# The Tragic Muse (London & New York: Macmillan & Co., 1890)/Volume 3/Chapter 13

XIII.
Peter Sherringham said so little during the performance that his companion was struck by his dumbness, especially as Miriam's acting seemed to Nick Dormer magnificent. He held his breath while she was on the stage—she gave the whole thing, including the spectator's emotion, such a lift. She had not carried out her fantastic menace of not exerting herself, and, as Mrs. Rooth had said, it little mattered for whom she acted. Nick was conscious as he watched her that she went through it all for herself, for the idea that possessed her and that she rendered with extraordinary breadth. She could not open the door a part of the way to it and let it simply peep in; if it entered at all it must enter in full procession and occupy the premises in state.
This was what had happened on an occasion which, as Nick noted in his stall, grew larger with each throb of the responsive house; till by the time the play was half over it appeared to stretch out wide arms to the future. Nick had often heard more applause but he had never heard more attention; for they were all charmed and hushed together and success seemed to be sitting down with them. There had been of course plenty of announcement—the newspapers had abounded and the arts of the manager had taken the freest license; but ​it was easy to feel a fine universal consensus and to recognize the intrinsic buoyancy of the evening. People snatched their eyes from the stage for an instant to look at each other, and a sense of intelligence deepened and spread. It was a part of the impression that the actress was only now really showing, for this time she had verse to deal with and she made it unexpectedly exquisite. She was beauty, she was music, she was truth; she was passion and persuasion and tenderness. She caught up the obstreperous play in soothing, entwining arms and carried it into the high places of poetry, of style. And she had such tones of nature, such concealments of art, such effusions of life, that the whole scene glowed with the colour she communicated, and the house, as if pervaded with rosy fire, glowed back at the scene. Nick looked round in the intervals; he felt excited and flushed—the night had turned into a feast of fraternity and he expected to see people embrace each other. The crowd, the flutter, the triumph, the surprise, the signals and rumours, the heated air, his associates, near him, pointing out other figures, who presumably were celebrated but whom he had never heard of, all amused him and banished every impulse of criticism. Miriam was as satisfactory as some right sensation—she would feed the memory with the ineffaceable.
One of the things that amused Nick, or at least helped to fill his attention, was Peter's attitude, which apparently did not exclude criticism; rather indeed mainly implied it. Sherringham never took his eyes off the actress, but he made no remark about her and he never stirred out of his chair. Nick had from the first a plan of going round to speak to ​her, but as his companion evidently meant not to move he felt a delicacy in regard to being more forward. During their brief dinner together (they made a rigid point of not being late), Peter had been silent and irremediably serious, but also, his kinsman judged, full of the wish to make it plain that he was calm. In his seat he was calmer than ever; had an air even of trying to suggest to Nick that his attendance, preoccupied as he was with deeper solemnities, was slightly mechanical, the result of a conception of duty, a habit of courtesy. When during a scene in the second act—a scene from which Miriam was absent—Nick observed to him that from his inexpressiveness one might gather he was not pleased, he replied after a moment: "I've been looking for her mistakes." And when Nick rejoined to this that he certainly wouldn't find them he said again, in an odd tone: "No, I sha'n't find them—I sh'a'nt find them." It might have seemed that since the girl's performance was a dazzling success he regarded his evening as rather a failure.
After the third act Nick said candidly: "My dear fellow, how can you sit here? Aren't you going to speak to her?"
To which Peter replied inscrutably: "Lord, no, never again; I bade her good-bye yesterday. She knows what I think of her form. It's very good, but she carries it a little too far. Besides, she didn't want me to come, and it's therefore more discreet to keep away from her."
"Surely it isn't an hour for discretion!" cried Nick. "Excuse me, at any rate, for five minutes."
He went behind and reappeared only as the curtain was rising on the fourth act; and in the interval between the ​fourth and the fifth he went again for a shorter time. Peter was personally detached, but he consented to listen to his companion's vivid account of the state of things on the stage, where the elation of victory had made every one merry. The strain was over, the ship was in port, and they were all wiping their faces and grinning. Miriam—yes, positively—was grinning too, and she hadn't asked a question about Peter nor sent him a message. They were kissing all round and dancing for joy. They were on the eve, worse luck, of a tremendous run. Peter groaned, irrepressibly, at this; it was, save for a slight manifestation a moment later, the only sign of emotion that Nick's report elicited from him. There was but one voice of regret that they hadn't put on the piece earlier, as the end of the season would interrupt the run. There was but one voice too about the fourth act—it was believed that all London would rush to see the fourth act. There was a wonderful lot of people, and Miriam was charming; she was receiving there, in the ugly place, like a kind of royalty, with a smile and a word for each. She was like a young queen on her accession. When she saw him, Nick, she had kissed her hand to him over the heads of the courtiers. Nick's artless comment on this was that she had such pretty manners. It made Sherringham laugh, apparently at his companion's conception of the manners of a young queen. Mrs. Rooth, with a dozen shawls on her arm, was as red as a turkey; but you couldn't tell whether Miriam was red or pale: she was so cleverly, awfully cleverly, painted—perhaps a little too much. Dashwood of course was greatly to the fore, but you didn't have to mention his own performance to ​him: he was magnanimous and would use nothing but the feminine pronoun. He didn't say much, indeed, but he evidently had ideas; he nodded significant things and whistled inimitable sounds—"heuh, heuh!" He was perfectly satisfied; moreover he looked further ahead than any one.
It was on coming back to his place after the fourth act that Nick put in, for Sherringham's benefit, most of these touches in his sketch of the situation. If Peter had continued to look for Miriam's mistakes he had not yet found them: the fourth act, bristling with dangers, putting a premium on every sort of cheap effect, had rounded itself without a flaw. Sitting there alone while Nick was away he had leisure to meditate on the wonder of this—on the art with which the girl had separated passion from violence, filling the whole place and never screaming; for it had seemed to him in London sometimes of old that the yell of theatrical emotion rang through the shrinking night like a fatal warning. Miriam had never been more present to him than at this hour; but she was inextricably transmuted—present essentially as the romantic heroine she represented. His state of mind was of the strangest, and he was conscious of its strangeness; just as he was conscious, in his person, of a cessation of resistance which identified itself absurdly with liberation. He felt weak at the same time that he felt excited, and he felt excited at the same time that he knew or believed he knew that his face was a blank. He saw things as a shining confusion, and yet somehow something monstrously definite kept surging out of them. Miriam was a beautiful, actual, fictive, impossible young woman, of a past age and undiscoverable country, who ​spoke in blank verse and overflowed with metaphor, who was exalted and heroic beyond all human convenience, and who yet was irresistibly real and related to one's own affairs. But that reality was a part of her spectator's joy, and she was not changed back to the common by his perception of the magnificent trick of art with which it was connected. Before Nick Dormer rejoined him Sherringham, taking a visiting-card from his pocket, wrote on it in pencil a few words in a foreign tongue; but as at that moment he saw Nick coming in he immediately put it out of view.
The last thing before the curtain rose on the fifth act Nick mentioned that he had brought him a message from Basil Dashwood, who hoped they both, on leaving the theatre, would come to supper with him, in company with Miriam and her mother and several others: he had prepared a little informal banquet in honour of so famous a night. At this, while the curtain was rising, Peter immediately took out his card again and added something—he wrote the finest small hand you could see, Nick asked him what he was doing, and after an hesitation he replied:
"It's a word to say I can't come."
"To Dashwood? Oh, I shall go," said Nick.
"Well, I hope you'll enjoy it!" his companion replied in a tone which came back to him afterwards.
When the curtain fell on the last act the people stayed, standing up in their places for the most part. The applause shook the house—the recall became a clamour, the relief from a long tension. This was a moment, in any performance, that Sherringham detested, but he stood for an instant beside ​Nick, who clapped like a school-boy. There was a veritable roar and the curtain drew back at the side most removed from them. Sherringham could see that Basil Dashwood was holding it, making a passage for the male "juvenile lead," who had Miriam in tow. Nick redoubled his efforts; heard the plaudits swell; saw the bows of the leading gentleman, who was hot and fat; saw Miriam, personally conducted and closer to the footlights, grow brighter and bigger and more swaying; and then became aware that Sherringham had with extreme agility slipped out of the stalls. Nick had already lost sight of him—he had apparently taken but a minute to escape from the house. Nick wondered at his quitting him without a farewell, if he was to leave England on the morrow and they were not to meet at the hospitable Dashwood's. He wondered even what Peter was "up to," since, as he had assured him, there was no question of his going round to Miriam. He waited to see this young lady reappear three times, dragging Dashwood behind her at the second with a friendly arm, to whom, in turn, was hooked Miss Fanny Rover, the actress entrusted, in the piece, with the inevitable comic relief. He went out slowly, with the crowd, and at the door looked again for Peter, who struck him as deficient for once in finish. He couldn't know that, in another direction and while he was helping the house to "rise" at Miriam, his kinsman had been particularly explicit.
On reaching the lobby Sherringham had pounced upon a small boy in buttons, who appeared to be superfluously connected with a desolate refreshment-room and was peeping, on tiptoe, at the stage, through the glazed hole in the door ​of a box. Into one of the child's hands he thrust the card he had drawn again from his waistcoat, and into the other the largest silver coin he could find in the same receptacle, while he bent over him with words of adjuration—words which the little page tried to help himself to apprehend by instantly attempting to peruse the other words written on the card.
"That's no use—it's Italian," said Peter; "only carry it round to Miss Rooth without a minute's delay. Place it in her hand and she'll give you some object—a bracelet, a glove or a flower to bring me back as a sign that she has received it. I shall be outside; bring me there what she gives you and you shall have another shilling—only fly!"
Sherringham's small messenger sounded him a moment with the sharp face of London wage-earning, and still more of London tip-earning, infancy, and vanished as swiftly as a slave of the Arabian Nights. While his patron waited in the lobby the audience began to pour out, and before the urchin had come back to him Peter was clapped on the shoulder by Nick Dormer.
"I'm glad I haven't lost you," said Nick; "but why didn't you stay to give her a hand?"
"Give her a hand? I hated it."
"My dear fellow, I don't follow you," Nick rejoined. "If you won't come to Dashwood's supper I fear our ways don't lie together."
"Thank him very much; say I have to get up at an unnatural hour." To this Peter added: "I think I ought to tell you she may not be there."
"Miss Rooth? Why, it's for her."
​"I'm waiting for a word from her—she may change her mind."
Nick stared at his companion. "For you? Why, what have you proposed?"
"I've proposed marriage," said Peter in a strange voice.
"I say—!" Nick broke out; and at the same moment Peter's messenger squeezed through the press and stood before him.
"She has given me nothing, sir," the boy announced; "but she says I'm to say 'All right!'"
Nick marvelled a moment. "You've proposed through him?"
"Ay, and she accepts. Good-night!" Peter exclaimed; and, turning away, he bounded into a hansom. He said something to the driver through the roof, and Nick's eyes followed the cab as it started off. Nick was mystified, was even amused; especially when the youth in buttons, planted there and wondering too, remarked to him:
"Please, sir, he told me he'd give me a shilling, and he've forgot it."
"Oh, I can't pay you for that!" Nick laughed. He was vexed about the supper.