It was March, and, although the weather was still very chill, the sun was shining and there was a hint of approaching spring in the air. The parlour enjoys a fine view of the garden with its pond and meticulous flowerbeds, and that morning I was sitting for Henry in front of the wide bay window. I was still very wan, but with the bright sunlight warming my cheeks and my loose hair, I was conscious of a feeling of satisfaction and well-being.
I wished I were in the garden now, with the cool air against my skin and the damp of the grass against my ankles. I wanted to smell the earth, to lie down and bite it, to roll in the greenery like a cat at play…
‘Effie, do keep still!’ Henry’s voice jerked me back to reality. ‘Three-quarter profile, please, and don’t let the dulcimer slip. I paid enough for it, you know. That’s better. Remember, if at all possible, I want the picture ready for the exhibition, and there isn’t much time.’
I corrected my position, shifting the instrument in my lap. Henry’s latest idea, A Damsel with a Dulcimer, was already four weeks under way and was to feature myself as the mysterious lady in Coleridge’s poem. Henry envisaged her as ‘An adolescent girl, all dressed in white, sitting upon a rustic bench with one foot curled up under her body, charmingly intent upon her musical study. Behind her lies an arboreal landscape, with, in the distance, the mythical mountain.’
I, who knew the poem by heart, and had often dreamed about it myself, had ventured to say that I felt ‘an Abyssinian maid’ should be someone rather more colourful and exotic than the insipid damsel I was to portray, but Mr Chester’s reply had left me in no doubt as to his own poor opinion of my taste, graphic, literary or otherwise. My own efforts at painting and poetry were proof enough of that. And yet, I remembered certain moments, before Henry had forbidden me to waste my time in areas in which I had no talent; I remembered looking into a canvas like an angry vortex of stars and feeling joy—joy and something like the beginnings of passion.
Passion?
The first night of our marriage, when Mr Chester had come to me with guilt and excitement in his eyes, had taught me all I needed to know about passion. My own innocent ardour had cooled his at once; the sight of my body had sent him to his knees, not with joy but with repentance. Thereafter his act of love was an act of contrition for both of us; a cold, comfortless joining, like that of two locomotives. After the baby was conceived, even this ceased.
I never understood it. Father had always told me that there was no harm in the physical act between a man and a woman in love; it was God’s reward, he said, for procreation. We are feeling beings, he used to tell me, innocent until evil thoughts take our innocence away. Our original sin was not the search for knowledge, but the shame that Adam and Eve had of their nakedness. It was that shame which sent them from the garden, and keeps us from the garden now.
Poor Father! He could never have understood the icy contempt in Henry’s face as he pulled away from my arms.
‘Is there no shame in you, woman?’ he had demanded.
Shame? I never knew it before I knew Henry.
And yet, there was a fire in me which neither the death of my child nor the coldness of my marriage could entirely quell; and sometimes, through the chill, clinging veils of my life, I felt the stirring of something more, something almost frightening. Watching Henry’s face as he sketched me I was seized by a sudden sharp revulsion. I wanted to throw the dulcimer to the ground, to leap up, to dance naked and without shame in the spring sunlight. The desire overwhelmed me, and before I knew it I was on my feet, crying aloud in a harsh and desperate voice…But Henry never heard me. He continued to frown contentedly over his paper, looking up for a second at an object just behind me, then returning to his sketch. I turned abruptly and saw myself, my position unchanged, holding the dulcimer in my lap.
I was conscious of a feeling of intense relief and elation. I had spoken to no-one of the episode in the church, although I had thought of it often, with a mounting conviction that it must have been the effect of the laudanum and would likely not be repeated. But this time it had been a whole day since I had last taken my drops, I was not ill, and there had been none of the sickening, spiralling sensation of the last occasion. Warily I looked down at myself; my new ‘body’ was a white, naked replica of the one I had temporarily vacated. A faint, silvery light seemed to emanate from it and I could feel the pile of the carpet beneath my feet and the freshness of the air against my skin. I was vibrant with energy and excitement, all my senses enhanced and given new dimension outside the clutter of my body.
Carefully I approached my physical body, wondering whether, when I touched it, I would be forced back inside; my hand passed through clothes and flesh without resistance. For an instant I was aware of the peculiar sensation of being in neither state, my body like a half-discarded nightdress around my real, living self; then I forced myself back. The world readjusted itself listlessly around me for a moment, then I leaped out again, overwhelmed with elation at the thought that now I could seemingly perform this feat at will. Rapidly gaining in confidence, I moved lightly across the room. Impelled by a new sense of mischief I lighted on the crown of Henry’s head and pirouetted, but he was in no way distracted from his sketching. Leaping down, I ran to the window and looked out, halfminded to jump through the glass but wary of leaving my body too far behind. A quick glance behind me told me that all was well and, throwing caution aside with the rest of my earthly burdens, I passed through the glass and into the garden.
So may the caterpillar dream of flight, or the chrysalis dream in her dark silken cradle.
And I? Into what frail murderous being will my chrysalis hatch?
Will I fly?
Or sting?
5
She’s lying, you know. I was never unkind to her, never. I loved her more than any woman has the right to be loved: I worshipped her, gave my soul for her. I gave her everything she wanted: the white wedding, my fine house, my art, my poetry. The day she married me I was the happiest man alive.
She was the one who spoiled it, like Eve before her in Eden. The seed was in her, in spite of my careful nurturing. I might have known.
What has she told you? That I rejected her? That I was cold? I remember her waiting for me in our room after the wedding celebrations were over: all in white, with her hair loose and spread over the pillows and the bedstead, brushing the floor. For a moment I thought she was asleep. I crept to the bed, afraid to wake her, a terrible tenderness spilling over into every part of my body. Above all else I wanted to lie down next to her, to breathe her scent, the lilac of her hair. At that moment I was blessed: there was no lust in me but for sleep, for the sweetness and innocence of her, and it was with tears in my eyes that I laid my face on the pillow beside hers.
For a second, there was a quiescence, then her eyes opened. I saw my face as in a witch’s crystal, a tiny pinprick against the fascia of her pupils. Her cold, pale hands crept around my neck. I felt my own responding in spite of myself. I had never so much as kissed her before and, as her lips met mine, I was submerged in her, my hands full of her hair and the softness of her breasts…
I should have died then: no man was made to endure the bliss and the torment of her as I was. I could feel her heat through the thin fabric of her nightdress; the awakened response in myself—and suddenly I was transported back to that day in my mother’s room, the scent of jasmine in my nostrils, felt again the hot, sulphurous excitement which had possessed me, which possesses me still. I could not move. I did not trust myself even to turn away. Maybe I cried aloud in despair and self-loathing. Effie clung to me like a Fury: when I tried to shake her from me she twisted on top of me and pinned me to the pillow, her long legs entwined around me, her mouth pressed against mine.
I tasted salt on her lips and I was drowning in her, with her hair in my mouth and in my eyes and all around me like the web of some fiendish spider-goddess. She had shed her nightdress as a snake sheds its skin, and was straddling me like a terrible centaur-w
oman, head thrown back in defiance of all decency and modesty. For a moment I could not help but respond: there was no thought in me but lust.
When I could think again I was pinned to the mattress in horror: where was my beggar girl, my sleeping beauty, my pale sister? Where was the child I had nurtured? She was all adult now in the dark heat of her desire. As she closed her eyes I managed to escape her mesmerism and I pushed her away with as much violence as my weak limbs could muster. Her eyes snapped open and it was all I could do to prevent myself being lost in their depths again, but I held on to the last of my sanity and turned my face away.
There was no shame in her. The last hope of salvation had been denied me in this girl, and the realization was bitter in me. Her kiss still salted my mouth, the memory of her touch beguiling against my skin, and I cursed my weak, sinful flesh. I cursed her too, this Eve of my downfall: cursed her white skin and her cavernous eyes and her hair which had made me mad with longing for her. With tears streaming down my face, I went down on my knees and prayed for forgiveness. But God was not there for me and, in the darkness, the demons of my lust pranced all around. Effie did not understand why I had withdrawn from her, and for a time she tried to drag me from my penance with tears and caresses.
‘What’s wrong?’ she asked softly, and if I had not known that she, too, was tainted to the core by the same demon which possessed me, I could have sworn she was pure. Her voice was unsteady, like that of a little girl, and her hands around my neck were as soft and loving as they had been when she was ten years old.
I dared not answer, but pushed her away, my hands clenched furiously.
‘Please…Henry…’ It was the first time she had called me by my first name, and the intimacy that it implied froze me with remorse.
‘Don’t call me that!’
She was confused, and her hand crept into mine, whether to comfort herself or me I was unsure.
‘But—’
‘Be quiet! Haven’t you done enough harm already?’
Perhaps she really didn’t know what irreparable damage she had already caused: I sensed her confusion and, in her troubled, tainted innocence, I hated her. She began to cry, and I hated her even more. Better that she should be dead than this carnal wrestling in the hot night! Better that she should be dead, I repeated fiercely. Her shamelessness had killed my little girl on the very night she was to have been mine. She had damned us both, and now she would be with me for the rest of her life, a living reminder of the death of all my illusions.
‘I don’t understand. What have I done wrong?’ Effie’s voice was so sincere, so vulnerable in the dark.
I laughed bitterly.
‘I thought you were so pure. I thought that even though all other women—even my own mother—might be whores, you at least had been spared the taint.’
‘I don’t—’
‘Listen!’ I snapped furiously. ‘I watched you grow. I kept you from the other children. I protected you. Where did you learn it? Who taught you? When I was painting you as Mary and Juliet and the Convent Flower, were you already twisting on your bed at night, dreaming of your lover? Did you look into your glass on May Eve and see him there, watching you?’ I took her by the shoulders and shook her. ‘Tell me!’
She pulled away from my grasp, trembling. Even then the sight of her body aroused me, and I threw a blanket at her.
‘Cover yourself, for God’s sake!’ I shouted, biting down on my lips to stop the hysteria.
She drew the blanket tightly around her shoulders, her eyes huge and unreadable. ‘I don’t understand,’ she said at last. ‘I thought you loved me. Why are you afraid to make me your wife?’
‘I’m not afraid!’ I snapped angrily. ‘We could share so many things together. Why demean it, for the sake of this one act? My love for you is pure, pure as the love of a child for his mother. You make it something shameful.’
‘But something which gives pleasure—’ began Effie.
‘No!’ I interrupted. ‘Not the true unsullied joy of a pure marriage. That can only exist in God. The flesh is the Devil’s domain, and all his pleasures are filth and corruption. Trust me, Effie. We are above this. I want to keep you innocent. I want to keep you beautiful.’
But she had turned her face to the wall, the blanket tight around her.
The Knave of Coins
6
Knave of Hearts, dear fellow, of Hearts. Kindly give me my proper title. Even a knave has his pride, you know. And I have so many hearts! I gave one to the mistress and one to the dame, and one to the beggar girl who cries in the lane—only to stop her crying, mark you. But what did they give me in return? A few sighs, a quick tumble, and enough tears to fill my bathtub. Women! They’ve been the death of me and still I can’t do without them; in hell I’ll swear I’ll ogle the little diablesses—I like ’em hot.
What’s that?
Ah, the story, the story. I see you find me distasteful. Well, you’ve given me the limelight for a time, and I’m not about to give it back yet. So smoke your pipe, old man, and move over. Let me introduce myself.
Moses Zachary Harper, poet, sometime painter, sinner, philanderer, hedonist, Knave of Hearts and Ace of Rods, erstwhile lover and loser of Mrs Euphemia Chester.
What of the good Henry?
Let’s say there was a contretemps; maybe a woman (who knows?)…maybe a true word spoken in jest at the expense of the pious Mr Chester. Suffice it to say there was a coldness, but a professional coldness. Mr Ruskin had taken a fancy to my Sodom and Gomorrah and had written favourably of me. There was a canvas! Three hundred bodies in rapturous, tortuous embrace! And every inch of female flesh conquered territory! The parsonic Mr Chester despised me cordially, but envied me my connections. To tell the truth, I had none—on the right side of the bed, that is—but I had managed to eke a few poor favours along the petticoat-line.
Imagine the conversations between us at the tea-tray; poor Henry, Friday-faced as a maiden aunt. ‘Won’t you have a cup of tea, Mr Harper? I hear your exhibition met with some success…’ Yours truly négligé to a point with no hat, and shirt undone, uttering calculated insults (‘I think I see the influence of Sir Joshua Reynolds in that last canvas, dear fellow…’). I confess, I was a thorn in his flesh. Poor Henry was never made to be an artist; he had none of the artistic temperament, exhibiting instead a distressing inclination for clean living, churchgoing and the like, which never failed to set my teeth on edge.
Imagine my surprise when, on returning from a long trip abroad, I heard he was married! My first reaction was hilarity, then disbelief. Oh, he’s good-looking in his way, but any woman with an ounce of sense can see he’s no more passion in him than a piece of ham. Which just goes to prove that most women don’t have an ounce of sense.
My second reaction was an intense curiosity. I wanted to see the specimen of misguided womanhood the man had snared. A plain girl, I imagined, no doubt a pillar of the local church, proficient in watercolours. I asked around the artistic circles and learned that Henry had been married for just under a year; that his wife was of frail constitution, and had given birth to a dead child in January. Opinion had it that she was rather lovely, in an unusual style. As it happened Henry, I was told, had planned an exhibition to coincide with the anniversary of their marriage, and, knowing that this was probably the only way I could get myself received by the old bluestocking, I determined to see it.
He had decided to hold the event at his house in Cromwell Square, Highgate—a mistake, I thought. He should have hired a small gallery; somewhere like Chatham Place, perhaps. But he would never have had the cheek to place himself beneath the very noses of his Pre-Raphaelite idols. Besides, from the start he had pretensions to exhibit at the Academy, and I knew him too well to expect him to compromise for anything less. An announcement duly arrived in The Times, followed up by a number of coy invitations to various influential critics and artists (myself not included, naturally).
I arrived at about twelve, having had lunch at a
chop-house nearby, and as I approached the house I saw a small cluster of people lingering at the gate as if unsure of their welcome. I recognized Holy Hunt and Morris, scowling fiercely at some remark of Hunt’s—the woman with him was Mrs Morris: I’d have recognized her from Rossetti’s paintings any day, but personally I found her rather too much on the grand scale for my taste. Henry would be pleased, though, as long as he didn’t have to talk to them: he couldn’t abide anyone eccentric or abrupt—and from what I had heard of Morris, he wasn’t the type to suffer a pompous ass like Henry very kindly.
There were a couple of my friends arriving in the wake of the little party, and I joined them, wondering all the while why they should have bothered to come in the first place. He was a young wretch of a poet called Finglass, she his Muse, Jenny; I grinned to hear him introduce her to the tight-lipped old biddy of a housekeeper as ‘Mrs Finglass’—the housekeeper managed to look sceptical and polite at the same time—and we went in together.
As I entered the house it occurred to me how typical of Henry Chester it was to set up an exhibition à domicile just after his wife, by all reports, had been so ill. I am certain that he would have been most affronted if anyone had pointed it out. I knew what Henry was like: all his ex-models agreed, although he paid quite well, he was a ‘regular Tartar’ when he was painting, he fell into the most violent rages if a girl as much as shifted her posture, he forgot to allow his models to take a rest, and, on top of that, moralized most harshly to the unfortunate creatures—most of whom were on the street through no real fault of their own, and had turned to modelling as a rather better-paid and more respectable form of prostitution.
There were maybe a dozen people in all; some peering at the framed canvasses in the passageway, but most of them in the parlour, where the bulk of the work was exhibited, with Henry in their midst talking volubly to a rapt little circle of nonentities over glasses of sherry and ratafia. He glanced at me as I came in and acknowledged me with a curt little nod. I smiled winningly, helped myself to a glass of sherry and idled over to the paintings, which were every bit as bad as I expected them to be.