Part Second

 
"Dieu! qu'il fait bon la regarder,
La gracieuse, bonne et belle!
Pour les grands biens qui sont en elle
Chacun est prêt de la louer."
 

Nobody knew exactly how Svengali lived, and very few knew where (or why). He occupied a roomy dilapidated garret, au sixième, in the Rue Tire-Liard; with a truckle-bed and a piano-forte for furniture, and very little else.

He was poor; for in spite of his talent he had not yet made his mark in Paris. His manners may have been accountable for this. He would either fawn or bully, and could be grossly impertinent. He had a kind of cynical humor, which was more offensive than amusing, and always laughed at the wrong thing, at the wrong time, in the wrong place. And his laughter was always derisive and full of malice. And his egotism and conceit were not to be borne; and then he was both tawdry and dirty in his person; more greasily, mattedly unkempt than even a really successful pianist has any right to be, even in the best society.

He was not a nice man, and there was no pathos in his poverty – a poverty that was not honorable, and need not have existed at all; for he was constantly receiving supplies from his own people in Austria – his old father and mother, his sisters, his cousins, and his aunts, hard-working, frugal folk of whom he was the pride and the darling.

He had but one virtue – his love of his art; or, rather, his love of himself as a master of his art —the master; for he despised, or affected to despise, all other musicians, living or dead – even those whose work he interpreted so divinely, and pitied them for not hearing Svengali give utterance to their music, which of course they could not utter themselves.

"Ils safent tous un peu toucher du biâno, mais pas grand'chose!"

He had been the best pianist of his time at the Conservatory in Leipsic; and, indeed, there was perhaps some excuse for this overweening conceit, since he was able to lend a quite peculiar individual charm of his own to any music he played, except the highest and best of all, in which he conspicuously failed.

He had to draw the line just above Chopin, where he reached his highest level. It will not do to lend your own quite peculiar individual charm to Handel and Bach and Beethoven; and Chopin is not bad as a pis-aller.

He had ardently wished to sing, and had studied hard to that end in Germany, in Italy, in France, with the forlorn hope of evolving from some inner recess a voice to sing with. But nature had been singularly harsh to him in this one respect – inexorable. He was absolutely without voice, beyond the harsh, hoarse, weak raven's croak he used to speak with, and no method availed to make one for him. But he grew to understand the human voice as perhaps no one has understood it – before or since.

So in his head he went forever singing, singing, singing, as probably no human nightingale has ever yet been able to sing out loud for the glory and delight of his fellow-mortals; making unheard heavenly melody of the cheapest, trivialest tunes – tunes of the café concert, tunes of the nursery, the shop-parlor, the guard-room, the school-room, the pothouse, the slum. There was nothing so humble, so base even, but that his magic could transform it into the rarest beauty without altering a note. This seems impossible, I know. But if it didn't, where would the magic come in?

Whatever of heart or conscience – pity, love, tenderness, manliness, courage, reverence, charity – endowed him at his birth had been swallowed up by this one faculty, and nothing of them was left for the common uses of life. He poured them all into his little flexible flageolet.

Svengali playing Chopin on the piano-forte, even (or especially) Svengali playing "Ben Bolt" on that penny whistle of his, was as one of the heavenly host.

Svengali walking up and down the earth seeking whom he might cheat, betray, exploit, borrow money from, make brutal fun of, bully if he dared, cringe to if he must – man, woman, child, or dog – was about as bad as they make 'em.

To earn a few pence when he couldn't borrow them he played accompaniments at café concerts, and even then he gave offence; for in his contempt for the singer he would play too loud, and embroider his accompaniments with brilliant improvisations of his own, and lift his hands on high and bring them down with a bang in the sentimental parts, and shake his dirty mane and shrug his shoulders, and smile and leer at the audience, and do all he could to attract their attention to himself. He also gave a few music lessons (not at ladies' schools, let us hope), for which he was not well paid, presumably, since he was always without the sou, always borrowing money, that he never paid back, and exhausting the pockets and the patience of one acquaintance after another.

He had but two friends. There was Gecko, who lived in a little garret close by in the Impasse des Ramoneurs, and who was second violin in the orchestra of the Gymnase, and shared his humble earnings with his master, to whom, indeed, he owed his great talent, not yet revealed to the world.

Svengali's other friend and pupil was (or rather had been) the mysterious Honorine, of whose conquest he was much given to boast, hinting that she was "une jeune femme du monde." This was not the case. Mademoiselle Honorine Cahen (better known in the quartier latin as Mimi la Salope) was a dirty, drabby little dolly-mop of a Jewess, a model for the figure – a very humble person indeed, socially.

She was, however, of a very lively disposition, and had a charming voice, and a natural gift of singing so sweetly that you forgot her accent, which was that of the "tout ce qu'il y a de plus canaille."

She used to sit at Carrel's, and during the pose she would sing. When Little Billee first heard her he was so fascinated that "it made him sick to think she sat for the figure" – an effect, by-the-way, that was always produced upon him by all specially attractive figure models of the gentler sex, for he had a reverence for woman. And before everything else, he had for the singing woman an absolute worship. He was especially thrall to the contralto – the deep low voice that breaks and changes in the middle and soars all at once into a magnified angelic boy treble. It pierced through his ears to his heart, and stirred his very vitals.

He had once heard Madame Alboni, and it had been an epoch in his life; he would have been an easy prey to the sirens! Even beauty paled before the lovely female voice singing in the middle of the note – the nightingale killed the bird-of-paradise.

I need hardly say that poor Mimi la Salope had not the voice of Madame Alboni, nor the art; but it was a beautiful voice of its little kind, always in the very middle of the note, and her artless art had its quick seduction.

She sang little songs of Béranger's – "Grand'mère, parlez-nous de lui!" or "T'en souviens-tu? disait un capitaine – " or "Enfants, c'est moi qui suis Lisette!" and such like pretty things, that almost brought the tears to Little Billee's easily moistened eyes.

But soon she would sing little songs that were not by Béranger – little songs with slang words Little Billee hadn't French enough to understand; but from the kind of laughter with which the points were received by the "rapins" in Carrel's studio he guessed these little songs were vile, though the touching little voice was as that of the seraphim still; and he knew the pang of disenchantment and vicarious shame.

Svengali had heard her sing at the Brasserie des Porcherons in the Rue du Crapaud-volant, and had volunteered to teach her; and she went to see him in his garret, and he played to her, and leered and ogled, and flashed his bold, black, beady Jew's eyes into hers, and she straightway mentally prostrated herself in reverence and adoration before this dazzling specimen of her race.

So that her sordid, mercenary little gutter-draggled soul was filled with the sight and the sound of him, as of a lordly, godlike, shawm-playing, cymbal-banging hero and prophet of the Lord God of Israel – David and Saul in one!

And then he set himself to teach her – kindly and patiently at first, calling her sweet little pet names – his "Rose of Sharon," his "pearl of Pabylon," his "cazelle-eyed liddle Cherusalem skylark" – and promised her that she should be the queen of the nightingales.

But before he could teach her anything he had to unteach her all she knew; her breathing, the production of her voice, its emission – everything was wrong. She worked indefatigably to please him, and soon succeeded in forgetting all the pretty little sympathetic tricks of voice and phrasing Mother Nature had taught her.

But though she had an exquisite ear, she had no real musical intelligence – no intelligence of any kind except about sous and centimes; she was as stupid as a little downy owl, and her voice was just a light native warble, a throstle's pipe, all in the head and nose and throat (a voice he didn't understand, for once), a thing of mere youth and health and bloom and high spirits – like her beauty, such as it was —beauté du diable, beauté damnée.

She did her very best, and practised all she could in this new way, and sang herself hoarse: she scarcely ate or slept for practising. He grew harsh and impatient and coldly severe, and of coarse she loved him all the more; and the more she loved him the more nervous she got and the worse she sang. Her voice cracked; her ear became demoralized; her attempts to vocalize grew almost as comical as Trilby's. So that he lost his temper completely, and called her terrible names, and pinched and punched her with his big bony hands till she wept worse than Niobe, and borrowed money of her – five-franc pieces, even francs and demifrancs – which he never paid her back; and browbeat and bullied and ballyragged her till she went quite mad for love of him, and would have jumped out of his sixth-floor window to give him a moment's pleasure!

He did not ask her to do this – it never occurred to him, and would have given him no pleasure to speak of. But one fine Sabbath morning (a Saturday, of course) he took her by the shoulders and chucked her, neck and crop, out of his garret, with the threat that if she ever dared to show her face there again he would denounce her to the police – an awful threat to the likes of poor Mimi la Salope!

"For where did all those five-franc pieces come from —hein?– with which she had tried to pay for all the singing-lessons that had been thrown away upon her? Not from merely sitting to painters —hein?"

Thus the little gazelle-eyed Jerusalem skylark went back to her native streets again – a mere mud-lark of the Paris slums – her wings clipped, her spirit quenched and broken, and with no more singing left in her than a common or garden sparrow – not so much!

And so, no more of "la betite Honorine!"

The morning after this adventure Svengali woke up in his garret with a tremendous longing to spend a happy day; for it was a Sunday, and a very fine one.

He made a long arm and reached his waistcoat and trousers off the floor, and emptied the contents of their pockets on to his tattered blanket; no silver, no gold, only a few sous and two-sou pieces, just enough to pay for a meagre premier déjeuner!

He had cleared out Gecko the day before, and spent the proceeds (ten francs, at least) in one night's riotous living – pleasures in which Gecko had had no share; and he could think of no one to borrow money from but Little Billee, Taffy, and the Laird, whom he had neglected and left untapped for days.

So he slipped into his clothes, and looked at himself in what remained of a little zinc mirror, and found that his forehead left little to be desired, but that his eyes and temples were decidedly grimy. Wherefore, he poured a little water out of a little jug into a little basin, and, twisting the corner of his pocket-handkerchief round his dirty forefinger, he delicately dipped it, and removed the offending stains. His fingers, he thought, would do very well for another day or two as they were; he ran them through his matted black mane, pushed it behind his ears, and gave it the twist he liked (and that was so much disliked by his English friends). Then he put on his béret and his velveteen cloak, and went forth into the sunny streets, with a sense of the fragrance and freedom and pleasantness of Sunday morning in Paris in the month of May.

He found Little Billee sitting in a zinc hip-bath, busy with soap and sponge; and was so tickled and interested by the sight that he quite forgot for the moment what he had come for.

"Himmel! Why the devil are you doing that?" he asked, in his German-Hebrew-French.

"Doing what?" asked Little Billee, in his French of Stratford-atte-Bowe.

"Sitting in water and playing with a cake of soap and a sponge!"

"Why, to try and get myself clean, I suppose!"

"Ach! And how the devil did you get yourself dirty, then?"

To this Little Billee found no immediate answer, and went on with his ablution after the hissing, splashing, energetic fashion of Englishmen; and Svengali laughed loud and long at the spectacle of a little Englishman trying to get himself clean – "tâchant de se nettoyer!"

When such cleanliness had been attained as was possible under the circumstances, Svengali begged for the loan of two hundred francs, and Little Billee gave him a five-franc piece.

Content with this, faute de mieux, the German asked him when he would be trying to get himself clean again, as he would much like to come and see him do it.

"Demang mattang, à votre sairveece!" said Little Billee, with a courteous bow.

"What!! Monday too!! Gott in Himmel! you try to get yourself clean every day?"

And he laughed himself out of the room, out of the house, out of the Place de l'Odéon – all the way to the Rue de Seine, where dwelt the "Man of Blood," whom he meant to propitiate with the story of that original, Little Billee, trying to get himself clean – that he might borrow another five-franc piece, or perhaps two.

As the reader will no doubt anticipate, he found Taffy in his bath too, and fell to laughing with such convulsive laughter, such twistings, screwings, and doublings of himself up, such pointings of his dirty forefinger at the huge naked Briton, that Taffy was offended, and all but lost his temper.

"What the devil are you cackling at, sacred head of pig that you are? Do you want to be pitched out of that window into the Rue de Seine? You filthy black Hebrew sweep! Just you wait a bit; I'll wash your head for you!"

And Taffy jumped out of his bath, such a towering figure of righteous Herculean wrath that Svengali was appalled, and fled.

"Donnerwetter!" he exclaimed, as he tumbled down the narrow staircase of the Hôtel de Seine; "what for a thick head! what for a pig-dog! what for a rotten, brutal, verfluchter kerl of an Englander!"

Then he paused for thought.

"Now will I go to that Scottish Englander, in the Place St. Anatole des Arts, for that other five-franc piece. But first will I wait a little while till he has perhaps finished trying to get himself clean."

So he breakfasted at the crèmerie Souchet, in the Rue Clopin-Clopant, and, feeling quite safe again, he laughed and laughed till his very sides were sore.

Two Englanders in one day – as naked as your hand! – a big one and a little one, trying to get themselves clean!

He rather flattered himself he'd scored off those two Englanders.

After all, he was right perhaps, from his point of view: you can get as dirty in a week as in a lifetime, so what's the use of taking such a lot of trouble? Besides, so long as you are clean enough to suit your kind, to be any cleaner would be priggish and pedantic, and get you disliked.

Just as Svengali was about to knock at the Laird's door, Trilby came down-stairs from Durien's, very unlike herself. Her eyes were red with weeping, and there were great black rings round them; she was pale under her freckles.

"Fous afez du chacrin, matemoiselle?" asked he.

She told him that she had neuralgia in her eyes, a thing she was subject to; that the pain was maddening, and generally lasted twenty-four hours.

"Perhaps I can cure you; come in here with me."