“Well,” said Lord Ivywood, good humouredly, motioning toward the wall in front of him, “let me show you the ‘Portrait of an Old Lady.’”
“Well,” said Dorian, stolidly, “which is it?”
Mr. Hibbs made a hasty gesture of identification, but was so unfortunate as to point to the picture of “Rain in the Apennines,” instead of the “Portrait of an Old Lady,” and his intervention increased the irritation of Dorian Wimpole. Most probably, as Mr. Hibbs afterward explained, it was because a vivacious movement of the elbow of Mr. Wimpole interfered with the exact pointing of the forefinger of Mr. Hibbs. In any case, Mr. Hibbs was sharply and horridly fixed by embarrassment; so that he had to go away to the refreshment bar and eat three lobster-patties, and even drink a glass of that champagne that had once been his ruin. But on this occasion he stopped at one glass, and returned with a full diplomatic responsibility.
He returned to find that Dorian Wimpole had forgotten all the facts of time, place, and personal pride, in an argument with Lord Ivywood, exactly as he had forgotten such facts in an argument with Patrick Dalroy, in a dark wood with a donkey-cart. And Philip Ivywood was interested also; his cold eyes even shone; for though his pleasure was almost purely intellectual, it was utterly sincere.
“And I do trust the untried; I do follow the inexperienced,” he was saying quietly, with his fine inflections of voice. “You say this is changing the very nature of Art. I want to change the very nature of Art. Everything lives by turning into something else. Exaggeration is growth.”
“But exaggeration of what?” demanded Dorian. “I cannot see a trace of exaggeration in these pictures; because I cannot find a hint of what it is they want to exaggerate. You can’t exaggerate the feathers of a cow or the legs of a whale. You can draw a cow with feathers or a whale with legs for a joke–though I hardly think such jokes are in your line. But don’t you see, my good Philip, that even then the joke depends on its looking like a cow and not only like a thing with feathers. Even then the joke depends on the whale as well as the legs. You can combine up to a certain point; you can distort up to a certain point; after that you lose the identity; and with that you lose everything. A Centaur is so much of a man with so much of a horse. The Centaur must not be hastily identified with the Horsy Man. And the Mermaid must be maidenly; even if there is something fishy about her social conduct.”
“No,” said Lord Ivywood, in the same quiet way, “I understand what you mean, and I don’t agree. I should like the Centaur to turn into something else, that is neither man nor horse.”
“But not something that has nothing of either?” asked the poet.
“Yes,” answered Ivywood, with the same queer, quiet gleam in his colourless eyes, “something that has nothing of either.”
“But what’s the good?” argued Dorian. “A thing that has changed entirely has not changed at all. It has no bridge of crisis. It can remember no change. If you wake up tomorrow and you simply are Mrs. Dope, an old woman who lets lodgings at Broadstairs –well, I don’t doubt Mrs. Dope is a saner and happier person than you are. But in what way have you progressed? What part of you is better? Don’t you see this prime fact of identity is the limit set on all living things?”
“No,” said Philip, with suppressed but sudden violence, “I deny that any limit is set upon living things.”
“Why, then I understand,” said Dorian, “why, though you make such good speeches, you have never written any poetry.”
Lady Joan, who was looking with tedium at a rich pattern of purple and green in which Misysra attempted to interest her (imploring her to disregard the mere title, which idolatrously stated it as “First Communion in the Snow”), abruptly turned her full face to Dorian. It was a face to which few men could feel indifferent, especially when thus suddenly shown them.
“Why can’t he write poetry?” she asked. “Do you mean he would resent the limits of metre and rhyme and so on?”
The poet reflected for a moment and then said, “Well, partly; but I mean more than that too. As one can be candid in the family, I may say that what everyone says about him is that he has no humour. But that’s not my complaint at all. I think my complaint is that he has no pathos. That is, he does not feel human limitations. That is, he will not write poetry.”
Lord Ivywood was looking with his cold, unconscious profile into a little black and yellow picture called “Enthusiasm”; but Joan Brett leaned across to him with swarthy eagerness and cried quite provocatively,
“Dorian says you’ve no pathos. Have you any pathos? He says it’s a sense of human limitations.”
Ivywood did not remove his gaze from the picture of “Enthusiasm,” but simply said “No; I have no sense of human limitations.” Then he put up his elderly eyeglass to examine the picture better. Then he dropped it again and confronted Joan with a face paler than usual.
“Joan,” he said, “I would walk where no man has walked; and find something beyond tears and laughter. My road shall be my road indeed; for I will make it, like the Romans. And my adventures shall not be in the hedges and the gutters, but in the borders of the ever advancing brain. I will think what was unthinkable until I thought it; I will love what never lived until I loved it–I will be as lonely as the First Man.”
“They say,” she said, after a silence, “that the first man fell.”
“You mean the priests?” he answered. “Yes, but even they admit that he discovered good and evil. So are these artists trying to discover some distinction that is still dark to us.”
“Oh,” said Joan, looking at him with a real and unusual interest, “then you don’t see anything in the pictures, yourself?”
“I see the breaking of the barriers,” he answered, “beyond that I see nothing.”
She looked at the floor for a little time and traced patterns with her parasol, like one who has really received food for thought. Then she said, suddenly,
“But perhaps the breaking of barriers might be the breaking of everything.”
The clear and colourless eyes looked at her quite steadily.
“Perhaps,” said Lord Ivywood.
Dorian Wimpole made a sudden movement a few yards off, where he was looking at a picture, and said, “Hullo! What’s this?” Mr. Hibbs was literally gaping in the direction of the entrance.
Framed in that fine Byzantine archway stood a great big, bony man in threadbare but careful clothes, with a harsh, high-featured, intelligent face, to which a dark beard under the chin gave something of the Puritanic cast. Somehow his whole personality seemed to be pulled together and explained when he spoke with a North Country accent.
“Weel, lards,” he said, genially, “t’hoose be main great on t’pictures. But I coom for suthin’ in a moog. Haw! Haw!”
Leveson and Hibbs looked at each other. Then Leveson rushed from the room. Lord Ivywood did not move a finger; but Mr. Wimpole, with a sort of poetic curiosity, drew nearer to the stranger, and studied him.
“It’s perfectly awful,” cried Enid Wimpole, in a loud whisper, “the man must be drunk.”
“Na, lass,” said the man with gallantry, “a’ve not been droonk, nobbut at Hurley Fair, these years and all; a’m a decent lad and workin’ ma way back t’Wharfdale. No harm in a moog of ale, lass.”
“Are you quite sure,” asked Dorian Wimpole, with a singular sort of delicate curiosity, “are you quite sure you’re not drunk.”
“A’m not droonk,” said the man, jovially.