# Wyllard's Weird/Chapter 25
### CHAPTER XXV.
#### IN THE LAND OF BOHEMIA.

Hilda looked nervously to the right and to the left, like some wild creature brought to bay, seeking some outlet whereby she could escape. Those keen black eyes scrutinising her from under shaggy gray eyebrows, that cadaverous countenance with its lantern jaws, seemed to her as the face of a grinning fiend. This man, whom she had never seen in her life before, had but to hear her name mentioned, and at once knew all about her. This Paris, which she had thought of as a wilderness where she and her sorrow might hide, was a kind of trap into which she had fallen. Above all things she had wished to avoid any encounter with her brother, whose affection or whose idea of brotherly duty might interfere with her scheme of self-sacrifice.
Sigismond Trottier contemplated her curiously with his cynical smile, amused at her embarrassment, reading whole histories in her changing colour, her look of absolute terror. Something wrong here, he told himself. A pretty girl, fallen among this band of Bohemians in Paris, without the knowledge of her kindred. One of those social mysteries which Sigismond had such a happy knack at unravelling.
"Edward Heathcote is my brother," faltered Hilda, at last, "but he does not know that I am in Paris. I do not wish him to know."
"Consider me dumb for ever upon the subject of your residence here, Mademoiselle," said Sigismond, with a respectful bow. "A lady's wish is a command."
He shook hands with his old friend the painter. They had been chums for the last twenty years; and it was to his delight in Sigismond Trottier's society, among other causes, that M. Tillet owed his decadence as an artist. It was not that he had loved art less, but he had loved the Boulevard more. He had given up his nights to wit and pleasure; and he had found his ​working days curiously shortened in consequence. He had been renowned as one of the finest talkers, upon art, famed for his burning eloquence when he praised the great painters of the past, and for his scathing wit when he ridiculed the little painters of the present; for he had even thus early fallen to that stage in the idler's career, when a man's chief consolation is to undervalue contemporaneous merit. He had lived and enjoyed his life in those days, had spent his money faster than he earned it, and had fallen into the ranks of failure, to be supported by the toil of his wife and her children, to be the family log, the family disease. They were all very patient, those children of his. They worked for him and admired him, believed in him almost. They admired the great genius he might have been if he had only worked. They valued him for potentialities of greatness of which he talked sometimes, in his dreamy way; as if those idle aspirings had been actual achievements.
The shabby old salon, with its dark-red paper, stained and faded with age, was glorified by some of M. Tillet's pictures, painted before his slothful hand had begun to lose its cunning. There hung the portrait of a beautiful duchess, exquisitely painted—a lovely head, an ideal neck and shoulders, in white satin and brown fur, like an old Venetian picture. The head had been successful, but shoulders, arms, and draperies were still unfinished. The picture had been a commission, an offering from the Duchess to her distinguished father, a Minister of State, on his fête. But the fête had come and gone, and the portrait was not ready. Time had been conceded, and more time, and still the draperies remained unfinished, and still the picture was not fit to leave the painter's studio. Finally the commission had been cancelled. Some lesser genius had painted the Duchess, briskly, punctually, readily, out of hand. These meaner souls can go in harness. And the meaner soul received the seven thousand francs which were to have been paid to M. Tillet, and the painter had his unfinished picture, as a kind of pendant to his incomplete life. Happily, those trustful sons and daughters of his were very proud of that unfinished portrait, and of the four or five sketches for genre pictures, never painted, which adorned the family salon. There was not another man in France who could paint like their father, they said, or who had such talent in composition. Meissonier would have been nowhere in the race if Eugène Tillet had but stuck to his easel.
Trottier and Tillet began to talk, and the sons went on with their work in a free-and-easy manner, while Madame and the daughters waited upon their guests. Poor Hilda had been so unnerved by this unexpected encounter with a friend of her brother's that she could only falter the feeblest replies to Marcelline and Mathilde, who tried to make themselves at home with her.
​Marcelline, who was rather strong-minded, lost patience at last, and asked Mdlle. Duprez, in an undertone, as she handed a plate of petits fours, if her young friend was not just a trifle stupid.
"She is as clever as you and your sister, and that is saying a good deal," replied Louise Duprez, in the same undertone; "but she has just suffered a great heart-blow, and that kind of thing is not calculated to make one particularly lively."
This was enough for Marcelline, who was very tender-hearted. She went back to her seat next Hilda, and took her hand at the first opportunity.
"I hope we are going to be great friends," she murmured, "although you and Mathilde will have more in common. I long to hear you sing. Mdlle. Duprez says you have such a lovely voice. But perhaps you are too tired to sing to-night."
"If you will excuse me," faltered Hilda.
"Of course, we will excuse you. You must be very tired, after travelling all night. And you were dreadfully sea-sick, no doubt?"
"No, I escaped that suffering. I am never sea-sick."
"Good heavens, is that possible? If I go but a little way on the sea, the least little way, I suffer tortures, veritable agonies. And you others, you English, do not seem to suffer at all. You are a kind of sea-dogs, to whom waves and tempest are a natural element."
"I was brought up near the coast," answered Hilda. "I have been out in all weathers."
And then she thought of that wild, rock-bound coast on which she and Bothwell were to have lived, they two, all in all to each other, ineffably happy amidst simplest surroundings. She thought of the boat they were to have had—the cockle-shell row-boat in which they were to have gone dancing over the waves from Tintagel to Boscastle, or by Trebarwith sands, shining golden in the sunlight—in a bright world of life and clamour, the bird-world of gulls and cormorants, a winged populace, rejoicing in sea-foam, and light, and the music of the winds. She thought of the life that was to have been—the fairy fabric of the future, which had seemed so beautiful and so real, and which her ruthless hand had shattered.
Had she done right in so surrendering that fair future? Yes, again and again yes. The level domestic life which would have been so sweet to her as a woman would have been stagnation, a slow decay for an ambitious man. Her simple rustic rearing had prepared her for such a life. The monotony of a village existence was all-sufficient for her narrower views, her more concentrated nature. But Bothwell had seen the world, had lived in the thick of the strife; and it was most unnatural that he should resign all ambition, and live from day to day, working for his daily bread, ​like a labourer in the fields. He was to do this for her sake, his sole reward her love. It would have been, indeed, a one-sided bargain.
Hilda heard the light, airy talk around her—the talk about art and music and theatres, about the great world and its scandals—as in a dream. It was a world of which she knew nothing; and the conversation around her seemed as if it had been carried on in a kind of verbal hieroglyphics. The French she heard to-night was a new language—made up of catchwords and slang phrases—lines from new plays, words twisted into new meanings—in a word, the language of the Palais Royal Theatre, and the Vie Parisienne. Hilda listened and wondered, most of all when Mdlle. Duprez, that most classical and academical of speakers, showed herself perfectly at home in this little language of Bohemian Paris.
Sigismond Trottier was a favourite in the Tillet household. His visits were rare, and he never appeared before nine o'clock in the evening. He came nominally to tea, and the weak infusion of Bohea and the dainty little dishes of sweet cakes were always set forth at his coming; but the refreshment he most cared for was absinthe, and a small bottle of that dangerous liqueur and a carafe of water were always placed on the little table near the host's armchair, and from this bottle M. Trottier supplied himself. That greenish hue of his complexion was the livery of the absinthe-drinker, whose skin gradually assumes the colour of his favourite stimulant.
Trottier was dear to Eugène Tillet as a link with that brilliant past which was now but a memory. He liked to hear the journalist talk of the great men who had failed, and of the little men who had succeeded in art and literature. Strange that all the great men should have gone to the dogs, while all the little men had been pushing forward to the front.
It was like a game at draughts, in which the white men seem to be winning with a rush, when somehow the black men edge in stealthily here and there, in front, behind, at odd corners, until those splendid white fellows are all pushed off the board. To hear Trottier and Tillet talk, it would seem as if the chief characteristic of true genius was an irretrievable bent towards the gutter.
The journalist's visits in the Rue du Bac were never long. He had to leave at half-past ten, in order to write his paragraphs for the next number of the Taon, to be issued early next morning.
Mdlle. Duprez took leave at the same time as M. Trottier, and the journalist offered to escort the two ladies to their hotel, an arrangement which the Frenchwoman had foreseen. The street was very quiet at this hour, and as the pavement was narrow Mdlle. Duprez had an excuse for asking Hilda to walk a ​few yards in front, while she herself talked confidentially with M. Trottier.
"You no doubt think it is very strange that my young friend should be in Paris without her brother's knowledge," she said tentatively.
"Life is so full of strange events that I have long left off wondering or speculating about anything," he replied easily. "I have no doubt Mees Effecotte is a most charming young person."
"Ah, but I want you to know more about her than that. I want you to understand that she is just as good as she is charming. She is brave, unselfish, noble, capable of self-sacrifice—and there are a good many charming girls who are none of these things. There is nothing underhand in her presence in this city without her brother's knowledge. I, Louise Duprez, give you my word for that, and ask you as a favour to respect her secret."
"I have already pledged myself to do that, chère demoiselle. Indeed, I am not likely to see much more of Mr. Effecotte. He wanted my help in a matter in which I was at first willing to aid him, but in which I afterwards saw peril to a man whom I had known and liked in the past."
"I wished you to know that Mr. Heathcote's sister is in no way unworthy of her brother's love and protection. She is here to break off an engagement which would in all probability have ended unhappily."
"You need tell me no more. Your young friend is in very good hands. Mdme. Tillet is one of the best women I know; the true heart of motherhood beats under that broad chest of hers. She will take good care of your young friend in this dangerous city of Paris."
They parted at the entrance to the Bon Lafontaine, where Hilda and her friend had two little bedrooms adjoining each other, and where Hilda slept a troubled sleep, wearied by the fatigue of her journey, but haunted by sad thoughts even in the midst of her slumbers.
She transferred herself and her few belongings to the Rue du Bac next morning, and then went with Mdlle. Duprez to the Bon Marché, where she bought all she wanted, including two neat little ready-made gowns, one of gray alpaca, and the other of black cashmere, and a black velvet toque which gave her the true Parisian air.
"It was very wise of you to bring so little luggage. English gowns would have stamped you at once as an Englishwoman, and would have made people stare at you. In those neat little frocks you may pass anywhere unobserved," said Mademoiselle approvingly.
"Except for your fair young face, which is brighter than the ​typical face of the Boulevard," thought Louise Duprez, who did not care to praise her protégée too much.
She only stayed to see Hilda fairly installed in her new home, and left Paris by an afternoon train which would take her to Havre in time for the evening boat. She would be at Southampton next morning, and at Plymouth in the afternoon. Hilda went to the railway-station with her friend, full of gratitude for her kindness, kissing her with warmest thanks at parting.
"Heaven knows whether I have done right or wrong, child, in helping you," said the Quixotic little woman, with a doubtful sigh. "I have allowed myself to be guided by the instinct of my heart, and a woman's heart is not always a wise counsellor. If that young man of yours does not care for his wealthy widow, a nice mess I have helped you to make of two lives."
"But he does care for her. He loved her devotedly for three years. A man cannot change all at once," argued Hilda; "and she is so elegant, so aristocratic—fascinating, no doubt, when she chooses. Bothwell could not help loving her."
"Then he ought not to have pretended to love you," retorted Louise Duprez severely.
"That was my fault," said Hilda, with a sigh.
The signal for departure sounded, and the friends said good-bye. Mathilde had accompanied Hilda to the station, and had waited discreetly at a little distance during those last confidences. The two girls walked home to the Rue du Bac together, Hilda fearing lest she should run against her brother at any moment.
And now Hilda's new life began in earnest, a life in a strange household, amidst new surroundings. She was to try and find consolation in hard work, in her love of music—to create for herself new interests, if it were possible, while every moment of her life was haunted by thoughts of the lover she had deserted, and the home that was to have been hers.
She took her first lesson at the Conservatoire on the following Monday morning, and the professor who taught her was very encouraging about her voice and talent. He told her she possessed an organ worthy of the highest cultivation, capable of the grandest development. He put aside the little German song which she had taken with her, and gave her a solo of Glück's.
"You were taught by Mdlle. Duprez, I understand," he said. "An admirable woman, quite an admirable manner—one of Garcia's best pupils, and one of the few women capable of profiting to the uttermost by Garcia's teaching. You have been taught in the best school, Mademoiselle, and you have nothing to unlearn. That is saying a great deal. On the other hand, I need not tell you that you have a great deal to learn."
"I am sure of that, sir. I have come to Paris on purpose to profit by your instructions."
​"With a view to appearing in opera?"
"O, no," exclaimed Hilda, blushing; "I have no such lofty ambition. I only want to sing a little better than I do—to amuse my brother."
"That is a very limited horizon."
"And for my own pleasure in good music."
"I see. Art for art's sake. There are very few nowadays who care to work for art in the abstract. I shall be very proud of such a pupil."
Hilda's fresh young face—fresh in its youthfulness, despite the settled sadness in the eyes—her blushes and simplicity, had fascinated the gray-headed singing-master. Louise Duprez had hinted at Hilda's story—a broken engagement, a girl's first sorrow. He had been told that his new pupil was an English girl of good family, brought up in a remote province, inexperienced, pure-minded; and he who had for the last forty years been steeped in the vanity, vices, and falsehoods of the great garish city felt his heart drawn towards this gentle girl, with her faint perfume of well-bred rusticity.
"You have a very fine voice, my dear child, and it is a great pity you are not obliged to earn your own living," he said, smiling at her, as he rose from the piano. "I shall expect you to sing me that scena in first-rate style next Wednesday."