The Horror in the Museum (31 page)

“Oddly, the only ones who seemed to share my uneasiness were the servants. The darkies around the house seemed very sullen in their attitude toward her, and in a few weeks all save the few who were strongly attached to our family had left. These few—old Scipio and his wife Sarah, the cook Delilah, and Mary, Scipio’s daughter—were as civil as possible; but plainly revealed that their new mistress commanded their duty rather than their affection. They stayed in their own remote part of the house as much as possible. McCabe, our white chauffeur, was insolently admiring rather than hostile; and another exception was a very old Zulu woman, said to have come from Africa over a hundred years before, who had been a sort of leader in her small cabin as a kind of family pensioner. Old Sophonisba always shewed reverence whenever Marceline came near her, and one time I saw her kiss the ground where her mistress had walked. Blacks are superstitious animals, and I wondered whether Marceline had been talking any of her mystical nonsense to our hands in order to overcome their evident dislike.”.

III.

“Well, that’s how we went on for nearly half a year. Then, in the summer of 1916, things began to happen. Toward the middle of June Denis got a note from his old friend Frank Marsh, telling of a sort of nervous breakdown which made him want to take a rest in the country. It was postmarked New Orleans—for Marsh had gone home from Paris when he felt the collapse coming on—and seemed a very plain though polite bid for an invitation from us. Marsh, of course, knew that Marceline was here; and asked very courteously after her. Denis was sorry to hear of his trouble and told him at once to come along for an indefinite visit.

“Marsh came—and I was shocked to notice how he had changed since I had seen him in his earlier days. He was a smallish, lightish fellow, with blue eyes and an undecided chin; and now I could see the effects of drink and I don’t know what else in his puffy eyelids, enlarged nose-pores, and heavy lines around the mouth. I reckon he had taken his pose of decadence pretty seriously, and set out to be as much of a Rimbaud, Baudelaire, or Lautréamont as he could. And yet he was delightful to talk to—for like all decadents he was exquisitely sensitive to the colour and atmosphere and names of things; admirably, thoroughly alive, and with whole records of conscious experience in obscure, shadowy fields of living and feeling which most of us pass over without knowing they exist. Poor young devil—if only his father had lived longer and taken him in hand! There was great stuff in the boy!

“I was glad of the visit, for I felt it would help to set up a normal atmosphere in the house again. And that’s what it really seemed to do at first; for as I said, Marsh was a delight to have around. He was as sincere and profound an artist as I ever saw in my life, and I certainly believe that nothing on earth mattered to him except the perception and expression of beauty. When he saw an exquisite thing, or was creating one, his eyes would dilate until the light irises went nearly out of sight—leaving two mystical black pits in that weak, delicate, chalk-like face; black pits opening on strange worlds which none of us could guess about.

“When he reached here, though, he didn’t have many chances to shew this tendency; for he had, as he told Denis, gone quite stale. It seems he had been very successful as an artist of a bizarre kind— like Fuseli or Goya or Sime or Clark Ashton Smith—but had suddenly become played out. The world of ordinary things around him had ceased to hold anything he could recognise as beauty—beauty, that is, of enough force and poignancy to arouse his creative faculty. He had often been this way before—all decadents are—but this time he could not invent any new, strange, or outré sensation or experience which would supply the needed illusion of fresh beauty or stimulatingly adventurous expectancy. He was like a Durtal or a des Esseintes at the most jaded point of his curious orbit.

“Marceline was away when Marsh arrived. She hadn’t been enthusiastic about his coming, and had refused to decline an invitation from some of our friends in St. Louis which came about that time for her and Denis. Denis, of course, stayed to receive his guest;
but Marceline had gone on alone. It was the first time they had ever been separated, and I hoped the interval would help to dispel the sort of daze that was making such a fool of the boy. Marceline shewed no hurry to get back, but seemed to me to prolong her absence as much as she could. Denis stood it better than one would have expected from such a doting husband, and seemed more like his old self as he talked over other days with Marsh and tried to cheer the listless aesthete up.

“It was Marsh who seemed most impatient to see the woman; perhaps because he thought her strange beauty, or some phase of the mysticism which had gone into her one-time magical cult, might help to reawaken his interest in things and give him another start toward artistic creation. That there was no baser reason, I was absolutely certain from what I knew of Marsh’s character. With all his weaknesses, he was a gentleman—and it had indeed relieved me when I first learned that he wanted to come here because his willingness to accept Denis’ hospitality proved that there was no reason why he shouldn’t.

“When, at last, Marceline did return, I could see that Marsh was tremendously affected. He did not attempt to make her talk of the bizarre thing which she had so definitely abandoned, but was unable to hide a powerful admiration which kept his eyes—now dilated in that curious way for the first time during his visit— riveted to her every moment she was in the room. She, however, seemed uneasy rather than pleased by his steady scrutiny—that is, she seemed so at first, though this feeling of hers wore away in a few days, and left the two on a basis of the most cordial and voluble congeniality. I could see Marsh studying, her constantly when he thought no one was watching; and I wondered how long it would be that only the artist, and not the primitive man, would be aroused by her mysterious graces.

“Denis naturally felt some irritation at this turn of affairs; though he realised that his guest was a man of honour and that, as kindred mystics and aesthetes, Marceline and Marsh would naturally have things and interests to discuss in which a more or less conventional person could have no part. He didn’t hold anything against anybody, but merely regretted that his own imagination was too limited and traditional to let him talk with Marceline as Marsh talked. At this stage of things I began to see more of the boy. With his wife otherwise busy, he had time to remember that he had a father—and
a father who was ready to help him in any sort of perplexity or difficulty.

“We often sat together on the veranda watching Marsh and Marceline as they rode up or down the drive on horseback, or played tennis on the court that used to stretch south of the house. They talked mostly in French, which Marsh, though he hadn’t more than a quarter-portion of French blood, handled more glibly than either Denis or I could speak it. Marceline’s English, always academically correct, was rapidly improving in accent; but it was plain that she relished dropping back into her mother-tongue. As we looked at the congenial couple they made, I could see the boy’s cheek and throat muscles tighten—though he wasn’t a whit less ideal a host to Marsh, or a whit less considerate a husband to Marceline.

“All this was generally in the afternoon; for Marceline rose very late, had breakfast in bed, and took an immense amount of time preparing to come downstairs. I never knew of anyone so wrapped up in cosmetics, beauty exercises, hair-oils, unguents, and everything of that kind. It was in these morning hours that Denis and Marsh did their real visiting, and exchanged the close confidences which kept their friendship up despite the strain that jealousy imposed.

“Well, it was in one of those morning talks on the veranda that Marsh made the proposition which brought on the end. I was laid up with some of my neuritis, but had managed to get downstairs and stretch out on the front parlour sofa near the long window. Denis and Marsh were just outside; so I couldn’t help hearing all they said. They had been talking about art, and the curious, capricious environmental elements needed to jolt an artist into producing the real article, when Marsh suddenly swerved from abstractions to the personal application he must have had in mind from the start.

“‘I suppose,’ he was saying, ‘that nobody can tell just what it is in some scenes or objects that makes them aesthetic stimuli for certain individuals. Basically, of course, it must have some reference to each man’s background of stored-up mental associations, for no two people have the same scale of sensitiveness and responses. We decadents are artists for whom all ordinary things have ceased to have any emotional or imaginative significance, but no one of us responds in the same way to exactly the same extraordinary thing. Now take me, for instance….’

“He paused and resumed.

“1 know, Denny; that I can say these things to you because you have such a preternaturally unspoiled mind—clean, fine, direct, objective, and all that. You won’t misunderstand as an oversubtilised, effete man of the world might.’

“He paused once more.

“The fact is, I think I know what’s needed to set my imagination working again. I’ve had a dim idea of it ever since we were in Paris, but I’m sure now. It’s Marceline, old chap—that face and that hair, and the train of shadowy images they bring up. Not merely visible beauty—though God knows there’s enough of that—but something peculiar and individualised, that can’t exactly be explained. Do you know, in the last few days I’ve felt the existence of such a stimulus so keenly that I honestly think I could outdo myself—break into the real masterpiece class if I could get hold of paint and canvas at just the time when her face and hair set my fancy stirring and weaving. There’s something weird and other-worldly about it—something joined up with the dim ancient thing Marceline represents. I don’t know how much she’s told you about that side of her, but I can assure you there’s plenty of it. She has some marvellous links with the outside….’

“Some change in Denis’ expression must have halted the speaker here, for there was a considerable spell of silence before the words went on. I was utterly taken aback, for I’d expected no such overt development like this; and I wondered what my son could be thinking. My heart began to pound violently, and I strained my ears in the frankest of intentional eavesdropping. Then Marsh resumed.

“‘Of course you’re jealous—I know how a speech like mine must sound—but I can swear to you that you needn’t be.’

“Denis did not answer, and Marsh went on.

“To tell the truth, I could never be in love with Marceline—I couldn’t even be a cordial friend of hers in the warmest sense. Why, damn it all, I felt like a hypocrite talking with her these days as I’ve been doing.

“The case simply is, that one phase of her half hypnotises me in a certain way—a very strange, fantastic, and dimly terrible way— just as another phase half hypnotises you in a much more normal way. I see something in her—or to be psychologically exact, something through her or beyond her—that you don’t see at all. Something that brings up a vast pageantry of shapes from forgotten abysses, and makes me want to paint incredible things whose outlines
vanish the instant I try to envisage them clearly. Don’t mistake, Denny, your wife is a magnificent being, a splendid focus of cosmic forces who has a right to be called divine if anything on earth has!’

“I felt a clearing of the situation at this point, for the abstract strangeness of Marsh’s expressed statement, plus the flattery he was now heaping on Marceline, could not fail to disarm and mollify one as fondly proud of his consort as Denis always was. Marsh evidently caught the change himself, for there was more confidence in his tone as he continued.

“‘I must paint her, Denny—must paint that hair—and you won’t regret it. There’s something more than mortal about that hair— something more than beautiful—’

“He paused, and I wondered what Denis could be thinking. I wondered, indeed, what I was really thinking myself. Was Marsh’s interest actually that of the artist alone, or was he merely infatuated as Denis had been? I had thought, in their schooldays, that he had envied my boy; and I dimly felt that it might be the same now. On the other hand, something in that talk of artistic stimulus had rung amazingly true; so that the more I pondered, the more I was inclined to take the stuff at face value. Denis seemed to do so, too, for although I could not catch his low-spoken reply, I could tell by the effect it produced that it must have been affirmative.

“There was a sound of someone slapping another on the back, and then a grateful speech from Marsh that I was long to remember.

“That’s great, Denny; and just as I told you, you’ll never regret it. In a sense, I’m half doing it for you. You’ll be a different man when you see it. I’ll put you back where you used to be—give you a waking-up and a sort of salvation—but you can’t see what I mean as yet. Just remember old friendship, and don’t get the idea that I’m not the same old bird!’

“I rose perplexedly as I saw the two stroll off across the lawn, arm in arm, and smoking in unison. What could Marsh have meant by his strange and almost ominous reassurance? The more my fears were quieted in one direction, the more they were aroused in another. Look at it in any way I could, it seemed to be rather a bad business.

“But matters got started just the same. Denis fixed up an attic room with skylights, and Marsh sent for all sorts of painting equipment. Everyone was rather excited about the new venture, and I was at least glad that something was on foot to break the brooding tension. Soon the sittings began, and we all took them quite seriously
—for we could see that Marsh regarded them as important artistic events. Denny and I used to go quietly about the house as though something sacred were occurring, and we knew that it was sacred so far as Marsh was concerned.

“With Marceline, though, it was a different matter, as I began to see at once. Whatever Marsh’s reactions to the sittings may have been, hers were painfully obvious. Every possible way she betrayed a frank and commonplace infatuation for the artist, and would repulse Denis’ marks of affection whenever she dared. Oddly, I noticed this more vividly than Denis himself, and tried to devise some plan for keeping the boy’s mind easy until the matter could be straightened out. There was no use in having him excited about it if it could be helped.