Only the Sphinx confronted them after all when they arrived at the theatre, the Sphinx and Lady Dolly. The older feminine presentment sent her belittling gaze over their heads and beyond them from the curtain; Lady Dolly turned a modish head to greet them from the front of the box. Lady Dolly raised her eyes but not her elbows, which were assisting her a good deal with the house in exploring and being explored, enabling Colonel John Cummins, who sat by her side, to observe how very perfect and adorable the cut of her bodice was. Since Colonel Cummins was accustomed to say in moments when his humour escaped his discretion, things highly appreciative of bodices, the role of Lady Dolly's elbows could hardly be dismissed as unimportant. Moreover, the husband attached to the elbows belonged to the Department of which Colonel John was the head, so that they rested, one may say, upon a very special plane.
Alicia disturbed it with the necessity of taking Colonel Cummins place, which Lady Dolly accepted with admirable spirit; assuring the usurper, with the most engaging candour, that she simply ought never to be seen without turquoises. “Believe it or not as you like, but I love you better every time I see you in that necklace.” Lady Dolly clasped her hands, with her fan in them, in the abandonment of her affection, and “love you better” floated back and dispersed itself among the men. Alicia smiled the necessary acknowledgment. All the women she knew made compliments to her; it was a kind of cult among them. The men had sometimes an air of envying their freedom of tongue. “Don't say that,” she returned lightly, “or Herbert will never give me any diamonds.” She too looked her approval of Lady Dolly's bodice, but said nothing. It was doubtless precisely because she disdained certain forms of feminine barter that she got so much for nothing.
“And where,” demanded Lady Dolly, in an electric whisper, “did you find that dear sweet little priest? Do introduce him to me—at least by and by, when I've thought of something to say. Let me see, wasn't it Good Friday last week? I'll ask him if he had hot-cross buns—or do people eat those on Boxing Day? Pancakes come in somewhere, if one could only be sure!”
Stephen clung persistently to the back of the box. His senses were filled for the moment by its other occupants, the men in the fresh correctness of their evening dress, whose least gesture seemed to spring from an indefinite fulness of life, the two women in front, a kind of lustrous tableau of what it was possible to choose and to enjoy. They were grouped and shut off in a high light which seemed to proceed partly from the usual sources and partly from their own personalities; he saw them in a way which underlined their significance at every point. It seemed to Stephen that in a manner he profaned this temple of what he held to be poorest and cheapest in life, a paradox of which he was but dimly aware in his dejection. A sharp impression of his physical inferiority to the other men assailed him; his appreciation of their muscular shoulders had a rasp in it. For once the poverty of spirit to which he held failed to offer him a refuge, his eye wandered restlessly as if attempting futile reconciliations, and the thing most present with him was the worn-all-day feeling about the neck of his cassock. He fixed his attention presently in a climax of passive discomfort on the curtain, where unconsciously, his gaze crept with a subtle interrogation in it to the wide eyeballs of the Sphinx.
The stalls gradually filled, although it was a second production, in the middle of the week, and although the gallery and the rupee seats under it were nearly empty. The piece accounted for both. When Duff Lindsay said at dinner that it wasn't “up to much,” he spoke, I fancy, from the nearest point of view he could take to that of the Order of St. Barnabas. As a matter of fact, The Victim of Virtue was up to a very great deal, but its points were so delicate that one must have been educated rather broadly to grasp them, which is again perhaps a foolish contrariety of terms. At all events they carried no appeal to the theatre-goers from the sailing ships in the river or the regiments in the fort, who turned as one than that night to Jimmy Finnigan.
Stephen was aware, in the abstract, of what he might expect. He savoured the enterprises of the London theatres weekly in the Saturday Review; he had cast a remotely observing eye upon the productions of this particular playwright through that medium for a long time. They formed a manifestation of the outer world fit enough to draw a glance of speculation from the inner; their author was an acrobat of ideas. Doubtless we are all clowns in the eyes of the angels, yet we have the habit of supposing that they sometimes look down upon us. It was thus, if the parallel is not exaggerated, that Arnold regarded the author of The Victim of Virtue. His attitude was quite taken before the orchestra ceased playing; it was made of negation rather than criticism, on the basis that he had no concern with, and no knowledge of, such things. Deliberately he gave his mind a surface which should shed promiscuous invitation, and folded his lips as it were, against the rising of the curtain. He thought of Hilda separately, and he looked for her upon the boards with the simplicity of a desire to see the woman he knew.
When finally he did see her she made before him a picture that was to remain with him always as his last impression of an art from which in all its manifestations on that night he definitely turned. From the aigrette in her hair to the paste buckle on her shoe she was mondaine. Her dress, of some indefinite, slight white material, clasped at the waist with a belt that gave the beam of turquoises and the gleam of silver, ministered as much to the capricious ideal of the moment as to the lines and curves of the person it adorned. The set was the inevitable modern drawing-room, and she sat well out on a sofa, with her hands, in long black gloves, resting stiffly, palm downward on each side of her. It was as if she pushed her body forward in an impulse to rise, her rigid arms thrust her shoulders up a little and accentuated the swell of her bosom. It was a vivid, a staccato attitude; it expressed a temperament, a character, fifty other things; but especially it epitomised the restraints and the licenses of a world of drawing-rooms. In that first brief mute instant of disclosure she was all that she presently, by voice and movement, proclaimed herself to be—so dazzling and complete that Stephen literally blinked at the revelation. He made an effort, for a moment or two, to pursue and detect the woman who had been his friend; then the purpose of his coming gradually faded from his mind, and he stood with folded arms and absorbed eyes watching the other, the Mrs. Halliday, on the sofa, setting about the fulfilment of a purple destiny.
The play proceeded and Stephen did not move—did not wince. When Mrs. Halliday, whose mate was exacting, exclaimed, “The greatest apostle of expediency was St. Paul. He preached 'wives love your husbands,'” he even permitted himself the ghost of a smile. At one point he wished himself familiar with the plot; it was when Hamilton Bradley came jauntily on as Lord Ingleton, assuring Mrs. Halliday that immorality was really only shortsightedness. Lady Dolly in front, repeated Lord Ingleton's phrase with ingenuous wonder. “I know it's clever,” she insisted, “but what does it mean? Now that other thing—what was it?—'Subtract vice, and virtue is what is left'—that's an easy one. Write it down on your cuff for me, will you, Colonel Cummins? I SHALL be so sick if I forget it.”
Stephen was perhaps the only person in the box quite oblivious of Lady Dolly. He looked steadily over her animated shoulders at the play, wholly involved in an effort to keep its current and direction through the floating debris of constrained sayings with which it was encumbered; to know in advance whither it was carrying its Mrs. Halliday, and how far Lord Ingleton would accompany. When Lord Ingleton paused as it were to beg four people to “have nothing to do with sentiment—it so often leads to conviction,” and the house murmured its amusement, Arnold shifted his shoulders impatiently. “How inconsistent,” Lord Ingleton reproached Mrs. Halliday a moment later, “to wear gloves on your hands and let your thoughts go candid.” Arnold turned to Duff. “There's no excuse for that,” he said, but Lindsay was hanging upon Hilda's rejoinder and did not hear him.
At the end of the first act, where, after introducing Mrs. Halliday to her husband's divorced first wife, Lord Ingleton is left rubbing his hands with gratification at having made two such clever women “aware of each other,” Stephen found himself absolutely unwilling to discuss the piece with the rest of the party. As he left the box to walk up and down the corridor outside where it was cooler, he heard the voice of Colonel Cummins lifted in further quotation, “'To be good AND charming—what a sinful superfluity!' I'm sure nobody ever called you superfluous, Lady Dolly,” and was vividly aware of the advisability of taking himself and his Order out of the theatre. He had not been gratified, or even from any point appealed to. Hilda's production of Mrs. Halliday was so perfect that it failed absolutely to touch him, almost to interest him. He had no means of measuring or of valuing that kind of woman, the restless brilliant type that lives upon its emotions and tilts at the problems of its sex with a curious comfort in the joust. He was too far from the circle of her modern influence to consider her with anything but impatience if he had met her original person, and her reflection, her reproduction seemed to him frivolous and meaningless. If he went then, however, he would go as he came, in so far as the play was concerned; the first act, relying altogether upon the jugglery of its dialogue, gave no clue to anything. He owed it to Hilda after all to see the piece out. It was only fair to give her a chance to make the best of it. He decided that it was worth a personal sacrifice to give it her, and went back.
He was sufficiently indignant with the leading idea of the play, and sufficiently absorbed in its progress, at the end of the second act, to permit Lady Dolly to capture him before it occurred to him that he had the use of his legs. Her enthusiasm was so great that it reduced him to something like equivocation. She wanted to know if anything could be more splendid than Mr. Bradley as Lord Ingleton; she confided to Stephen that that was what she called REAL wickedness, the kind that did the most harm, and invited him by inference, to a liberal judgment of stupid sinners. He sat emitting short unsmiling sentences with eyes nervously fugitive from Lady Dolly's too proximate opulence until the third act began. Then he gave place with embarrassed alacrity to Colonel Cummins, and folded his arms again at the back of the box.
Before it was finished he had the gratification of recognising at least one Hilda that he knew. The newspapers found in her interpretation the development of a soul, and one remembered, reading them, that a cliche is a valuable thing in a hurry. A phrase which spoke of a soul bruised out of life and rushing to annihilation would have been more precise. The demand upon her increased steadily as the act went on, and as she met it there slipped into her acting some of her own potentialities of motive and of passion. She offered to the shaping circumstance rich material and abundant plasticity, and when the persecution of her destiny required her to throw herself irretrievably away she did it with a splendid appreciation of large and definite movement that was essentially of herself.
The moment of it had a bold gruesomeness that caught the breath—a disinterment on the stage in search of letters that would prove the charge against the second year of Mrs. Halliday's married life, her letters buried with the poet. It was an advantage which only the husband of Mrs. Halliday would have claimed to bring so helpless a respondent before even the informal court at the graveyard; but it gave Hilda a magnificent opportunity of wild, mad apostrophe to the skull, holding it tenderly with both hands, while Lord Ingleton smiled appreciatively in advance of the practical benevolence which was to sustain the lady through the divorce court, and in the final scene offer to her and to the prejudices of the British public the respectability of his name.
It was over with a rush at the end, leaving the audience uncertain whether after all enough attention had been paid to that tradition of the footlights which insists on so nice a sense of opprobrium and compensation, but convinced of its desire to applaud. Duff Lindsay turned as the wave of clapping spent itself, to say to Stephen that he had never respected Hamilton Bradley's acting so much. He said it to Herbert Livingstone instead; the priest had disappeared.
The outgoers looked at Arnold curiously as he made his way among them in a direction which was not that of the exit. He went with hurried purpose in the face of them all toward the region, badly lighted and imperfectly closed, which led to the rear of the stage. He opened doors into dark closets, and one which gave upon the road, retraced his unfamiliar steps and asked a question, to which—it was so unusual from one in his habit—he received a hesitating but correct reply. A moment later he passed Mr. Llewellyn Stanhope, who stood in his path with a hostile stare, and got out of it with a deferential bow, and knocked at a door upon which was pasted the name, in large red letters cut from a poster, of Miss Hilda Howe. It was a little ajar, so he entered, when she cried “Come in!” with the less hesitation. Hilda sat on the single chair the place contained, in the dress and make-up of the last scene. A servant, who looked up incuriously, was unlacing her shoes. Various garments hung about on nails driven into the unpainted walls, others overflowed from a packing-box in one corner. A common teakwood dressing-table held make up saucers and powder-puffs and some remnants of cold fowl which had not been partaken of, apparently, with the assistance of a knife and fork. A candle stood in an empty soda-water bottle on each side of the looking-glass, and there was no other light. On the floor a pair of stays, old and soiled, sprawled with unconcern. The place looked sordid and miserable, and Hilda sitting in the middle of it, still in the yellow wig and painted face of Mrs. Halliday, all wrong at that range, gave it a note of false artifice, violent and grievous. Stephen stood in the doorway grasping the handle, saying nothing, and an instant passed before she knew with certainty, in the wretched light, that it was he. Then she sprang up and made a step toward him as if toward victory and reward, but checked herself in time. “Is it possible!” she exclaimed. “I did not know you were in the theatre.”
“Yes,” he said, with moderation, “I have seen this—this damnable play.”
“Damnable? Oh!—”
“It has caused me,” he went on, “to regret the substance of my letter this morning. I failed to realise that this was the kind of work you devote your life to. I now see that you could not escape its malign influence—that no women could. I now think that the alternative that has been revealed to you, of remaining in Calcutta, is a chance of escape offered you by God Himself. Take it. I withdraw my foolish, ignorant opposition.”
“Oh,” she cried, “do you really think—”
“Take it,” he repeated, and closed the door.
Hilda sat still for some time after the servant had finished unlacing her shoes. A little tender smile played oddly about her carmined lips. “Dear heart,” she said aloud, “I was going to.”
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