them; all, one would say, at the last gasp of life. This pit, this crater of flame, is their "Home for the Dying." Once down here, nothing matters any more. They are safe at last from their old enemies, from dogs and carriages and boys. Waiting for death, they move about in a stupid and dazed manner. Sunlight streams down upon their bodies. One would think they preferred to expire in the shade of some pillar or slab. Apparently not. Apparently it is all the same. It matters nothing where one dies.

There is one immediately below me, a moth-eaten desiccated tortoisesh.e.l.l; its eyes are closed and a red tongue hangs out of the mouth. I drop a small pebble. It wakes up and regards me stoically for a moment. Nothing more.

These cats have lost their all--their self-respect. Grace and ardour, sleekness of coat and buoyancy of limbs are gone out of them. Tails are knotted with hunger and neglect; bones protrude through the skin. So they strew the ground in discomposed, un-catlike att.i.tudes, while the sun burns through their parched anatomy. Do they remember their kittenish pranks, those moonlight ecstasies on housetops, that morsel s.n.a.t.c.hed from a fishmonger's barrow and borne through the crowded traffic in a series of delirious leaps? Who can tell! They are not even bored with themselves. Their fur is in patches. They are alive when they ought to be dead. n.o.body knows it better than they do. They are too ill, too far gone, to feel any sense of shame at their present degradation.

Nothing matters! What would Baudelaire, that friend of cats, have said to this macabre exhibition?

Yonder is an old one, giving milk to the phantom of a kitten. The parent takes no interest in the proceedings; she lies p.r.o.ne, her head on the ground. Her eyes have a stony look. Is she dead? Possibly. Her own kitten? Who cares! Her neighbour, once white but now earth-coloured, rises stiffly as though dubious whether the joints are still in working order. What does she think of doing? It would seem she has formed no plan. She walks up to the mother, peers intently into her face, then sits apart on her haunches and begins gazing at the sun. Presently she rises anew and proceeds five or six paces for no imaginable reason--collapses; falls, quite abruptly, on her side. There she lies, flat, like a playing-card.

A sinister aimlessness pervades the actions of those that move at all.

The shadow of death is upon these creatures in the scorching sunshine.

They stare at columns of polished granite, at a piece of weed, at one another, as though they had never seen such things before. They totter about on tip-toe; they yawn and forget to shut their mouths. Here is one, stretching out a hind leg in a sustained cramp; another is convulsed with nervous twitchings; another scratches the earth in a kind of mechanical trance. One would say she was preparing a grave for herself. The saddest of all is an old warrior with mighty jowl and a face that bears the scars of a hundred fights. One eye has been lost in some long-forgotten encounter. Now they walk over him, kittens and all, and tread about his head, as if he were a hillock of earth, while his claws twitch resentfully with rage or pain. Too ill to rise!

Most of them are thus stretched out blankly, in a faint. Are they suffering? Hungry or thirsty? [23] I believe they are past troubling about such things. It is time to die. They know it....

"L'albergo dei gatti," says a cheery voice at my side--some countryman, who has also discovered Trajan's Forum to be one of the sights of Rome.

"The cats' hotel. But," he adds, "I see no restaurant attached to it."

That reminds me: luncheon-time.

Via Flaminia--what a place for luncheon! True; but this is one of the few restaurants in Rome where, nowadays, a man is not in danger of being simultaneously robbed, starved, and poisoned. Things have come to a pretty pa.s.s. This starvation-fare may suit a saint and turn his thoughts heavenwards. Mine it turns in the other direction. Here, at all events, the food is straightforward. Our hostess, a slow elderly woman, is omnipresent; one realises that every dish has been submitted to her personal inspection. A primeval creature; heaviness personified. She moves in fateful fashion, like the hand of a clock. The crack of doom will not avail to accelerate that relentless deliberation. She reminds me of a cousin of mine famous for his imperturbable calm who, when his long curls once caught fire from being too near a candle, sleepily remarked to a terrified wife: "I think you might try to blow it out."

But where shall a man still find those edible maccheroni--those that were made in the Golden Age out of pre-war-time flour?

Such things are called trifles.... Give me the trifles of life, and keep the rest. A man's health depends on trifles; and happiness on health.

Moreover, I have been yearning for them for the last five months. Hope deferred maketh the heart sick.... There are none in Rome. Can they be found anywhere else?

Mrs. Nichol: she might know. She has the gift of knowing about things one would never expect her to know. If only one could meet her by accident in the street! For at such times she is gay and altogether at your disposal. She is up to any sport, out of doors. To break upon her seclusion at home is an undertaking reserved for great occasions. The fact is, we are rather afraid of Mrs. Nichol. The incidents of what she describes as a tiresome life have taught her the value of masculine frankness--ultra-masculine, I call it. She is too frank for subterfuge of any kind. When at home, for instance, she is never "not at home." She will always see you. She will not detain you long, if you happen to be de trop.

This, I persuade myself, is a great occasion--my health and happiness.... Besides, I am her oldest friend in this part of the world; was I not on the spot when she elected, for reasons which n.o.body has yet fathomed, to make Rome her domicile? Have I not more than once been useful to her, nay, indispensable? I therefore climb, not without trepidation, those ninety-three stairs to the very summit of the old palace, and presently find myself ushered into the familiar twilight.

Nothing has changed since I was here some little time ago to announce my arrival in Italy (solemn occasion), when I had to amuse myself for an hour or so with Baudelaire in the library, Mrs. Nichol being engaged upon "house-accounts." This time, as I enter the studio, she is playing cards with a pretty handmaiden, amid peals of laughter. She often plays cards. She is puffing at a cigarette in a long mouthpiece which keeps the smoke out of her olive-complexioned face and which she holds firm-fixed between her teeth, in a corner of the mouth, after the perky fashion of a schoolboy. I have interrupted a game, and at once begin to feel de trop under a glance from those smouldering grey eyes.

"It is not a trifle. It is a matter of life and death. Will you please listen for half a minute? Then I will evaporate, and you can go on with your ridiculous cards. The fact is, I am being a.s.sa.s.sinated by inches.

Do you know of a place where a man can get eatable macaroni nowadays?

The old kind, I mean, made out of pre-war-time flour...."

She lays her hand on the cards as though to suspend the game, and asks the girl in Italian:

"What was the name of that place?"

"That place----"

"Oh, stupid! Where I stayed with Miranda last September. Where I tore my skirt on the rock. Where I said something nice about the white macaroni?"

"Soriano in Cimino."

"Soriano," echoes the mistress in a cloud of smoke. "There is a tram from here every morning. They can put you up."

A pause follows. I would like to linger and talk to this sultry and self-centred being; I would like to wander with her through these rooms, imbibing their strange Oriental spirit--not your vulgar Orient, but something cla.s.sic and remote; something that savours, for aught I know, of Indo-China, where Mrs. Nichol, in one of her immature efforts at self-realisation, spent a few years as the wife of a high French official, ere marrying, that is, the late lamented Nichol--another unsuccessful venture.

Now why did she marry all these people (for I fancy there was yet an earlier alliance of some kind)? A whim, a freak? Or did they plague her into it? If so, I suspect they lived and died to repent their manly persistence. She could grind any ordinary male to powder. And why has she now flitted here, building herself this aerial bower above the old roofs of Rome? Is she in search of happiness? I doubt whether she will find it. She possesses that fatal craving--the craving for disinterested affection, a source of heartache to the perfect egoist for whom affection of this particular kind is not a necessity but a luxury, and therefore desirable above all else--desirable, and how seldom attained!

The pause continues. I make a little movement, to attract notice. She looks up, but only her eyes reply.

"Now, my good fellow," they seem to say, "are you blind?"

That is the drawback of Mrs. Nichol. Phenomenally absent-minded, she always knows at a given moment exactly what she wants to do. And she never wants to do more than one thing at a time. It is most unwomanly of her. Any other person of her s.e.x would have left a game of cards for the sake of an attractive visitor like myself. Or, for that matter, an ordinary lady would have played cards, given complicated orders to dressmakers and servants, and entertained half a dozen men at the same time. Mrs. Nichol cannot do these things. That hand, that rather sunburnt little hand without a single ring on it, has not moved from the table. No, I am not blind. It is quite evident that she wants to play cards; only that, and nothing more.

I withdraw, stealthily.

Not downstairs. I go to linger awhile on the broad terrace where jessamine grows in Gargantuan tubs; there I pace up and down, admiring the cupolas and towers of Rome that gleam orange-tawny against the blue background of distant hills. How much of its peculiar flavour a town will draw--not from artistic monuments but from the mere character of building materials! How many variations on one theme! This mellow Roman travertine, for instance.... I call to mind those disconsolate places in Cornwall with their chill slate and primary rock, the robust and dignified bunter-sandstone of the Vosges, the satanic cheerfulness of lava, those marble-towns that blind you with their glare, Eastern cities of brightly tinted stucco or mere clay, the brick-towns, granite-towns, wood-towns--how they differ in mood from one another!... Here I pace up and down, rejoicing in the s.p.a.cious sunlit prospect, and endeavouring to disentangle from one another the mult.i.tudinous street-cries that climb to this hanging garden in confused waves of sound. Harsh at close quarters, they weave themselves into a mirthful symphony up here.

From that studio, too, comes a lively din--the laughter has begun again.

Mrs. Nichol is having a good time. It will be followed, I daresay, by a period of acute depression. I shall probably be consulted with masonic frankness about some little tragedy of the emotions which is no concern of mine. She can be wondrously engaging at such times--like a child that has got into trouble and takes you into its confidence.

One of these days I must write a character-sketch of Mrs. Nichol. She foreshadows a type--represents it, very possibly--a type which will grow commoner from day to day. She dreams of a Republic of women, vestals or otherwise, wherefrom all men are to be excluded unless they possess qualifications of a rather unusual nature. I think she would like to draft a set of rules and regulations for that community. She could be trusted, I fancy, to make them sufficiently stringent.

I think I understand, now, why a certain line in her copy of Baudelaire was marked with that derisive exclamation-point on the margin: "Fuyez l'infini que vous portez en vous."

"Fuyez?" it seemed to say. "Why 'fuyez'?"