The years that had elapsed since Mrs. Byron’s visit to Dr. Moncrief had left no perceptible trace on her; indeed she looked younger now than on that occasion, because she had been at the trouble of putting on an artificial complexion. Her careless refinement of manner was so different from the studied dignity and anxious courtesy of the actor-manager, that Lydia could hardly think of them as belonging to the same profession. Her voice was not her stage voice; it gave a subtle charm to her most commonplace remarks, and it was as different as possible from Cashel’s rough tones. Yet Lydia was convinced by the first note of it that she was Cashel’s mother. Besides, their eyes were so like that they might have made an exchange without altering their appearance.
Mrs. Byron, coming to the point without delay, at once asked to see the drawing. Lydia brought her to the library, were several portfolios were ready for inspection. The precious fragment of vellum was uppermost.
“Very interesting, indeed,” said Mrs. Byron, throwing it aside after one glance at it, and turning over some later prints, while Lydia, amused, looked on in silence. “Ah,” she said, presently, “here is something that will suit me exactly. I shall not trouble to go through the rest of your collection, thank you. They must do that robe for me in violet silk. What is your opinion of it, Miss Carew? I have noticed, from one or two trifles, that your taste is exquisite.”
“For what character do you intend the dress?”
“Constance, in ‘King John.’”
“But silk was not made in western Europe until three hundred years after Constance’s death. And that drawing is a sketch of Marie de Medicis by Rubens.”
“Never mind,” said Mrs. Byron, smoothly. “What does a dress three hundred years out of date matter when the woman inside it is seven hundred years out? What can be a greater anachronism than the death of Prince Arthur three months hence on the stage of the Panopticon Theatre? I am an artist giving life to a character in romance, I suppose; certainly not a grownup child playing at being somebody out of Mrs. Markham’s history of England. I wear whatever becomes me. I cannot act when I feel dowdy.”
“But what will the manager say?”
“I doubt if he will say anything. He will hardly venture to press on me anything copied from that old parchment. As he will wear a suit of armor obviously made the other day in Birmingham, why — !” Mrs. Byron shrugged her shoulders, and did not take sufficient interest in the manager’s opinion to finish her sentence.
“After all, Shakespeare concerned himself very little about such matters,” said Lydia, conversationally.
“No doubt. I seldom read him.”
“Is this part of Lady Constance a favorite one of yours?”
“Troublesome, my dear,” said Mrs. Byron, absently. “The men look ridiculous in it; and it does not draw.”
“No doubt,” said Lydia, watching her face. “But I spoke rather of your personal feeling towards the character. Do you, for instance, like portraying maternal tenderness on the stage?”
“Maternal tenderness,” said Mrs. Byron with sudden nobleness, “is far too sacred a thing to be mimicked. Have you any children?”
“No,” said Lydia, demurely. “I am not married.”
“Of course not. You should get married. Maternity is a liberal education in itself.”
“Do you think that it suits every woman?”
“Undoubtedly. Without exception. Only think, dear Miss Carew, of the infinite patieuce with which you must tend a child, of the necessity of seeing with its little eyes and with your own wise ones at the same time, of bearing without reproach the stabs it innocently inflicts, of forgiving its hundred little selfishnesses, of living in continual fear of wounding its exquisite sensitiveness, or rousing its bitter resentment of injustice and caprice. Think of how you must watch yourself, check yourself, exercise and develop everything in you that can help to attract and retain the most jealous love in the world! Believe me, it is a priceless trial to be a mother. It is a royal compensation for having been born a woman.”
“Nevertheless,” said Lydia, “I wish I had been born a man. Since you seem to have thought deeply into these problems, I will venture to ask you a question. Do you not think that the acquirement of an art demanding years of careful self-study and training — such as yours, for example — is also of great educational value? Almost a sufficient discipline to make one a good mother?”
“Nonsense!” said Mrs. Byron, decidedly. “People come into the world readymade. I went on the stage when I was eighteen, and succeeded at once. Had I known anything of the world, or been four years older, I should have been weak, awkward, timid, and flat; it would have taken me twelve years to crawl to the front. But I was young, passionate, beautiful, and indeed terrible; for I had run away from home two years before, and been cruelly deceived. I learned the business of the stage as easily and thoughtlessly as a child learns a prayer; the rest came to me by nature. I have seen others spend years in struggling with bad voices, uncouth figures, and diffidence; besides a dozen defects that existed only in their imaginations. Their struggles may have educated them; but had they possessed sufficient genius they would have had neither struggle nor education. Perhaps that is why geniuses are such erratic people, and mediocrities so respectable. I grant you that I was very limited when I first came out; I was absolutely incapable of comedy. But I never took any trouble about it; and by and by, when I began to mature a little, and to see the absurdity of most of the things I had been making a fuss about, comedy came to me unsought, as romantic tragedy had come before. I suppose it would have come just the same if I had been laboring to acquire it, except that I would have attributed its arrival to my own exertions. Most of the laborious people think they have made themselves what they are — much as if a child should think it had made itself grow.”
“You are the first artist I ever met,” said Lydia, “who did not claim art as the most laborious of all avocations. They all deny the existence of genius, and attribute everything to work.”
“Of course one picks up a great deal from experience; and there is plenty of work on the stage. But it in my genius which enables me to pick up things, and to work on the stage instead of in a kitchen or laundry.”
“You must be very fond of your profession.”
“I do not mind it now; I have shrunk to fit it. I began because I couldn’t help myself; and I go on because, being an old woman, I have nothing else to do. Bless me, how I hated it after the first month! I must retire soon, now. People are growing weary of me.”
“I doubt that. I am bound to assume that you are an old woman, since you say so; but you must be aware, flattery apart, that you hardly seem to have reached your prime yet.”
“I might be your mother, my dear. I might be a grand mother. Perhaps I am.” There was a plaintive tone in the last sentence; and Lydia seized the opportunity.
“You spoke of maternity then from experience, Miss Gisborne?”
“I have one son — a son who was sent to me in my eighteenth year.”
“I hope he inherits his mother’s genius and personal grace.”
“I am sure I don’t know,” said Mrs. Byron, pensively. “He was a perfect devil. I fear I shock you, Miss Carew; but really I did everything for him that the most devoted mother could do; and yet he ran away from me without making a sign of farewell. Little wretch!”
“Boys do cruel things sometimes in a spirit of adventure,” said Lydia, watching her visitor’s face narrowly.
“It was not that. It was his temper, which was ungovernable. He was sulky and vindictive. It is quite impossible to love a sulky child. I kept him constantly near me when he was a tiny creature; and when he got too big for that I spent oceans of money on his education. All in vain! He never showed any feeling towards me except a sense of injury that no kindness could remove. And he had nothing to complain of.