A Witch of the Hills, v. 2. Florence Warden

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СКАЧАТЬ which a wife would have tabooed, was propped up against the back of another, and on the mantelpiece was a royal disorder, in which a couple of pink clay statuettes of pierrettes, by Van der Straeten, showed their piquant, high-hatted little heads, and their befrilled, high-lifted little skirts above letters, ash trays, cigarette cases, 'parts' in MS., sketches, a white tie, a woman's long glove, the 'proof' of an article on 'The Cathedrals of Spain,' and a heap of other things. In the centre stood a handsome Chippendale clock, surmounted by signed photographs of Sarah Bernhardt and a much admired Countess. Fresh hot-house flowers filled two delicate Venetian glass vases on the table, long-leaved green plants stood in the windows. I began to suspect that the feminine influence in Fabian Scott's life was strong enough already, and I felt that any idea of an appeal to a bachelor's sense of loneliness must straightway be given up. There was another point, however, on which I felt more sanguine. Fabian had no private means, his tastes were evidently expensive, and he had had no engagement since the summer. Having made up my mind that to marry my little Babiole to this man was the only thing that would restore her to health and hope (about happiness I could but be doubtful), I could not afford to shrink from the means.

      I had been listening with one ear to Fabian, who never wanted much encouragement to talk. He treated me to a long monologue on the low ebb to which art of all kinds had sunk in England, to the prevailing taste for burlesque in literature, and on the stage, and for 'Little Toddlekins' on the walls of picture galleries.

      'I thought burlesque had gone out,' I suggested.

      He turned upon me fiercely, having finished his breakfast, and being occupied in striding up and down the room.

      'Not at all,' he said emphatically. 'What is farcical comedy but burlesque of the most vicious kind? Burlesque of domestic life, throwing ridicule on virtuous wives and jealous husbands, making heroes and heroines of men and women of loose morals? What is melodrama but burlesque of incidents and of passions, fatiguing to the eye and stupefying to the intellect? I repeat, art in England is a dishonoured corpse, and the man who dares to call himself an artist, and to talk about his art with any more reverence than a grocer feels for his sanded sugar, or a violin-seller for his sham Cremonas, is treated with the derision one would show to a modern Englishman who should fall down and worship a mummy.'

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