"Now, dear papa, I have come to the heart of the business, after, it must be owned, an unconscionably long prelude. With my weak intellect I have thought out the whole thing. Here is my kind friend, my adopted father, the owner of a mine in Bondavara, and beside him men with I don't know how many millions at their backs are going to form a coal company. It would be a good thing to let him know, that he may act in time; it may be good for him, but it would seem to me that it may also be very bad. Here the air is full of speculation; you see, I am already slightly bitten. Let me know how and in what manner the affair affects you and your interests. I shall write to you what goes on here, for I shall be behind the scenes; this little fool tells me everything."

The receipt of this letter had decided Ivan to accept the Countess Theudelinde's invitation to give a romantic reading at her house, and to enter into the society of Pesth. He wrote to Arpad, and begged him to give him every day an exact account of what he heard through Evila of the progress of the coal-mine company.

From this time Ivan received regularly every week two or three letters from Vienna.

"The old prince nibbles at the bait. Kaulmann has brought him to the rehearsal of the new piece. Eveline sings and acts enchantingly; that is, when she is within four walls, and has only a few people for audience. If she acted like this on the stage she would be a celebrated actress in no time; but so soon as she comes before the footlights stage-fright seizes upon her, she trembles, forgets everything, stands there like a stick, and, worst of all, sings quite false. These rehearsals have been given on the pretext that the prince should have an opportunity of judging of her talent, so that he may influence those in power to give her an engagement at the opera. I know what their real object is. The prince is a real connoisseur in music, and he understands not alone art, but artists. He knows that there is a price set upon such black diamonds as sparkle in Eveline's eyes. There is the additional incentive that Prince Waldemar is desperately in love with this woman, and Prince Theobald, for certain reasons, will do anything to prevent her falling into his hands. He would even go the length of taking her himself sooner than such a misadventure should happen.

"A short time since Prince Waldemar met me, and offered me one hundred ducats for every leaf of the alb.u.m in which are the portraits of Madame Kaulmann in her character costumes. You must know, of late, each day that we rehea.r.s.e one of the monologues at the piano a photographer is present and takes the artist in her costume.

Everything must be finished in the house, and not more than four pictures are allowed to be executed; one of these is for Prince Theobald, one is kept by herself, one she presents to me, and the fourth is for my friend Felix. The negative is then broken. I would not sell my photographs to Prince Waldemar, but I send them to you as they follow one another. Mamma does not like to see such pictures in my room."

Ivan received with each letter a photograph; each portrait represented Evila as a lovely creation in a most graceful pose. Arpad had not the least idea what a h.e.l.l of different pa.s.sions were raised in Ivan's breast as he looked at the beautiful image of the woman he had and still loved.

In the first portrait she was represented as "Loreley" the fairy, who, in the whirlpool of the Rhine, sings her magic song and combs her hair with a golden comb, while her left shoulder rises from the waves, which partially conceal her form. Her eyes gaze invitingly at the fisherman, whom she entices to his ruin. In the second photograph she appeared as "Cleopatra" at Tarsus, where she is displaying all her charms to seduce her conqueror and make him her slave; a rich portrait, in which the lascivious queen is represented laden with splendid dresses and jewels, while the expression of the beautiful face was an admirable mixture of pride, dignity, and weakness. The third photograph presented the sun-queen, "Atahualpa," the wife of the last Inca. Her look was haughty and sublime; the sublimity of the expression diverts attention from the uncovered arms, white as marble, round as an infant's, which are raised to heaven, offering as a sacrifice a human heart. Her face mirrored the coldness of heaven itself. The fourth, as the "Greek Slave"; she represented the tortured beauty, who in vain tries to break the chains of shame in which she is bound--a lovely marble statue, equal in conception to one by Thorwaldsen or Pradier. The fifth was the "Bacchante," from one of the Roman bas-reliefs, which represents the procession of Bacchus. A wild, bold, dissolute conception; showing accessories of surprising drapery, panther skins, cups, etc., an ideal debauch; limbs in wild movement. The sixth portrait was of a bride; a white lace dress, upon her head a white garland, her figure concealed by a white veil, on her face an expression of soft emotion at the approaching realization of her happiness, in her eyes tears, on her lips a tremulous smile. With what wonderful charm she stretches out her hand to receive the betrothal ring! The eighth portrayed a young woman who for the first time puts the matron's cap upon her head. Pride, shame, and conscious triumph are all in her face. She feels that the cap upon her head is a well-deserved crown--a crown for which she has sacrificed a garland.

Ivan contemplated this picture for a long time; his heart was full of the bitterness of disappointed love. His adopted son's present had been somewhat unfortunate.

The ninth photograph represented Evila as a "Bayadere," in the artistic dress of the Indian dancer, striking the tambourine over her head. Round her slight figure a shawl embroidered in gold was wound in careless folds, on her neck a chain of gold coins, her small feet bare, and strings of pearls up to the knee.

In the tenth portrait she appeared as "Claudia Laeta," the vestal virgin, at the moment when she is led to the stake because she has refused the solicitations of Caracalla; on her face an expression of horror, of virginal modesty. With one hand she tries to cover her head with her cloak to escape from the gaze of the mult.i.tude.

How is it possible for one woman to play so many parts? Arpad accompanied these pictures with diffuse explanations, which were so many arrows in the heart of Ivan. The result of all this posturing was, he said, becoming every day clearer.

"The prince is more and more fascinated; he is falling deeper and deeper into the net spread for him. After each rehearsal he declares that a real treasure has been concealed, which has been a loss to art that must be at once remedied."

But such treasures are very costly, especially when a man has reached the age of sixty-eight, close on seventy, and has a marriageable granddaughter; then it is necessary to look very closely into his check-book to see if it would be possible to provide for the grandchild and at the same time satisfy the caprices of a beautiful young woman.

Not long ago Prince Theobald had built a splendid palace in the Maximilian Stra.s.se; it was destined for the Countess Angela, in the case that she agreed to her grandfather's wish as to her marriage. The palace was furnished with the utmost magnificence. The countess, however, had thought otherwise. She broke off her marriage with Sondersheim; she had good reasons, no doubt, but she need not have openly defied her grandfather. It was unwise of her so to do, for Evila was weaving her spell closer round the old man's heart, and Angela had best be prudent, and return speedily to Vienna, else the palace in the Maximilian Stra.s.se will be presented, without a shadow of doubt, to Madame Kaulmann.

Arpad's letters had made Ivan acquainted with the ins and outs of the whole affair; through them he had learned that the woman he had loved had become the wife of another man, and was likely to be the mistress of a third. The first blow he could bear with a certain resignation; he wished her all happiness; but that she should sink up to the neck in shame, led thither by the act of her own husband, was a bitter thought! No, that she should be saved from, if Ivan could compa.s.s her deliverance. For this end he remained in Pesth. Hence it seemed to him he could pull the strings of this complex drama, and defeat the conspiracy against Evila's honor; for this purpose he went into a world that he despised, affected a manner of life totally inconsistent with his ideas, and cultivated a friendship with the Countess Angela, that his influence might induce her to play the part of the good angel.

Was he a fool to sacrifice his own feelings for a woman who had inflicted upon him the severest mortification a man can endure? Those whose hearts are dominated by cold prudence will judge his folly perhaps rightly; those who have hearts that feel for others will acknowledge that he did well in obeying its dictates, and from his own point of view, perhaps, he acted for his own ultimate advantage.

If Prince Theobald is induced to consent to the lease of his property to the Bondavara Company, Ivan's little coal-mine is ruined. Good if he can, while working for another, help himself. A man of business is always a speculator; therefore we say to the warm-hearted and compa.s.sionate that Ivan acted a part to save Evila from shame, and to the cold-hearted and unfeeling that it was all in the way of business, to save, if he could, his little all from the monster company ready to devour it bodily.

Arpad continued to send the photographs. They were of all kinds, tragic and comic. "Medea," with her murderous revenge and jealousy; the daughter of Herod, with her voluptuous dance to gain the saint's head; the cruelty of "Judith," the wild laughter of "Jeanne la Folle,"

the devotion of a holy nun, the coquettish tricks of a _grisette_, a languid Creole, a supernatural "Will-o'-the-Wisp"--these were the princ.i.p.al representations in which Ivan found rather studied effort at catching an artistic effect than natural instinct or expression. This was the school of Madame Grissac, to whom Felix had intrusted Evila's education. Two portraits that came at the end produced upon Ivan a painful impression. One represented a mother by the cradle of her child, the other a peasant girl, a coal-carrier, with her hair plaited down her back, and a red frock tucked up above her ankles. It pained Ivan deeply that she should profane these two sacred subjects. Why take a mother's love to be made a vehicle to create an old man's admiration? And the girl with the red frock! Ah, that was unpardonable! He could not forgive her for having wounded him to the very heart.

One day the artist wrote to Ivan--

"My good patron, Felix Kaulmann, is an out-and-out scoundrel. Up to the present he generally attends the rehearsals when the prince is present. Yesterday Prince Theobald seemed quite excited, so much so that Kaulmann was struck by it. To his question the prince said that he was very happy. He had received a letter from his granddaughter, the Countess Angela. She wrote in the most friendly manner. She told him that she had met a certain Ivan Behrend, who had the courage to give her a regular scolding, and had told her to her face what was the duty of the Hungarian magnates towards their country, a duty in which they were wanting, and which Prince Theobald would fulfil if he left Vienna and came to reside in Pesth, in which case the countess would agree to a reconciliation. The old prince seemed so happy at the idea of seeing his child again! Kaulmann, however, looked very black, blacker still when the prince said he would consider the matter; but that, as the countess had taken a fancy to Pesth, he thought he would go there. Inwardly Felix gnashed his teeth with rage, outwardly he expressed great satisfaction that the countess had at last broken the ice; it was a good sign that she was getting tired of her obstinacy.

But if he were in the prince's situation he would try and persuade the countess to come to Vienna, instead of going himself to Pesth. The prince listened to this suggestion; he fell into the trap, and will not go at once to Pesth, but will try to bring back the countess. In the meantime we are to have the two last rehearsals. The thirty-second is the representation of 'Julia Gonzaga,' whose story you will find in any library. The most interesting part of this scene is the toilette of the heroine, who appears in a night-dress made of muslin, with her feet naked. In spite of this rather risky costume the lady's virtue was irreproachable, for in her hand she held a dagger, and threatened to kill any one who ventured to look at her feet. As I wrote to you, Kaulmann has always been present at these rehearsals, but from this one of 'Julia Gonzaga' he is obliged to absent himself, as he has to go away for a few days. I believe that my office should be called _garde des dames_. As it happens, however, on this occasion I, too, am unavoidably prevented from being present. When I went home and showed mamma the enclosed photograph she shuddered, and positively forbade me to a.s.sist at a rehearsal in which a woman appeared in such a costume.

I must plead illness or any other cause, but stay at home I must. I thought over several lies, but at last I decided that I would tell my gracious pupil the truth; so I did.

"'Listen,' I said. 'My mother will not allow me to accompany you if you sing barefoot. If it is really the point of the piece that 'Julia'

must present herself without stockings on her feet, then I must deny myself the pleasure of playing on the piano.'

"The silly child laughed very much, and said she would get somebody else. She may do as she likes; I don't care. Mamma is perfectly right in forbidding me to go, and I think that I have done perfectly right to tell my pupil why I refuse to accompany her."

This letter depressed Ivan. For a long time he looked at the photograph, considering it from every point of view. Evila in a dress the thin material of which showed every motion of her plastic limbs; in one hand she gathered the folds across her breast, her eyes had a murderous glare in their violet depths, her long and beautiful hair fell to her feet; in her right hand she pointed a dagger towards a motionless form which lay at her feet covered by a rug. This was the second time that Ivan had heard the story from a lady.

The next day he received another letter from Arpad; he found it on his return from the first meeting with Salista.

"Eveline," wrote the artist, "performed her tableau before the prince without the accompaniment of the piano and without the company of her husband. She looked so lovely that all the prince's good principles melted away like snow before the sun. He took her hand and kissed it; then the murderous look disappeared from her sweet eyes; she broke out into a ripple of laughter.

"'Prince, do you not see that I have a knife in my hand?'

"'I can take it from you.'

"The young girl laughed again; and we all know how easy it is to take anything from a smiling woman.

"At this moment there resounded through the room an echo of Eveline's laugh; that is to say, if you can call a frog's croak an echo of a nightingale's song. Out of the conservatory, which ornaments one side of the room, there came a crippled dwarf, who supported himself upon crutches. His long head was sunk between his high shoulders, and his white, satyr-like face was distorted by an odious grin as he dragged himself between the prince and his inamorata.

"'Prince, we are not alone,' laughed Eveline, freeing her hand from the clasp of the astonished n.o.bleman.

"'In Heaven's name, who is this splendid specimen of a toad?' he cried, with an air of disgust.

"'This is my only beloved little brother,' cried Eveline, putting her arms round the little monster, and covering him with kisses while she stroked his head. 'My dear, only little brother, my all, my dearest; my ugly, cross, quarrelsome little tyrant, who comes to me whenever he likes.'

"'A horrible creature!' said the prince. 'The hobgoblins who kept watch over the gate of the Witch of Endor were cherubims as compared with this monster. I beg of you, Eveline, not to kiss his face, as it takes away forever the pleasure one would have in kissing so lovely a mouth.'

"Eveline made no answer, but, suddenly turning away, she threw a burnoose round her shoulders, put her tiny feet into a pair of slippers, and said, demurely:

"'Prince, the thirty-second rehearsal is over, and there only remains the thirty-third to complete the course.'

"The prince asked what the t.i.tle of this last should be, and Eveline whispered in his ear that he would know the next day but one.

"'And how many more will know it?'

"'No one but you.'

"'Not this Caliban?'

"'Certainly not.'

"The prince took his leave in an ecstasy, firmly convinced that at the last representation he would have Eveline all to himself. Eveline needed a day to prepare herself.

"The scene was repeated to me by the cripple, who likes me very much, and comes nearly every evening to share my supper; for although everything possible for his comfort is provided by Eveline, he is never happy unless he begs from some one. If he were a prince, I do believe the creature would get out of his carriage to ask for alms. He finds such a wonderful pleasure in begging. For a stick of sugar-barley he will tell me everything. What pleased him most was the prince's remark about his being a splendid specimen of a toad. He imitated for me how he crept out of the conservatory on his crutches, and how he laughed when he saw the gentleman wanted to take the knife from his sister. You will hear from me again the day after to-morrow."

The day after to-morrow! These words to a man who might be lying stark and stiff by that time! They gave Ivan a sudden chill; but he said to himself he would not die easily, he would fight for his life.

That night he dreamed a curious dream, in which he saw two "Julia Gonzagas," who both wanted to kill him, and yet he had deserved nothing but good at their hands.

So goes the world!

CHAPTER XV