Part 25 (1/2)

”I mean any style that _is_ a style, that's a system, a consistency, an art, that contributes a positive beauty to utterance. When I pay ten s.h.i.+llings to hear you speak I want you to know how, _que diable_! Say that to people and they're mostly lost in stupor; only a few, the very intelligent, exclaim: 'Then you want actors to be affected?'”

”And do you?” asked Miriam full of interest.

”My poor child, what else under the sun should they be? Isn't their whole art the affectation _par excellence_? The public won't stand that to-day, so one hears it said. If that be true it simply means that the theatre, as I care for it, that is as a personal art, is at an end.”

”Never, never, never!” the girl cried in a voice that made a dozen people look round.

”I sometimes think it--that the personal art is at an end and that henceforth we shall have only the arts, capable no doubt of immense development in their way--indeed they've already reached it--of the stage-carpenter and the costumer. In London the drama is already smothered in scenery; the interpretation scrambles off as it can. To get the old personal impression, which used to be everything, you must go to the poor countries, and most of all to Italy.”

”Oh I've had it; it's very personal!” said Miriam knowingly.

”You've seen the nudity of the stage, the poor, painted, tattered screen behind, and before that void the histrionic figure, doing everything it knows how, in complete possession. The personality isn't our English personality and it may not always carry us with it; but the direction's right, and it has the superiority that it's a human exhibition, not a mechanical one.”

”I can act just like an Italian,” Miriam eagerly proclaimed.

”I'd rather you acted like an Englishwoman if an Englishwoman would only act.”

”Oh, I'll show you!”

”But you're not English,” said Peter sociably, his arms on the table.

”I beg your pardon. You should hear mamma about our 'race.'”

”You're a Jewess--I'm sure of that,” he went on.

She jumped at this, as he was destined to see later she would ever jump at anything that might make her more interesting or striking; even at things that grotesquely contradicted or excluded each other. ”That's always possible if one's clever. I'm very willing, because I want to be the English Rachel.”

”Then you must leave Madame Carre as soon as you've got from her what she can give.”

”Oh, you needn't fear; you shan't lose me,” the girl replied with charming gross fatuity. ”My name's Jewish,” she went on, ”but it was that of my grandmother, my father's mother. She was a baroness in Germany. That is, she was the daughter of a baron.”

Peter accepted this statement with reservations, but he replied: ”Put all that together and it makes you very sufficiently of Rachel's tribe.”

”I don't care if I'm of her tribe artistically. I'm of the family of the artists--_je me fiche_ of any other! I'm in the same style as that woman--I know it.”

”You speak as if you had seen her,” he said, amused at the way she talked of ”that woman.” ”Oh I know all about her--I know all about all the great actors. But that won't prevent me from speaking divine English.”

”You must learn lots of verse; you must repeat it to me,” Sherringham went on. ”You must break yourself in till you can say anything. You must learn pa.s.sages of Milton, pa.s.sages of Wordsworth.”

”Did _they_ write plays?”

”Oh it isn't only a matter of plays! You can't speak a part properly till you can speak everything else, anything that comes up, especially in proportion as it's difficult. That gives you authority.”

”Oh yes, I'm going in for authority. There's more chance in English,”

the girl added in the next breath. ”There are not so many others--the terrible compet.i.tion. There are so many here--not that I'm afraid,” she chattered on. ”But we've got America and they haven't. America's a great place.”

”You talk like a theatrical agent. They're lucky not to have it as we have it. Some of them do go, and it ruins them.”

”Why, it fills their pockets!” Miriam cried.