Antic Hay (13 page)

Lypiatt threw open the door at the head of the stairs and stood there on the threshold, waiting for her. ‘Queer?' he repeated. ‘Not a bit.' And as she moved past him into the room, he laid his hand on her shoulder and fell into step with her, leaving the door to slam behind them. ‘Merely an example of the mob's instinctive dislike of the aristocratic individual. That's all. “Oh, why was I born with a different face?” Thank God I was, though. And so were you. But the difference has its disadvantages; the children throw stones.'

‘They didn't throw stones.' Mrs Viveash was too truthful, this time.

They halted in the middle of the studio. It was not a very large room and there were too many things in it. The easel stood near the centre of the studio; round it Lypiatt kept a space permanently cleared. There was a broad fairway leading to the door, and another, narrower and tortuously winding between boxes and piled-up furniture and tumbled books, gave access to his bed. There was a piano and a table permanently set with dirty plates and strewed with the relics of two or three meals. Bookshelves stood on either side of the fireplace, and lying on the floor were still more books, piles on dusty piles. Mrs Viveash stood looking at the picture on the easel (abstract again – she didn't like it), and Lypiatt, who had dropped his hand from her shoulder, and had stepped back the better to see her, stood earnestly looking at Mrs Viveash.

‘May I kiss you?' he asked after a silence.

Mrs Viveash turned towards him, smiling agonizingly, her eyebrows ironically lifted, her eyes steady and calm and palely, brightly inexpressive. ‘If it really gives you any pleasure,' she said. ‘It won't, I may say, to me.'

‘You make me suffer a great deal,' said Lypiatt, and said it so quietly and unaffectedly, that Myra was almost startled; she was accustomed, with Casimir, to noisier and more magniloquent protestations.

‘I'm very sorry,' she said; and, really, she felt sorry. ‘But I can't help it, can I?'

‘I suppose you can't,' he said. ‘You can't,' he repeated, and his voice had now become the voice of Prometheus in his bitterness. ‘Nor can tigresses.' He had begun to pace up and down the unobstructed fairway between his easel and the door; Lypiatt liked pacing while he talked. ‘You like playing with the victim,' he went on; ‘he must die slowly.'

Reassured, Mrs Viveash faintly smiled. This was the familiar Casimir. So long as he could talk like this, could talk like an old-fashioned French novel, it was all right; he couldn't really be so very unhappy. She sat down on the nearest unencumbered chair. Lypiatt continued to walk back and forth, waving his arms as he walked.

‘But perhaps it's good for one to suffer,' he went on, ‘perhaps it's unavoidable and necessary. Perhaps I ought to thank you. Can an artist do anything if he's happy? Would he ever want to do anything? What is art, after all, but a protest against the horrible inclemency of life?' He halted in front of her, with arms extended in a questioning gesture. Mrs Viveash slightly shrugged her shoulders. She really didn't know; she couldn't answer. ‘Ah, but that's all nonsense,' he burst out again, ‘all rot. I want to be happy and contented and successful; and of course I should work better if I were. And I want, oh, above everything, everything, I want you: to possess you completely and exclusively and jealously and for ever. And the desire is like rust corroding my heart, it's like moth eating holes in the fabric of my mind. And you merely laugh.' He threw up his hands and let them limply fall again.

‘But I don't laugh,' said Mrs Viveash. On the contrary, she was very sorry for him; and, what was more, he rather bored her. For a few days, once, she had thought she might be in love with him. His impetuosity had seemed a torrent strong enough to carry her away. She had found out her mistake very soon. After that he had rather amused her: and now he rather bored her. No, decidedly, she never laughed. She wondered why she still went on seeing him. Simply because one must see some one? or why? ‘Are you going to go on with my portrait?' she asked.

Lypiatt sighed. ‘Yes,' he said, ‘I suppose I'd better be getting on with my work. Work – it's the only thing. “Portrait of a Tigress”.' The cynical Titan spoke again. ‘Or shall I call it, “Portrait of a Woman who has never been in love”?'

‘That would be a very stupid title,' said Mrs Viveash.

‘Or, “Portrait of the Artist's Heart Disease”? That would be good, that would be damned good!' Lypiatt laughed very loudly and slapped his thighs. He looked, Mrs Viveash thought, peculiarly ugly when he laughed. His face seemed to go all to pieces; not a corner of it but was wrinkled and distorted by the violent grimace of mirth. Even the forehead was ruined when he laughed. Foreheads are generally the human part of people's faces. Let the nose twitch and the mouth grin and the eyes twinkle as monkeyishly as you like; the forehead can still be calm and serene, the forehead still knows how to be human. But when Casimir laughed, his forehead joined in the general disintegrating grimace. And sometimes even when he wasn't laughing, when he was just vivaciously talking, his forehead seemed to lose its calm and would twitch and wrinkle itself in a dreadful kind of agitation. ‘Portrait of the Artist's Heart Disease' – she didn't find it so very funny.

‘The critics would think it was a problem picture,' Lypiatt went on. ‘And so it would be, by God, so it would be. You are a problem. You're the Sphinx. I wish I were Oedipus and could kill you.'

All this mythology! Mrs Viveash shook her head.

He made his way through the intervening litter and picked up a canvas that was leaning with averted face against the wall near the window. He held it out at arm's length and examined it, his head critically cocked on one side. ‘Oh, it's good,' he said softly. ‘It's good. Look at it.' And, stepping out once more into the open, he propped it up against the table so that Mrs Viveash could see it without moving from her chair.

It was a stormy vision of her; it was Myra seen, so to speak, through a tornado. He had distorted her in the portrait, had made her longer and thinner than she really was, had turned her arms into sleek tubes and put a bright, metallic polish on the curve of her cheek. The figure in the portrait seemed to be leaning backwards a little from the surface of the canvas, leaning sideways too, with the twist of an ivory statuette carved out of the curving tip of a great tusk. Only somehow in Lypiatt's portrait the curve seemed to lack grace, it was without point, it had no sense.

‘You've made me look,' said Mrs Viveash at last, ‘as though I were being blown out of shape by the wind.' All this show of violence – what was the point of it? She didn't like it, she didn't like it at all. But Casimir was delighted with her comment. He slapped his thighs and once more laughed his restless, sharp-featured face to pieces.

‘Yes, by God,' he shouted, ‘by God, that's right! Blown out of shape by the wind. That's it: you've said it.' He began stamping up and down the room again, gesticulating. ‘The wind, the great wind that's in me.' He struck his forehead. ‘The wind of life, the wild west wind. I feel it inside me, blowing, blowing. It carries me along with it; for though it's more than I am, it's a force that comes from somewhere else, it's Life itself, it's God. It blows me along in the teeth of opposing fate, it makes me work on, fight on.' He was like a man who walks along a sinister road at night and sings to keep up his own spirits, to emphasize and magnify his own existence. ‘And when I paint, when I write or improvise my music, it bends the things I have in my mind, it pushes them in one direction, so that everything I do has the look of a tree that streams north-east with all its branches and all its trunk from the root upwards, as though it were trying to run from before the Atlantic gale.'

Lypiatt stretched out his two hands and, with fingers splayed out to the widest and trembling in the excessive tension of the muscles, moved them slowly upwards and sideways, as though he were running his palms up the stem of a little wind-wizened tree on a hilltop above the ocean.

Mrs Viveash continued to look at the unfinished portrait. It was as noisy and easy and immediately effective as a Vermouth advertisement in the streets of Padua. Cinzano, Bonomelli, Campari – illustrious names. Giotto and Mantegna mouldered meanwhile in their respective chapels.

‘And look at this,' Lypiatt went on. He took down the canvas that was clamped to the easel and held it out for her inspection. It was one of Casimir's abstract paintings: a procession of machine-like forms rushing up diagonally from right to left across the canvas, with as it were a spray of energy blowing back from the crest of the wave towards the top right-hand corner. ‘In this painting,' he said, ‘I symbolize the Artist's conquering spirit – rushing on the universe, making it its own.' He began to declaim:

Or the same idea in terms of music –' and Lypiatt dashed to the piano and evoked a distorted ghost of Scriabin. ‘You see?' he asked feverishly, when the ghost was laid again and the sad cheap jangling had faded again into silence. ‘You
feel
? The artist rushes on the world, conquers it, gives it beauty, imposes a moral significance.' He returned to the picture. ‘This will be fine when it's finished,' he said. ‘Tremendous. You feel the wind blowing there, too.' And with a pointing finger he followed up the onrush of the forms. ‘The great south-wester driving them on. “Like leaves from an enchanter fleeing.” Only not chaotically, not in disorder. They're blown, so to speak in column of four – by a conscious wind.' He leaned the canvas against the table and was free again to march and brandish his conquering fists.

‘Life,' he said, ‘life – that's the great, essential thing. You've got to get life into your art, otherwise it's nothing. And life only comes out of life, out of passion and feeling; it can't come out of theories. That's the stupidity of all this about art for art's sake and the aesthetic emotions and purely formal values and all that. It's only the formal relations that matter; one subject is just as good as another – that's the theory. You've only got to look at the pictures of the people who put it into practice to see that it won't do. Life comes out of life. You must paint with passion, and the passion will stimulate your intellect to create the right formal relations. And to paint with passion, you must paint things that passionately interest you, moving things, human things. Nobody, except a mystical pantheist, like Van Gogh, can seriously be as much interested in napkins, apples and bottles as in his lover's face, or the resurrection, or the destiny of man. Could Mantegna have devised his splendid compositions if he had painted arrangements of Chianti flasks and cheeses instead of Crucifixions, martyrs and triumphs of great men? Nobody but a fool could believe it. And could I have painted that portrait if I hadn't loved you, if you weren't killing me?'

Ah, Bonomelli and illustrious Cinzano!

‘Passionately I paint passion. I draw life out of life. And I wish them joy of their bottles and their Canadian apples and their muddy table napkins with the beastly folds in them that look like loops of tripe.' Once more Lypiatt disintegrated himself with laughter; then was silent.

Mrs Viveash nodded, slowly and reflectively. ‘I think you're right,' she said. Yes, he was surely right; there must be life, life was the important thing. That was precisely why his paintings were so bad – she saw now; there was no life in them. Plenty of noise there was, and gesticulation and a violent galvanized twitching; but no life, only the theatrical show of it. There was a flaw in the conduit; somewhere between the man and his work life leaked out. He protested too much. But it was no good; there was no disguising the deadness. Her portrait was a dancing mummy. He bored her now. Did she even positively dislike him? Behind her unchanging pale eyes Mrs Viveash wondered. But in any case, she reflected, one needn't always like the people with whom one associates. There are music-halls as well as confidential boudoirs; some people are admitted to the tea-party and the
tête-à-tête
, others, on a stage invisible, poor things! to themselves, do their little song-and-dance, roll out their characteristic patter, and having provided you with your entertainment are dismissed with their due share of applause. But then, what if they become boring?

‘Well,' said Lypiatt at last – he had stood there, motionless, for a long time, biting his nails, ‘I suppose we'd better begin our sitting.' He picked up the unfinished portrait and adjusted it on the easel. ‘I've wasted a lot of time,' he said, ‘and there isn't, after all, so much of it to waste.' He spoke gloomily, and his whole person had become, all of a sudden, curiously shrunken and deflated. ‘There isn't so much of it,' he repeated, and sighed. ‘I still think of myself as a young man, young and promising, don't you know. Casimir Lypiatt – it's a young, promising sort of name, isn't it? But I'm not young, I've passed the age of promise. Every now and then I realize it, and it's painful, it's depressing.'

Mrs Viveash stepped up on to the model's dais and took her seat. ‘Is that right?' she asked.

Lypiatt looked first at her, then at his picture. Her beauty, his passion – were they only to meet on the canvas? Opps was her lover. Time was passing; he felt tired. ‘That'll do,' he said, and began painting. ‘How young are you?' he asked after a moment.

‘Twenty-five, I should imagine,' said Mrs Viveash.

‘Twenty-five? Good Lord, it's nearly fifteen years since I was twenty-five. Fifteen years, fighting all the time. God, how I hate people sometimes! Everybody. It's not their malignity I mind; I can give them back as good as they give me. It's their power of silence and indifference, it's their capacity for making themselves deaf. Here am I with something to say to them, something important and essential. And I've been saying it for more than fifteen years, I've been shouting it. They pay no attention. I bring them my head and heart on a charger, and they don't even notice that the things are there. I sometimes wonder how much longer I can manage to go on.' His voice had become very low, and it trembled. ‘One's nearly forty, you know . . .' The voice faded huskily away into silence. Languidly and as though the business exhausted him, he began mixing colours on his palette.