The Governess and Other Stories (10 page)

For the next few days she both came to the studio and left it again uneasily. Secretly, she hoped that the painter would give up this plan as well, and her decision to ask him to do so with a few calm words became compelling and overwhelming. Yet she could never quite bring herself do it; personal pride or a secret sense of shame kept the words back even as they came to her lips like birds ready to take flight. However, as she came back day after day, even though she was so restless, her shame gradually became an unconscious lie, for she had already come to terms with it, as you might come to terms with an unwelcome fact about yourself. She simply did not understood what had happened. Meanwhile the picture was making little progress, although the painter described it cautiously to her. In reality the frame of his canvas contained only the empty and unimportant lines of the figures, and a few fleeting attempts at choosing shades of colour. The old man was waiting for Esther to reconcile herself to his idea, and as his hope that she would verged on certainty he did not try to hurry matters along. For the time being, he made her sittings shorter, and talked a great deal of unimportant matters, deliberately ignoring the presence of the baby and Esther’s uneasiness. He seemed more confident and cheerful than ever.

And this time his confidence was well-founded. One morning it was bright and warm, the rectangle of the window framed a light, translucent landscape—towers that were far away, yet the golden gleam on them made them look close; rooftops from which smoke rose in a leisurely fashion, curling up into the deep damask blue of the sky and losing itself there; white clouds very close, as if they were about to descend like downy fluttering birds into the darkly flowing sea of roofs. And the sun cast great handfuls of gold on everything, rays and dancing sparks, circles of light like little clinking coins, narrow strips of it like gleaming daggers, fluttering shapes without any real form that leapt nimbly over the floorboards as of they were bright little animals. This dappled, sparkling play of light had woken the baby from sleep as it tapped at his closed eyelids, until his eyes opened and he blinked and stared. He began moving restlessly on Esther’s lap as she reluctantly held him. However, he was not trying to get away from her, only grabbing awkwardly with his clumsy little hands at the sparkling light dancing and playing around them, although he could not seize them, and his failure only made him try harder. His fat little fingers tried to move faster and faster. The sunny light showed the warm flow of blood shining rosily through them, and this simple game made the child’s clumsy little body such a charming sight that it cast a spell even on Esther. Smiling with her superior knowledge at the baby’s vain attempts to catch and hold the light, she watched his endless game without tiring, quite forgetting her reluctance to hold the innocent, helpless infant. For the first time she felt that there was true human life in the smooth little body—all she had felt before was his naked flesh and the dull satisfaction of his senses—and with childish curiosity of her own she followed all his movements. The old man watched in silence. If he spoke he feared he might revive her truculence and the shame she had forgotten, but his kindly lips wore the satisfied smile of a man who knows the world and its creatures. He saw nothing startling in this change, he had expected and counted on it, confident of the deep laws of nature that never fail. Once again he felt very close to one of those miracles of life that are always renewing themselves, a miracle that can suddenly use children to call forth the devoted kindness of women, and they then give it back to the children, so the miracle passes from being to being and never loses its own childhood but lives a double life, in itself and in those it encounters. And was this not the divine miracle of Mary herself, a child who would never become a woman, but would live on in her child? Was that miracle not reflected in reality, and did not every moment of burgeoning life have about it an ineffable radiance and the sound of what can never be understood?

The old man felt again, deeply, that proximity to the miraculous the idea of which, whether divine or earthly, had obsessed him for weeks. But he knew that he stood outside a dark, closed gate, from which he must humbly turn away again, merely leaving a reverent kiss on the forbidden threshold. He picked up a brush to work, and so chase away ideas that were already lost in clouded gloom. However, when he looked to see how close his copy came to reality, he was spellbound for a moment. He felt as if all his searching so far had been in a world hung about with veils, although he did not know it, and only now that they were removed did its power and extravagance burn before him. The picture he had wanted was coming to life. With shining eyes and clutching hands, the healthy, happy child turned to the light that poured its soft radiance over his naked body. And above that playful face was a second, tenderly bent over the child, and itself full of the radiance cast by that bright little body. Esther held her slender, childish hands on both sides of the baby to protect and avert all misfortune from him. And above her head was a fleeting light caught in her hair and seeming to shine out of it from within. Gentle movement united with moving light, unconsciousness joined dreaming memory, they all came together in a brief and beautiful image, airy and made of translucent colours, an image that could be shattered by a moment’s abrupt movement.

The old man looked at the couple as if at a vision. The swift play of light seemed to have brought them together, and as if in distant dreams he thought of the Italian master’s almost forgotten picture and its divine serenity. Once again he felt as if he heard the call of God. But this time he did not lose himself in dreams, he put all his strength into the moment. With vigorous strokes, he set down the play of the girl’s childish hands, the gentle inclination of her bent head, her attitude no longer harsh. It was as if, although the moment was transitory, he wanted to preserve it for ever. He felt creative power in him like hot young blood. His whole life was in flux and flow, light and colour flowed into that moment, forming and holding his painting hand. And as he came closer to the secret of divine power and the unlimited abundance of life than ever before, he did not think about its signs and miracles, he lived them out by creating them himself.

The game did not last long. The child at last got tired of constantly snatching at the light, and Esther was surprised to see the old man suddenly working with feverish haste, his cheeks flushed. His face showed the same visionary light as in the days when he had talked to her about God and his many miracles, and she felt fervent awe in the presence of a mind that could lose itself so entirely in worlds of creation. And in that overwhelming feeling she lost the slight sense of shame she had felt, thinking that the painter had taken her by surprise at the moment when she was entirely fulfilled by the sight of the child. She saw only the abundance of life, and its sublime variety allowed her to feel again the awe that she had first known when the painter showed her pictures of distant, unknown people, cities as lovely as a dream, lush landscapes. The deprivations of her own life, the monotony of her intellectual experience took on colour from the sound of what was strange and the magnificence of what was distant. And a creative longing of her own burnt deep in her soul, like a hidden light burning in darkness.

That day was a turning point in the history of Esther and the picture. The shadows had fallen away from her. Now she walked fast, stepping lightly, to those hours in the studio that seemed to pass so quickly; they strung together a whole series of little incidents each of which was significant to her, for she did not know the true value of life and thought herself rich with the little copper coins of unimportant events. Imperceptibly, the figure of the old man retreated into the background of her mind by comparison with the baby’s helpless little pink body. Her hatred had turned to a wild and almost greedy affection, such as girls often feel for small children and little animals. Her whole being was poured into watching and caressing him; unconsciously and in a passionate game, she was living out a woman’s most sublime dream, the dream of motherhood. The purpose of her visits to the studio eluded her. She came, sat down in the big armchair with the healthy little baby, who soon recognised her and would laugh back at her, and began her ardent flirtation with him, quite forgetting that she was here for the sake of the picture, and that she had once felt this naked child was nothing but a nuisance. That time seemed as far away as one of the countless deceptive dreams that she used to spin in her long hours in the dark, dismal alley; their fabric dissolved at the first cautious breath of a wind of reality. Only in those hours at the studio did she now seem to live, not in the time she spent at home or the night into which she plunged to sleep. When her fingers held the baby’s plump little hands, she felt that this was not an empty dream. And the smile for her in his big blue eyes was not a lie. It was life, and she drank it in with an avidity for abundance that was a rich, unconscious part of her heritage, and also a need to give of herself, a feminine longing before she was a woman yet. This game already had in it the seed of deeper longing and deeper joy. But it was still only a flirtatious dance of affection and admiration, playful charm and foolish dream. She cradled the baby like a child cuddling her doll, but she dreamt as women and mothers dream—sweetly, lovingly, as if in some boundless distant space.

The old man felt the change with all the fullness of his wise heart. He sensed that he was further from her now, but not stranger, and that he was not at the centre of her wishes but left to one side, like a pleasant memory. And he was glad of this change, much as he also loved Esther, for he saw young, strong, kind instincts in her which, he hoped, would do more than his own efforts to break through the defiance and reserve of the nature she had inherited. He knew that her love for him, an old man at the end of his days, was wasteful, although it could bring blessing and promise to her young life.

He owed wonderful hours to the love for the child that had awakened in Esther. Images of great beauty formed before him, all expressing a single idea and yet all different. Soon it was an affectionate game—his sketches showed Esther playing with the child, still a child herself in her unbounded delight, they showed flexible movements without harshness or passion, mild colours blending gently, the tender merging of tender forms. And then again there were moments of silence when the child had fallen asleep on her soft lap, and Esther’s little hands watched over him like two hovering angels, when the tender joy of possession lit in her eyes, and a silent longing to wake the sleeping face with loving play. Then again there were seconds when the two pairs of eyes, hers and the baby’s, were drawn to each other unconsciously, unintentionally, each seeking the other in loving devotion. Again, there were moments of charming confusion when the child’s clumsy hands felt for the girl’s breast, expecting to find his mother’s milk there. Esther’s cheeks would flush bashfully at that, but she felt no fear now, no reluctance, only a shy surge of emotion that turned to a happy smile.

These days were the creative hours that went into the picture. The painter made it out of a thousand touches of tenderness, a thousand loving, blissful, fearful, happy, ardent maternal glances. A great work full of serenity was coming into being. It was plain and simple—just a child playing and a girl’s head gently bending down. But the colours were milder and clearer than he had ever painted colours before, and the forms stood out as sharply and distinctly as dark trees against the glow of an evening sky. It was as if there must be some inner light hidden in the picture, shedding that secret brightness, as if air blew in it more softly, caressingly and clearly than in any other earthly work. There was nothing supernatural about it, and yet it showed the mystical mind of the man who had created it. For the first time the old man felt that in his long and busy creative life he had always been painting, brushstroke after brushstroke, some being of which he really knew nothing. It was like the old folk tale of the magical imps who do their work in hiding, yet so industriously that people marvel in the morning to see all they did overnight. That was how the painter felt when, after moments of creative inspiration, he stepped back from the picture and looked critically at it. Once again the idea of a miracle knocked on the door of his heart, and this time he hardly hesitated to let it in. For this work seemed to him not only the flower of his entire achievement, but something more distant and sublime of which his humble work was not worthy, although it was also the crown of his artistic career. Then his cheerful creativity would die away and turn to a strange mood when he felt fear of his own work, no longer daring to see himself in it.

So he distanced himself from Esther, who now seemed to him only the means of expressing the earthly miracle that he had worked. He showed her all his old kindness, but once again his mind was full of the pious dreams that he had thought far away. The simple power of life suddenly seemed to him so wonderful. Who could give him answers? The Bible was old and sacred, but his heart was earthly and still bound to this life. Where could he ask whether the wings of God descended to this world? Were there signs of God still abroad today, or only the ordinary miracles of life?

The old man did not venture to wish for the answer, although he had seen strange things during his life. But he was no longer as sure of himself as in the old days when he believed in life and in God, and did not stop to wonder which of them was really true. Every evening he carefully covered up the picture, because once recently, on coming home to see silver moonlight resting on it like a blessing, he felt as if the Mother of God herself had shown him her face, and he could almost have thrown himself down in prayer before the work of his own hands.