'It just depends on where you put 'em. If Maclagan had know that much about his business he might have done better.'
'Why don't you put the damned dabs into something that will stay, then?' insisted the Nilghai, who had really taken considerable trouble in hiring for ****'s benefit the pen of a young gentleman who devoted most of his waking hours to an anxious consideration of the aims and ends of Art, which, he wrote, was one and indivisible.
'Wait a minute till I see how I am going to manage my procession of wives. You seem to have married extensively, and I must rough 'em in with the pencil--Medes, Parthians, Edomites. . . . Now, setting aside the weakness and the wickedness and--and the fat-headedness of deliberately trying to do work that will live, as they call it, I'm content with the knowledge that I've done my best up to date, and I shan't do anything like it again for some hours at least--probably years. Most probably never.'
'What! any stuff you have in stock your best work?' said Torpenhow.
'Anything you've sold?' said the Nilghai.
'Oh no. It isn't here and it isn't sold. Better than that, it can't be sold, and I don't think any one knows where it is. I'm sure I don't. . . . And yet more and more wives, on the north side of the square. Observe the virtuous horror of the lions!'
'You may as well explain,' said Torpenhow, and **** lifted his head from the paper.
'The sea reminded me of it,' he said slowly. 'I wish it hadn't. It weighs some few thousand tons--unless you cut it out with a cold chisel.'
'Don't be an idiot. You can't pose with us here,' said the Nilghai.
'There's no pose in the matter at all. It's a fact. I was loafing from Lima to Auckland in a big, old, condemned passenger-ship turned into a cargo-boat and owned by a second-had Italian firm. She was a crazy basket. We were cut down to fifteen ton of coal a day, and we thought ourselves lucky when we kicked seven knots an hour out of her. Then we used to stop and let the bearings cool down, and wonder whether the crack in the shaft was spreading.'
'Were you a steward or a stoker in those days?'
'I was flush for the time being, so I was a passenger, or else I should have been a steward, I think,' said ****, with perfect gravity, returning to the procession of angry wives. 'I was the only other passenger from Lima, and the ship was half empty, and full of rats and cockroaches and scorpions.'
'But what has this to do with the picture?'
'Wait a minute. She had been in the China passenger trade and her lower decks had bunks for two thousand pigtails. Those were all taken down, and she was empty up to her nose, and the lights came through the port holes--most annoying lights to work in till you got used to them. I hadn't anything to do for weeks. The ship's charts were in pieces and our skipper daren't run south for fear of catching a storm. So he did his best to knock all the Society Islands out of the water one by one, and I went into the lower deck, and did my picture on the port side as far forward in her as I could go. There was some brown paint and some green paint that they used for the boats, and some black paint for ironwork, and that was all I had.'
'The passengers must have thought you mad.'
'There was only one, and it was a woman; but it gave me the notion of my picture.'
'What was she like?' said Torpenhow.
'She was a sort of Negroid-Jewess-Cuban; with morals to match. She couldn't read or write, and she didn't want to, but she used to come down and watch me paint, and the skipper didn't like it, because he was paying her passage and had to be on the bridge occasionally.'
'I see. That must have been cheerful.'
'It was the best time I ever had. To begin with, we didn't know whether we should go up or go down any minute when there was a sea on; and when it was calm it was paradise; and the woman used to mix the paints and talk broken English, and the skipper used to steal down every few minutes to the lower deck, because he said he was afraid of fire. So, you see, we could never tell when we might be caught, and I had a splendid notion to work out in only three keys of colour.'
'What was the notion?'
'Two lines in Poe--
Neither the angles in Heaven above nor the demons down under the sea, Can ever dissever my soul from the soul of the beautiful Annabel Lee.
It came out of the sea--all by itself. I drew that fight, fought out in green water over the naked, choking soul, and the woman served as the model for the devils and the angels both--sea-devils and sea-angels, and the soul half drowned between them. It doesn't sound much, but when there was a good light on the lower deck it looked very fine and creepy. It was seven by fourteen feet, all done in shifting light for shifting light.'
'Did the woman inspire you much?' said Torpenhow.
'She and the sea between them--immensely. There was a heap of bad drawing in that picture. I remember I went out of my way to foreshorten for sheer delight of doing it, and I foreshortened damnably, but for all that it's the best thing I've ever done; and now I suppose the ship's broken up or gone down. Whew! What a time that was!'
'What happened after all?'
'It all ended. They were loading her with wool when I left the ship, but even the stevedores kept the picture clear to the last. The eyes of the demons scared them, I honestly believe.'
'And the woman?'
'She was scared too when it was finished. She used to cross herself before she went down to look at it. Just three colours and no chance of getting any more, and the sea outside and unlimited love-****** inside, and the fear of death atop of everything else, O Lord!' He had ceased to look at the sketch, but was staring straight in front of him across the room.
'Why don't you try something of the same kind now?' said the Nilghai.
'Because those things come not by fasting and prayer. When I find a cargo-boat and a Jewess-Cuban and another notion and the same old life, I may.'
'You won't find them here,' said the Nilghai.
'No, I shall not.' **** shut the sketch-book with a bang. 'This room's as hot as an oven. Open the window, some one.'
