"Oh, I don't care a fig whether Lady Tal is heartless or not," answered Ted brusquely. "Heartlessness isn't a social offence. What I object to most in Lady Tal is her being so frightfully mean."

"Mean?"

"Why, yes; avaricious. With all those thousands, that woman manages to spend barely more than a few hundreds."

"Well, but if she's got simple tastes?" suggested Marion.

"She hasn't. No woman was ever further from it. And of course it's so evident what her game is! She just wants to feather her nest against a rainy day. She's putting by five-sixths of old Walkenshaw's money, so as to make herself a nice little _dot_, to marry someone else upon one of these days."

"A judicious young lady!" observed Marion.

"Well, really, Mr. Kennedy," exclaimed the Roumanian Princess, "you are ingenious and ingenuous! Do you suppose that our dear Tal is putting by money in order to marry some starving genius, to do love in a cottage with? Why, if she's not married yet, it's merely because she's not met a sufficient _parti_. She wants something very grand--a _Pezzo Grosso_, as they say here."

"She couldn't marry as long as she had Gerald to look after," said Miss Vanderwerf, fanning herself in the moonlight. "She was too fond of Gerald."

"She was afraid of Gerald, that's my belief, too," corrected the niece.

"Those big creatures are always cowards. And Gerald hated the notion of her making another money marriage, though he seems to have arranged pretty well to live on old Walkenshaw's thousands."

"Of course Gerald wanted to keep her all for himself; that was quite natural," said Miss Vanderwerf; "but I think that as long as he was alive she did not want anyone else. She thought only of him, poor creature----"

"And of a score of ball and dinner-parties and a few hundred acquaintances," put in Ted, making rings with the smoke of his cigarette.

"And now," said the Princess, "she's waiting to find her _Pezzo Grosso_.

And she wants money because she knows that a _Pezzo Grosso_ will marry a penniless girl of eighteen, but won't marry a penniless woman of thirty; she must make up for being a little _pa.s.see_ by loving him for his own sake, and for that, she must have money."

"For all that, poor Tal's very simple," wheezed the old peeress, apparently awakening from a narcotic slumber. "She always reminds me of an anecdote poor dear Palmerston used to tell----"

"Anyhow," said Kennedy, "Lady Tal's a riddle, and I pity the man who tries to guess it. Good-night, dear Miss Vanderwerf--good-night, Miss Bessy. It's all settled about dining at the Lido, I hope. And you'll come, too, I hope, Mr. Marion."

"I'll come with pleasure, particularly if you ask the enigmatic Lady Tal."

"Much good it is to live in Venice," thought Jervase Marion, looking out of his window on to the ca.n.a.l, "if one spends two hours discussing a young woman six foot high looking out for a duke."

III.

Jervase Marion had registered three separate, well-defined, and solemn vows, which I recapitulate in the inverse order to their importance.

The first was: Not to be enticed into paying calls during that month at Venice; the second, Not to drift into studying any individual character while on a holiday; and the third, a vow dating from more years back than he cared to think of, and resulting from infinite bitterness of spirit, Never to be entrapped, beguiled, or bullied into looking at the ma.n.u.script of an amateur novelist. And now he had not been in Venice ten days before he had broken each of these vows in succession; and broken them on behalf, too, of one and the same individual.

The individual in question was Lady Atalanta Walkenshaw, or, as he had already got accustomed to call her, Lady Tal. He had called upon Lady Tal; he had begun studying Lady Tal; and now he was actually untying the string which fastened Lady Tal's first attempt at a novel.

Why on earth had he done any of these things, much less all? Jervase Marion asked himself, leaving the folded parcel unopened on the large round table, covered with a black and red table-cloth, on which were neatly spread out his writing-case, blotter, inkstand, paper-cutter, sundry packets of envelopes, and boxes of cigarettes, two uncut _Athenaeums_, three dog-eared French novels (Marion secretly despised all English ones, and was for ever coveting that exquisite artistic sense, that admirable insincerity of the younger Frenchmen), a Baedeker, a Bradshaw, the photograph, done just before her death, of his mother in her picturesque, Puritan-looking widow's cap, and a little portfolio for unanswered letters, with flowers painted on it by his old friend, Biddy Lothrop.

Marion gave the parcel, addressed in a large, quill-pen hand, a look of utter despair, and thrusting his hands ungracefully but desperately into the armhole of his alpaca writing-jacket, paced slowly up and down his darkened room on a side ca.n.a.l. He had chosen that room, rather than one on the Riva, thinking it would be less noisy. But it seemed to him now, in one of his nervous fits, as if all the noises of the world had concentrated on to that side ca.n.a.l to distract his brain, weaken his will, and generally render him incapable of coping with his own detestable weakness and Lady Tal's terrible determination. There was a plash of oar, a grind of keel, in that side ca.n.a.l, a cry of _Stali_ or _Preme_ from the gondoliers, only the more worrying for its comparative rareness. There was an exasperating blackbird who sang Garibaldi's hymn, in separate fragments, a few doors off, and an even more exasperating kitchen-maid, who sang the first bars of the umbrella trio of _Boccaccio_, without getting any further, while scouring her bra.s.ses at the window opposite, and rinsing out her saucepans, with a furtive splash into the ca.n.a.l. There was the bugle of the barracks, the bell of the parish church, the dog yelping on the boats of the Riva; everything in short which could madden a poor nervous novelist who has the crowning misfortune of looking delightfully placid.

Why on earth, or rather how on earth, had he let himself in for all this? "All this" being the horrible business of Lady Atalanta, the visits to pay her, the ma.n.u.script to read, the judgment to pa.s.s, the advice to give, the lies to tell, all vaguely complicated with the song of that blackbird, the jar of that gondola keel, the jangle of those church bells. How on earth could he have been such a miserable worm?

Marion asked himself, pacing up and down his large, bare room, mopping his head, and casting despairing glances at the mosquito curtains, the bulging yellow chest of drawers painted over with nosegays, the iron clothes-horse, the towel-stand, the large printed card setting forth in various tongues the necessity of travellers consigning all jewels and valuables to the secretary of the hotel at the Bureau.

He could not, at present, understand in the very least why he had given that young woman any encouragement; for he must evidently have given her some encouragement before she could have gone to the length of asking so great a favour of a comparative stranger. And the odd part of it was, that when he looked into the past, that past of a few days only, it seemed as if, so far from his having encouraged Lady Tal, it had been Lady Tal who had encouraged him. He saw her, the more he looked, in the att.i.tude of a woman granting a favour, not asking one. He couldn't even explain to himself how the matter of the novel had ever come up. He certainly couldn't remember having said: "I wish you would let me see your novel, Lady Tal," or "I should be curious to have a look at that novel of yours;" such a thing would have been too absurd on the part of a man who had always fled from ma.n.u.scripts as from the plague. At the same time he seemed to have no recollection either of her having said the other thing, the more or less humble request for a reading. He recollected her saying: "Mind you tell me the exact truth--and don't be afraid of telling me if it's all disgusting rubbish." Indeed he could see something vaguely amused, mischievous, and a little contemptuous in the handsome, regular Scotch face; but that had been afterwards, after he had already settled the matter with her.

It was the sense of having been got the better of, and in a wholly unintelligible way, which greatly aggravated the matter. For Marion did not feel the very faintest desire to do Lady Atalanta a service. He would not have minded so much if she had wheedled him into it,--no man thinks the worse of himself for having been wheedled by a handsome young woman of fashion,--or if she had been an appealing or pathetic creature, one of those who seem to suggest that this is just all that can be done for them, and that perhaps one may regret not having done it over their early grave.

Lady Tal was not at all an appealing woman; she looked three times as strong, both in body and in mind, with her huge, strongly-knit frame, and clear, pink complexion, and eyes which evaded you, as himself and most of his acquaintances. And as to wheedling, how could she wheedle, this woman with her rather angular movements, brusque, sarcastic, bantering speech, and look of counting all the world as dust for an Ossian to trample underfoot? Moreover, Marion was distinctly aware of the fact that he rather disliked Lady Tal. It was not anything people said about her (although they seemed to say plenty), nor anything she said herself; it was a vague repulsion due to her dreadful strength, her appearance of never having felt anything, the hardness of those blue, bold eyes, the resolution of that well-cut, firmly closing mouth, the bantering tone of that voice, and the consequent impression which she left on him of being able to take care of herself to an extent almost dangerous to her fellow-creatures. Marion was not a sentimental novelist; his books turned mainly upon the little intrigues and struggles of the highly civilized portion of society, in which only the fittest have survived, by virtue of talon and beak. Yet he owned to himself, in the presence of Lady Atalanta Walkenshaw, or rather behind her back, that he did like human beings, and especially women, to have a soul; implying thereby that the lady in question affected him as being hampered by no such impediment to digestion, sleep, and worldly distinction.

It was this want of soul which const.i.tuted the strength of Lady Tal.

This negative quality had much more than the value of a positive one.

And it was Lady Tal's want of soul which had, somehow, got the better of him, pushed him, bullied him, without any external manifestation, and by a mere hidden force, into accepting, or offering to read that ma.n.u.script.

Jervase Marion was a methodical man, full of unformulated principles of existence. One of these consisted in always doing unpleasant duties at once, unless they were so unpleasant that he never did them at all.

Accordingly, after a turn or two more up and down the room, and a minute or two lolling out of the window, and looking into that kitchen on the other side of the ca.n.a.l, with the bright saucepans in the background, and the pipkins with carnations and sweet basil on the sill, Marion cut the strings of the ma.n.u.script, rolled it backwards to make it lie flat, and with a melancholy little moan, began reading Lady Tal's novel.

"Violet----" it began.

"Violet! and her name's Violet too!" e.j.a.c.u.l.a.t.ed Marion to himself.

"Violet is seated in a low chair in the gloom in the big bow window at Kieldar--the big bow window encircled by ivy and constructed it is said by Earl Rufus before he went to the crusades and from which you command a magnificent prospect of the broad champaign country extending for many miles, all dotted with oaks and farmhouses and bounded on the horizon by the blue line of the hills of B----shire--the window in which she had sat so often and cried as a child when her father Lord Rufus had married again and brought home that handsome Jewish wife with the _fardee_ face and the exquisite dresses from Worth--Violet had taken refuge in that window in order to think over the events of the previous evening and that offer of marriage which her cousin Marmaduke had just made to her----"

"Bless the woman!" exclaimed Marion, "what on earth is it all about?"

And he registered the remark, to be used upon the earliest occasion in one of his own novels, that highly-connected and well-dressed young women of the present generation, appear to leave commas and semicolons, all in fact except full stops and dashes, to their social inferiors.

The remark consoled him, also, by its practical bearing on the present situation, for it would enable him to throw the weight of his criticisms on this part of Lady Tal's performance.

"You must try, my dear Lady Atalanta," he would say very gravely, "to cultivate a--a--somewhat more lucid style--to cut down your sentences a little--in fact to do what we pedantic folk call break up the members of a period. In order to do so, you must turn your attention very seriously to the subject of punctuation, which you seem to have--a--well--rather neglected hitherto. I will send for an invaluable little work on the subject--'Stops: and how to manage them,' which will give you all necessary information. Also, if you can find it in the library of any of our friends here, I should recommend your studying a book which I used in my boyhood,--a great many years ago, alas!--called 'Blair's Rhetoric.'"

If that didn't quench Lady Tal's literary ardour, nothing ever would.

But all the same he felt bound to read on a little, in order to be able to say he had done so.

IV.

Jervase Marion fixed his eyes, the eyes of the spirit particularly, upon Lady Tal, as he sat opposite her, the next day, at the round dinner table, in Palazzo Bragadin.

He was trying to make out how on earth this woman had come to write the novel he had been reading. That Lady Tal should possess considerable knowledge of the world, and of men and women, did not surprise him in the least. He had recognised, in the course of various conversations, that this young lady formed an exception to the rule that splendid big creatures with regular features and superb complexions are invariably idiots.

That Lady Tal should even have a certain talent--about as cultivated as that of the little boys who draw horses on their copy books--for plot and dialogue, was not astonishing at all, any more than that her sentences invariably consisted either of three words, or of twenty-seven lines, and that her grammar and spelling were nowhere. All this was quite consonant with Lady Tal's history, manner, talk, and with that particular beauty of hers--the handsome aquiline features, too clean-cut for anything save wood or stone, the bright, cold, blue eyes, which looked you in the face when you expected it least, and which looked away from you when you expected it least, also; the absence of any of those little subtle lines which tell of feeling and thought, and which complete visible beauty, while suggesting a beauty transcending mere visible things. There was nothing at all surprising in this. But Jervase Marion had found in this ma.n.u.script something quite distinct and unconnected with such matters: he had found the indications of a soul, a very decided and unmistakable soul.

And now, looking across the fruit and flowers, and the set out of old Venetian gla.s.s on Miss Vanderwerf's hospitable table, he asked himself in what portion of the magnificent person of Lady Atalanta Walkenshaw that soul could possibly be located.

Lady Tal was seated, as I have remarked, immediately opposite Marion, and between a rather battered cosmopolitan diplomatist and the young millionaire who had been in distress about a sideboard. Further along was the Roumanian Princess, and opposite, on the other side of Marion, an elderly American siren, in an extremely simple white muslin frock, at the first glance the work of the nursery maid, at the second of Worth, and symbolising the strange, dangerous fascination of a lady whom you took at first for a Puritan and a frump. On the other sat Miss Gertrude Ossian, Lady Tal's cousin, a huge young woman with splendid arms and shoulders and atrocious manners, who thought Venice such a bore because it was too hot to play at tennis and you couldn't ride on ca.n.a.ls, and consoled herself by attempting to learn the guitar from various effete Italian youths, whom she alarmed and delighted in turn.

Among this interesting company Lady Tal was seated with that indefinable look of being a great deal too large, too strong, too highly connected, and too satisfied with herself and all things, for this miserable, effete, plebeian, and self-conscious universe.

She wore a beautifully-made dress of beautifully-shining silk, and her shoulders and throat and arms were as beautifully made and as shining as her dress; and her blond hair was as elaborately and perfectly arranged as it was possible to conceive. That blond hair, verging upon golden, piled up in smooth and regular plaits and rolls till it formed a kind of hard and fantastic helmet about her very oval face, and arranged in a close row of symmetrical little curls upon the high, white, unmarked forehead, and about the thin, black, perfectly-arched eyebrows--that hair of Lady Tal's symbolised, in the thought of Marion, all that was magnificent, conventional, and impa.s.sive in this creature. Those blue eyes also, which looked at you and away from you, when you expected each least, were too large, under the immense arch of eyebrow, to do more than look out indifferently upon the world. The mouth was too small in its beautiful shape for any contraction or expression of feeling, and when she smiled, those tiny white teeth seemed still to shut it. And altogether, with its finely-moulded nostrils, which were never dilated, and its very oval outline, the whole face affected Marion as a huge and handsome mask, as something clapped on and intended to conceal. To conceal what? It seemed to the novelist, as he listened to the stream of animated conventionalities, of jokes unconnected with any high spirits, that the mask of Lady Atalanta's face, like those great stone masks in Roman galleries and gardens, concealed the mere absence of everything.

As Marion contemplated Lady Tal, he reviewed mentally that ma.n.u.script novel written in a hand as worn down as that of a journalist, and with rather less grammar and spelling than might be expected from a nursery maid; and he tried to connect the impression it had left on his mind with the impression which its author was making at the present moment.

The novel had taken him by surprise by its subject, and even more by its particular moral att.i.tude. The story was no story at all, merely the unnoticed martyrdom of a delicate and scrupulous woman tied to a vain, mean, and frivolous man; the long starvation of a little soul which required affections and duties among the unrealities of the world. Not at all an uncommon subject nowadays; in fact, Marion could have counted you off a score of well-known novels on similar or nearly similar themes.

There was nothing at all surprising in the novel, the surprising point lay in its having this particular author.