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Villa Rubein, and Other Stories
John Galsworthy
Villa Rubein and Other Stories
PREFACE
Writing not long ago to my oldest literary friend, I expressed in a moment of heedless sentiment the wish that we might have again one of our talks of long-past days, over the purposes and methods of our art. And my friend, wiser than I, as he has always been, replied with this doubting phrase “Could we recapture the zest of that old time?”
I would not like to believe that our faith in the value of imaginative art has diminished, that we think it less worth while to struggle for glimpses of truth and for the words which may pass them on to other eyes; or that we can no longer discern the star we tried to follow; but I do fear, with him, that half a lifetime of endeavour has dulled the exuberance which kept one up till morning discussing the ways and means of aesthetic achievement. We have discovered, perhaps with a certain finality, that by no talk can a writer add a cubit to his stature, or change the temperament which moulds and colours the vision of life he sets before the few who will pause to look at it. And so – the rest is silence, and what of work we may still do will be done in that dogged muteness which is the lot of advancing years.
Other times, other men and modes, but not other truth. Truth, though essentially relative, like Einstein’s theory, will never lose its ever-new and unique quality-perfect proportion; for Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.
I confess to have always looked for a certain flavour in the writings of others, and craved it for my own, believing that all true vision is so coloured by the temperament of the seer, as to have not only the just proportions but the essential novelty of a living thing for, after all, no two living things are alike. A work of fiction should carry the hall mark of its author as surely as a Goya, a Daumier, a Velasquez, and a Mathew Maris, should be the unmistakable creations of those masters. This is not to speak of tricks and manners which lend themselves to that facile elf, the caricaturist, but of a certain individual way of seeing and feeling. A young poet once said of another and more popular poet: “Oh! yes, but be cuts no ice.” And, when one came to think of it, he did not; a certain flabbiness of spirit, a lack of temperament, an absence, perhaps, of the ironic, or passionate, view, insubstantiated his work; it had no edge – just a felicity which passed for distinction with the crowd.
Let me not be understood to imply that a novel should be a sort of sandwich, in which the author’s mood or philosophy is the slice of ham. One’s demand is for a far more subtle impregnation of flavour; just that, for instance, which makes De Maupassant a more poignant and fascinating writer than his master Flaubert, Dickens and Thackeray more living and permanent than George Eliot or Trollope. It once fell to my lot to be the preliminary critic of a book on painting, designed to prove that the artist’s sole function was the impersonal elucidation of the truths of nature. I was regretfully compelled to observe that there were no such things as the truths of Nature, for the purposes of art, apart from the individual vision of the artist. Seer and thing seen, inextricably involved one with the other, form the texture of any masterpiece; and I, at least, demand therefrom a distinct impression of temperament. I never saw, in the flesh, either De Maupassant or Tchekov – those masters of such different methods entirely devoid of didacticism – but their work leaves on me a strangely potent sense of personality. Such subtle intermingling of seer with thing seen is the outcome only of long and intricate brooding, a process not too favoured by modern life, yet without which we achieve little but a fluent chaos of clever insignificant impressions, a kind of glorified journalism, holding much the same relation to the deeply-impregnated work of Turgenev, Hardy, and Conrad, as a film bears to a play.
Speaking for myself, with the immodesty required of one who hazards an introduction to his own work, I was writing fiction for five years before I could master even its primary technique, much less achieve that union of seer with thing seen, which perhaps begins to show itself a little in this volume – binding up the scanty harvests of 1899, 1900, and 1901 – especially in the tales: “A Knight,” and “Salvation of a Forsyte.” Men, women, trees, and works of fiction – very tiny are the seeds from which they spring. I used really to see the “Knight” – in 1896, was it? – sitting in the “Place” in front of the Casino at Monte Carlo; and because his dried-up elegance, his burnt straw hat, quiet courtesy of attitude, and big dog, used to fascinate and intrigue me, I began to imagine his life so as to answer my own questions and to satisfy, I suppose, the mood I was in. I never spoke to him, I never saw him again. His real story, no doubt, was as different from that which I wove around his figure as night from day.
As for Swithin, wild horses will not drag from me confession of where and when I first saw the prototype which became enlarged to his bulky stature. I owe Swithin much, for he first released the satirist in me, and is, moreover, the only one of my characters whom I killed before I gave him life, for it is in “The Man of Property” that Swithin Forsyte more memorably lives.
Ranging beyond this volume, I cannot recollect writing the first words of “The Island Pharisees” – but it would be about August, 1901. Like all the stories in “Villa Rubein,” and, indeed, most of my tales, the book originated in the curiosity, philosophic reflections, and unphilosophic emotions roused in me by some single figure in real life. In this case it was Ferrand, whose real name, of course, was not Ferrand, and who died in some “sacred institution” many years ago of a consumption brought on by the conditions of his wandering life. If not “a beloved,” he was a true vagabond, and I first met him in the Champs Elysees, just as in “The Pigeon” he describes his meeting with Wellwyn. Though drawn very much from life, he did not in the end turn out very like the Ferrand of real life – the figures of fiction soon diverge from their prototypes.
The first draft of “The Island Pharisees” was buried in a drawer; when retrieved the other day, after nineteen years, it disclosed a picaresque string of anecdotes told by Ferrand in the first person. These two-thirds of a book were laid to rest by Edward Garnett’s dictum that its author was not sufficiently within Ferrand’s skin; and, struggling heavily with laziness and pride, he started afresh in the skin of Shelton. Three times be wrote that novel, and then it was long in finding the eye of Sydney Pawling, who accepted it for Heinemann’s in 1904. That was a period of ferment and transition with me, a kind of long awakening to the home truths of social existence and national character. The liquor bubbled too furiously for clear bottling. And the book, after all, became but an introduction to all those following novels which depict – somewhat satirically – the various sections of English “Society” with a more or less capital “S.”
Looking back on the long-stretched-out body of one’s work, it is interesting to mark the endless duel fought within a man between the emotional and critical sides of his nature, first one, then the other, getting the upper hand, and too seldom fusing till the result has the mellowness of full achievement. One can even tell the nature of one’s readers, by their preference for the work which reveals more of this side than of that. My early work was certainly more emotional than critical. But from 1901 came nine years when the critical was, in the main, holding sway. From 1910 to 1918 the emotional again struggled for the upper hand; and from that time on there seems to have been something of a “dead beat.” So the conflict goes, by what mysterious tides promoted, I know not.
An author must ever wish to discover a hapless member of the Public who, never yet having read a word of his writing, would submit to the ordeal of reading him right through from beginning to end. Probably the effect could only be judged through an autopsy, but in the remote case of survival, it would interest one so profoundly to see the differences, if any, produced in that reader’s character or outlook over life. This, however, is a consummation which will remain devoutly to be wished, for there is a limit to human complaisance. One will never know the exact measure of one’s infecting power; or whether, indeed, one is not just a long soporific.
A writer they say, should not favouritize among his creations; but then a writer should not do so many things that he does. This writer, certainly, confesses to having favourites, and of his novels so far be likes best: The Forsyte Series; “The Country House”; “Fraternity”; “The Dark Flower”; and “Five Tales”; believing these to be the works which most fully achieve fusion of seer with thing seen, most subtly disclose the individuality of their author, and best reveal such of truth as has been vouchsafed to him. JOHN GALSWORTHY.
VILLA RUBEIN
I
Walking along the river wall at Botzen, Edmund Dawney said to Alois Harz: “Would you care to know the family at that pink house, Villa Rubein?”
Harz answered with a smile:
“Perhaps.”
“Come with me then this afternoon.”
They had stopped before an old house with a blind, deserted look, that stood by itself on the wall; Harz pushed the door open.
“Come in, you don’t want breakfast yet. I’m going to paint the river to-day.”
He ran up the bare broad stairs, and Dawney followed leisurely, his thumbs hooked in the armholes of his waistcoat, and his head thrown back.
In the attic which filled the whole top story, Harz had pulled a canvas to the window. He was a young man of middle height, square shouldered, active, with an angular face, high cheek-bones, and a strong, sharp chin. His eyes were piercing and steel-blue, his eyebrows very flexible, nose long and thin with a high bridge; and his dark, unparted hair fitted him like a cap. His clothes looked as if he never gave them a second thought.
This room, which served for studio, bedroom, and sitting-room, was bare and dusty. Below the window the river in spring flood rushed down the valley, a stream, of molten bronze. Harz dodged before the canvas like a fencer finding his distance; Dawney took his seat on a packingcase.
“The snows have gone with a rush this year,” he drawled. “The Talfer comes down brown, the Eisack comes down blue; they flow into the Etsch and make it green; a parable of the Spring for you, my painter.”
Harz mixed his colours.
“I’ve no time for parables,” he said, “no time for anything. If I could be guaranteed to live to ninety-nine, like Titian – he had a chance. Look at that poor fellow who was killed the other day! All that struggle, and then – just at the turn!”
He spoke English with a foreign accent; his voice was rather harsh, but his smile very kindly.
Dawney lit a cigarette.
“You painters,” he said, “are better off than most of us. You can strike out your own line. Now if I choose to treat a case out of the ordinary way and the patient dies, I’m ruined.”
“My dear Doctor – if I don’t paint what the public likes, I starve; all the same I’m going to paint in my own way; in the end I shall come out on top.”
“It pays to work in the groove, my friend, until you’ve made your name; after that – do what you like, they’ll lick your boots all the same.”
“Ah, you don’t love your work.”
Dawney answered slowly: “Never so happy as when my hands are full. But I want to make money, to get known, to have a good time, good cigars, good wine. I hate discomfort. No, my boy, I must work it on the usual lines; I don’t like it, but I must lump it. One starts in life with some notion of the ideal – it’s gone by the board with me. I’ve got to shove along until I’ve made my name, and then, my little man – then – ”
“Then you’ll be soft!”
“You pay dearly for that first period!”
“Take my chance of that; there’s no other way.”
“Make one!”
“Humph!”
Harz poised his brush, as though it were a spear:
“A man must do the best in him. If he has to suffer – let him!”
Dawney stretched his large soft body; a calculating look had come into his eyes.
“You’re a tough little man!” he said.
“I’ve had to be tough.”
Dawney rose; tobacco smoke was wreathed round his unruffled hair.
“Touching Villa Rubein,” he said, “shall I call for you? It’s a mixed household, English mostly – very decent people.”
“No, thank you. I shall be painting all day. Haven’t time to know the sort of people who expect one to change one’s clothes.”
“As you like; ta-to!” And, puffing out his chest, Dawney vanished through a blanket looped across the doorway.
Harz set a pot of coffee on a spirit-lamp, and cut himself some bread. Through the window the freshness of the morning came; the scent of sap and blossom and young leaves; the scent of earth, and the mountains freed from winter; the new flights and songs of birds; all the odorous, enchanted, restless Spring.
There suddenly appeared through the doorway a white rough-haired terrier dog, black-marked about the face, with shaggy tan eyebrows. He sniffed at Harz, showed the whites round his eyes, and uttered a sharp bark. A young voice called:
“Scruff! Thou naughty dog!” Light footsteps were heard on the stairs; from the distance a thin, high voice called:
“Greta! You mustn’t go up there!”
A little girl of twelve, with long fair hair under a wide-brimmed hat, slipped in.
Her blue eyes opened wide, her face flushed up. That face was not regular; its cheek-bones were rather prominent, the nose was flattish; there was about it an air, innocent, reflecting, quizzical, shy.
“Oh!” she said.
Harz smiled: “Good-morning! This your dog?”
She did not answer, but looked at him with soft bewilderment; then running to the dog seized him by the collar.
“Scr-ruff! Thou naughty dog – the baddest dog!” The ends of her hair fell about him; she looked up at Harz, who said:
“Not at all! Let me give him some bread.”
“Oh no! You must not – I will beat him – and tell him he is bad; then he shall not do such things again. Now he is sulky; he looks so always when he is sulky. Is this your home?”
“For the present; I am a visitor.”
“But I think you are of this country, because you speak like it.”
“Certainly, I am a Tyroler.”
“I have to talk English this morning, but I do not like it very much – because, also I am half Austrian, and I like it best; but my sister, Christian, is all English. Here is Miss Naylor; she shall be very angry with me.”
And pointing to the entrance with a rosy-tipped forefinger, she again looked ruefully at Harz.
There came into the room with a walk like the hopping of a bird an elderly, small lady, in a grey serge dress, with narrow bands of claret-coloured velveteen; a large gold cross dangled from a steel chain on her chest; she nervously twisted her hands, clad in black kid gloves, rather white about the seams.
Her hair was prematurely grey; her quick eyes brown; her mouth twisted at one corner; she held her face, kind-looking, but long and narrow, rather to one side, and wore on it a look of apology. Her quick sentences sounded as if she kept them on strings, and wanted to draw them back as soon as she had let them forth.
“Greta, how can, you do such things? I don’t know what your father would say! I am sure I don’t know how to – so extraordinary – ”
“Please!” said Harz.
“You must come at once – so very sorry – so awkward!” They were standing in a ring: Harz with his eyebrows working up and down; the little lady fidgeting her parasol; Greta, flushed and pouting, her eyes all dewy, twisting an end of fair hair round her finger.
“Oh, look!” The coffee had boiled over. Little brown streams trickled spluttering from the pan; the dog, with ears laid back and tail tucked in, went scurrying round the room. A feeling of fellowship fell on them at once.
“Along the wall is our favourite walk, and Scruff – so awkward, so unfortunate – we did not think any one lived here – the shutters are cracked, the paint is peeling off so dreadfully. Have you been long in Botzen? Two months? Fancy! You are not English? You are Tyrolese? But you speak English so well – there for seven years? Really? So fortunate! – It is Greta’s day for English.”
Miss Naylor’s eyes darted bewildered glances at the roof where the crossing of the beams made such deep shadows; at the litter of brushes, tools, knives, and colours on a table made out of packing-cases; at the big window, innocent of glass, and flush with the floor, whence dangled a bit of rusty chain – relic of the time when the place had been a store-loft; her eyes were hastily averted from an unfinished figure of the nude.
Greta, with feet crossed, sat on a coloured blanket, dabbling her finger in a little pool of coffee, and gazing up at Harz. And he thought: ‘I should like to paint her like that. “A forget-me-not.”
He took out his chalks to make a sketch of her.
“Shall you show me?” cried out Greta, scrambling to her feet.
“‘Will,’ Greta – ’will’. how often must I tell you? I think we should be going – it is very late – your father – so very kind of you, but I think we should be going. Scruff!” Miss Naylor gave the floor two taps. The terrier backed into a plaster cast which came down on his tail, and sent him flying through the doorway. Greta followed swiftly, crying:
“Ach! poor Scrufee!”
Miss Naylor crossed the room; bowing, she murmured an apology, and also disappeared.
Harz was left alone, his guests were gone; the little girl with the fair hair and the eyes like forget-me-nots, the little lady with kindly gestures and bird-like walk, the terrier. He looked round him; the room seemed very empty. Gnawing his moustache, he muttered at the fallen cast.
Then taking up his brush, stood before his picture, smiling and frowning. Soon he had forgotten it all in his work.
II
It was early morning four days later, and Harz was loitering homewards. The shadows of the clouds passing across the vines were vanishing over the jumbled roofs and green-topped spires of the town. A strong sweet wind was blowing from the mountains, there was a stir in the branches of the trees, and flakes of the late blossom were drifting down. Amongst the soft green pods of a kind of poplar chafers buzzed, and numbers of their little brown bodies were strewn on the path.
He passed a bench where a girl sat sketching. A puff of wind whirled her drawing to the ground; Harz ran to pick it up. She took it from him with a bow; but, as he turned away, she tore the sketch across.
“Ah!” he said; “why did you do that?”
This girl, who stood with a bit of the torn sketch in either hand, was slight and straight; and her face earnest and serene. She gazed at Harz with large, clear, greenish eyes; her lips and chin were defiant, her forehead tranquil.
“I don’t like it.”
“Will you let me look at it? I am a painter.”
“It isn’t worth looking at, but – if you wish – ”
He put the two halves of the sketch together.
“You see!” she said at last; “I told you.”
Harz did not answer, still looking at the sketch. The girl frowned.
Harz asked her suddenly:
“Why do you paint?”
She coloured, and said:
“Show me what is wrong.”
“I cannot show you what is wrong, there is nothing wrong – but why do you paint?”
“I don’t understand.”
Harz shrugged his shoulders.
“You’ve no business to do that,” said the girl in a hurt voice; “I want to know.”
“Your heart is not in it,” said Harz.
She looked at him, startled; her eyes had grown thoughtful.
“I suppose that is it. There are so many other things – ”
“There should be nothing else,” said Harz.
She broke in: “I don’t want always to be thinking of myself. Suppose – ”
“Ah! When you begin supposing!”
The girl confronted him; she had torn the sketch again.
“You mean that if it does not matter enough, one had better not do it at all. I don’t know if you are right – I think you are.”
There was the sound of a nervous cough, and Harz saw behind him his three visitors – Miss Naylor offering him her hand; Greta, flushed, with a bunch of wild flowers, staring intently in his face; and the terrier, sniffing at his trousers.
Miss Naylor broke an awkward silence.
“We wondered if you would still be here, Christian. I am sorry to interrupt you – I was not aware that you knew Mr. Herr – ”
“Harz is my name – we were just talking”
“About my sketch. Oh, Greta, you do tickle! Will you come and have breakfast with us to-day, Herr Harz? It’s our turn, you know.”
Harz, glancing at his dusty clothes, excused himself.
But Greta in a pleading voice said: “Oh! do come! Scruff likes you. It is so dull when there is nobody for breakfast but ourselves.”
Miss Naylor’s mouth began to twist. Harz hurriedly broke in:
“Thank you. I will come with pleasure; you don’t mind my being dirty?”
“Oh no! we do not mind; then we shall none of us wash, and afterwards I shall show you my rabbits.”
Miss Naylor, moving from foot to foot, like a bird on its perch, exclaimed:
“I hope you won’t regret it, not a very good meal – the girls are so impulsive – such informal invitation; we shall be very glad.”
But Greta pulled softly at her sister’s sleeve, and Christian, gathering her things, led the way.
Harz followed in amazement; nothing of this kind had come into his life before. He kept shyly glancing at the girls; and, noting the speculative innocence in Greta’s eyes, he smiled. They soon came to two great poplar-trees, which stood, like sentinels, one on either side of an unweeded gravel walk leading through lilac bushes to a house painted dull pink, with green-shuttered windows, and a roof of greenish slate. Over the door in faded crimson letters were written the words, “Villa Rubein.”
“That is to the stables,” said Greta, pointing down a path, where some pigeons were sunning themselves on a wall. “Uncle Nic keeps his horses there: Countess and Cuckoo – his horses begin with C, because of Chris – they are quite beautiful. He says he could drive them to Kingdom-Come and they would not turn their hair. Bow, and say ‘Good-morning’ to our house!”
Harz bowed.
“Father said all strangers should, and I think it brings good luck.” From the doorstep she looked round at Harz, then ran into the house.
A broad, thick-set man, with stiff, brushed-up hair, a short, brown, bushy beard parted at the chin, a fresh complexion, and blue glasses across a thick nose, came out, and called in a bluff voice:
“Ha! my good dears, kiss me quick – prrt! How goes it then this morning? A good walk, hein?” The sound of many loud rapid kisses followed.
“Ha, Fraulein, good!” He became aware of Harz’s figure standing in the doorway: “Und der Herr?”
Miss Naylor hurriedly explained.
“Good! An artist! Kommen Sie herein, I am delight. You will breakfast? I too – yes, yes, my dears – I too breakfast with you this morning. I have the hunter’s appetite.”
Harz, looking at him keenly, perceived him to be of middle height and age, stout, dressed in a loose holland jacket, a very white, starched shirt, and blue silk sash; that he looked particularly clean, had an air of belonging to Society, and exhaled a really fine aroma of excellent cigars and the best hairdresser’s essences.
The room they entered was long and rather bare; there was a huge map on the wall, and below it a pair of globes on crooked supports, resembling two inflated frogs erect on their hind legs. In one corner was a cottage piano, close to a writing-table heaped with books and papers; this nook, sacred to Christian, was foreign to the rest of the room, which was arranged with supernatural neatness. A table was laid for breakfast, and the sun-warmed air came in through French windows.
