Trilby (Musaicum Rediscovered Classics). George du Maurier

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СКАЧАТЬ alt=""THE LAIRD OF COCKPEN""/> "THE LAIRD OF COCKPEN"

      Another inmate of this blissful abode—Sandy, the Laird of Cockpen, as he was called—sat in similarly simple attire at his easel, painting at a lifelike little picture of a Spanish toreador serenading a lady of high degree (in broad daylight). He had never been to Spain, but he had a complete toreador's kit—a bargain which he had picked up for a mere song in the Boulevard du Temple—and he had hired the guitar. His pipe was in his mouth—reversed; for it had gone out, and the ashes were spilled all over his trousers, where holes were often burned in this way.

      Quite gratuitously, and with a pleasing Scotch accent, he began to declaim:

      "A street there is in Paris famous

       For which no rhyme our language yields;

       Roo Nerve day Petty Shong its name is—

       The New Street of the Little Fields. … "

      And then, in his keen appreciation of the immortal stanza, he chuckled audibly, with a face so blithe and merry and well pleased that it did one good to look at him.

      He also had entered life by another door. His parents (good, pious people in Dundee) had intended that he should be a solicitor, as his father and grandfather had been before him. And here he was in Paris famous, painting toreadors, and spouting the "Ballad of the Bouillabaisse," as he would often do out of sheer lightness of heart—much oftener, indeed, than he would say his prayers.

      Kneeling on the divan, with his elbow on the window-sill, was a third and much younger youth. The third he was "Little Billee." He had pulled down the green baize blind, and was looking over the roofs and chimney-pots of Paris and all about with all his eyes, munching the while a roll and a savory saveloy, in which there was evidence of much garlic. He ate with great relish, for he was very hungry; he had been all the morning at Carrel's studio, drawing from the life.

      Little Billee was small and slender, about twenty or twenty-one, and had a straight white forehead veined with blue, large dark-blue eyes, delicate, regular features, and coal-black hair. He was also very graceful and well built, with very small hands and feet, and much better dressed than his friends, who went out of their way to outdo the denizens of the quartier latin in careless eccentricity of garb, and succeeded. And in his winning and handsome face there was just a faint suggestion of some possible very remote Jewish ancestor—just a tinge of that strong, sturdy, irrepressible, indomitable, indelible blood which is of such priceless value in diluted homœopathic doses, like the dry white Spanish wine called montijo, which is not meant to be taken pure; but without a judicious admixture of which no sherry can go round the world and keep its flavor intact; or like the famous bull-dog strain, which is not beautiful in itself; and yet just for lacking a little of the same no greyhound can ever hope to be a champion. So, at least, I have been told by wine-merchants and dog-fanciers—the most veracious persons that can be. Fortunately for the world, and especially for ourselves, most of us have in our veins at least a minim of that precious fluid, whether we know it or show it or not. Tant pis pour les autres!

      As Little Billee munched he also gazed at the busy place below—the Place St. Anatole des Arts—at the old houses opposite, some of which were being pulled down, no doubt lest they should fall of their own sweet will. In the gaps between he would see discolored, old, cracked, dingy walls, with mysterious windows and rusty iron balconies of great antiquity—sights that set him dreaming dreams of mediæval French love and wickedness and crime, bygone mysteries of Paris!

      

"THE THIRD HE WAS 'LITTLE BILLEE'"

      One gap went right through the block, and gave him a glimpse of the river, the "Cité," and the ominous old Morgue; a little to the right rose the gray towers of Notre Dame de Paris into the checkered April sky. Indeed, the top of nearly all Paris lay before him, with a little stretch of the imagination on his part; and he gazed with a sense of novelty, an interest and a pleasure for which he could not have found any expression in mere language.

      Paris! Paris!! Paris!!!

      The very name had always been one to conjure with, whether he thought of it as a mere sound on the lips and in the ear, or as a magical written or printed word for the eye. And here was the thing itself at last, and he, he himself, ipsissimus, in the very midst of it, to live there and learn there as long as he liked, and make himself the great artist he longed to be.

      Then, his meal finished, he lit a pipe, and flung himself on the divan and sighed deeply, out of the over-full contentment of his heart.

      He felt he had never known happiness like this, never even dreamed its possibility. And yet his life had been a happy one. He was young and tender, was Little Billee; he had never been to any school, and was innocent of the world and its wicked ways; innocent of French especially, and the ways of Paris and its Latin quarter. He had been brought up and educated at home, had spent his boyhood in London with his mother and sister, who now lived in Devonshire on somewhat straitened means. His father, who was dead, had been a clerk in the Treasury.

      He and his two friends, Taffy and the Laird, had taken this studio together. The Laird slept there, in a small bedroom off the studio. Taffy had a bedroom at the Hôtel de Seine, in the street of that name. Little Billee lodged at the Hôtel Corneille, in the Place de l'Odéon.

      He looked at his two friends, and wondered if any one, living or dead, had ever had such a glorious pair of chums as these.

      Whatever they did, whatever they said, was simply perfect in his eyes; they were his guides and philosophers as well as his chums. On the other hand, Taffy and the Laird were as fond of the boy as they could be.

      His absolute belief in all they said and did touched them none the less that they were conscious of its being somewhat in excess of their deserts. His almost girlish purity of mind amused and charmed them, and they did all they could to preserve it, even in the quartier latin, where purity is apt to go bad if it be kept too long.

      

"IT DID ONE GOOD TO LOOK AT HIM"

      They loved him for his affectionate disposition, his lively and caressing ways; and they admired him far more than he ever knew, for they recognized in him a quickness, a keenness, a delicacy of perception, in matters of form and color, a mysterious facility and felicity of execution, a sense of all that was sweet and beautiful in nature, and a ready power of expressing it, that had not been vouchsafed to them in any such generous profusion, and which, as they ungrudgingly admitted to themselves and each other, amounted to true genius.

      And when one within the immediate circle of our intimates is gifted in this abnormal fashion, we either hate or love him for it, in proportion to the greatness of his gift; according to the way we are built.

      So Taffy and the Laird loved Little Billee—loved him very much indeed. Not but what Little Billee had his faults. For instance, he didn't interest himself very warmly in other people's pictures. He didn't seem to care for the Laird's guitar-playing toreador, nor for his serenaded lady—at all events, he never said anything about them, either in praise or blame. He looked at Taffy's realisms (for Taffy was a realist) in silence, and nothing tries true friendship so much as silence of this kind.

      But, then, to make up for it, when they all three went to the Louvre, he didn't seem to trouble much about Titian either, or Rembrandt, or Velasquez, Rubens, Veronese, or Leonardo. He looked at the people who looked at the pictures, instead of at the СКАЧАТЬ