I

In an old number of Punch, under the heading "Society's New Pet: The Artist's Model," is to be found a drawing by Du Maurier, of which the descriptive text runs:

Du Maurier may or may not have been wrong about the newness of this craze of "Society's." If he was right, the Honourable Emily Scarisbrick becomes at once a pioneer. Let there be set down, here in the beginning, the plain facts of how, a good ten years before the indignant Miss Dragon "offed with" Mr. Sopley's cestus, the Honourable Emily found a way to bridge the gulf that lies between Bohemia and Mayfair.

Except in the case of one person not yet born into these pages, the report that the lady had engaged herself, early in the year 1869, to "Mr. Buckley, her drawing-master," had only a short currency. It was probably devised by the Honourable Emily herself in order to soften the blow for her brother, Lord Moone. The real name of the man to whom she engaged herself was James Buckley Causton. Under this name he appears on the rolls of the 4th Dragoon Guards as a trooper in the years 1862-1867; and as "Buck" Causton he attained some celebrity when, in the last-named year, he vanquished one Piker Betteridge in the prize ring, in a battle which, beginning with gloves and ending with bare knuckles, lasted for nearly nine hours.

For all we know, it may have been Miss Dragon's Mr. Sopley who, seeing the magnificent Buck in the ring, first put it into the ex-trooper's head to become an artists' model. However it was, an artists' model he did become, and, as such, the rage. No doubt Sopley, if it were he, would gladly have kept his discovery to himself; but a neck like a sycamore and a thorax capable of containing nine-hours-contest lungs cannot be hid when Academy time comes round. Sopley's measure was known. If Sopley painted an heroic picture it was certain he had had a hero as model. The Academy opens in May; before June was out Sopley's find was no longer his own. Sir Frederick Henson, the artist who moved so in the world that in him the tradition of the monarch who picked up the painter's brush for him might almost have been said to live again, saw Buck, marked Buck down as his own, and presently had sole possession of Buck.

The Honourable Emily Scarisbrick already had possession of Sir Frederick. To be sure, it neither needed a Sir Frederick Henson to teach her the stippling of birds' eggs and the copying of castles for the albums of her friends, nor was the great Academician accustomed to stooping to the office of salaried drawing-master; but—the Honourable Emily was a Scarisbrick, of Mallard Bois.

In Henson's studio the Honourable Emily first saw Buck Causton.

To say that she fell in love with him would demand a definition of the term. Certainly she fell in something with him. Perhaps that something was the something that at the last thrusts baronies and Mallard Boises aside as hindrances to a design even larger than that in which they play so important a part; but we have nothing to do with large designs here. Call it what you will: something proper enough to legend, but of little enough propriety in a modern lady's life; a feeble echo of Romance, perhaps, but never itself to become Romance unless, of it or present scandal, it should prove the stronger. At any rate, it was a very different thing from anything she felt, or ever had felt, for Captain Cecil Chaffinger, of the White Hussars, her brother's nominee for her hand.

It was a word dropped by the gallant Captain, himself a follower of the fancy, that led her to the discovery that the hero of some feat or other of extraordinary skill and endurance, and the young Ajax, all chest and grey eyes and brown curls, who did odd jobs about the studio in the intervals of posing for Henson's demigodlike canvases, were one and the same person. Her already throbbing pulse bounded. She herself was twenty-eight, a small, dark, febrile woman, given over to discontents based on nothing save on an irremediably spoiled childhood, and perhaps hankering after an indiscretion in the conviction that indiscretions were of two kinds—indiscretions, and the indiscretions of the Scarisbricks. Naturally she became conscious of a quickened interest in her art.

The first indication that this interest passed beyond birds eggs and castles was that she began "Lessons in Drapery." If here for a few moments her story becomes a little technical, it may be none the less interesting on that account.

The study of Drapery as Drapery has not much interest for anybody unless perhaps for a student of mechanics. For all that, it is, or then was, regarded by drawing-masters as a self-contained subject, to be tackled, ticked off, and thenceforward possessed. To the study of Drapery in this unrelated sense the Honourable Emily apparently inclined. Seeing her therefore, in this fundamental error, Sir Frederick, a master of Drapery, took from her the "copies" which had already supplanted the "copies" of castles in her portfolio, and good-humouredly began to tell her what she really wanted. What she really wanted, he said, was to rid her mind of the idea that folds existed for their own sake, and to endeavour to realise that their real significance lay in the thing enfolded. Miss Scarisbrick thanked him.

So, at first from the lay figure, and then from Henson's model, she began to draw Drapery with special reference to the thing draped.

About this time she gave Captain Chaffinger for an answer a "No" which he refused to take. His devotion, he said, forbade him. If by his devotion he meant his devotion to his creditors, his constancy remained at their service. In the meantime he was still able to pay his old debts by contracting new ones.

The Honourable Emily's studies became diligent.

There is little to be said about these things except that they do happen. A word now about Buck's attitude.

Had the Honourable Emily's maid thrown herself at his head he would have known what to do. His sense of the holiness of social degrees would have received no shock. But the Honourable Emily, who could command her maid, could not command what in all probability her maid would not have had to ask twice for. The most she got (when after much that is omitted here, it did at last dawn on the bashful Buck that she had any will in the matter at all) was a blush so sudden and violent that it compelled an embarrassed reddening of her own cheeks also. Buck was not personally outraged. It was his sense of Order that was outraged. He remembered the lady's station for her, and, stammeringly but reverentially, put her back into it.

Now to be merely reverential to a woman who is in love with you is to provoke impatience, anger and tears. On the other hand, to see a woman in tears because you will not permit her to humiliate herself is to have the other half of an impossible situation. It was one luncheon-time (the Honourable Emily now lunched frequently at the studio) that the tears came.

"Oh, you don't care for me—you don't care for me!" she sobbed.

Buck could not truthfully have said that he did care for her; but there she was before him, in tears.

"If it were that Dragon girl, now——"

Buck, while not failing to see the force of this, could only make imploring movements for the Honourable Emily to calm herself. Presently she did calm herself, sufficiently to change her tone to one of irony.

"Do you read your Bible?" she shot over her shoulder.

"Yes, miss," said Buck—"that is—I mean——"

The reason for Buck's hesitation was that he had suddenly doubted whether the Honourable Emily would know a Racing Calendar by the name she had just used.

"Do you mean The Bible, miss?" he said, fidgeting.

She snapped: "Yes—the one with the story of Joseph in it——"

She burst into tears anew.

"Oh, that I should have to beg a man to marry me! I hate myself—I hate you!"

Her hatred, however, did not prevent repetitions of the scene. At the last repetition that need trouble us here her tears conquered. The helpless Buck comforted her after the only fashion he knew anything about—the fashion he would have used towards her maid—on his knee.

He still, however, called her "Miss."

They were privately married in the June of 1869.

"Don't call me 'Miss'!" she broke out petulantly one day in the middle of the honeymoon. "And you are not to have your meals with the servants! I shall lunch in my room to-day, and you are to be ready to take me out at three o'clock."

"Yes, m'm," said Buck.

Probably Lord Moone had less to do than he supposed with the separation that took place in the September of the same year. We may assume that a much more potent factor was the Honourable Mrs. Causton's remembrance of her own words, "That I should have to beg a man to marry me! I hate myself—I hate you!" She did very soon hate both herself and him. Poor Buck merely hated the whole subversive anomaly.

He accepted the proposal that they should separate with perfect docility. It seemed to him entirely right. Indeed the only thing he had not accepted with docility had been his introduction to Lord Moone, on the only occasion on which the two men ever met, as "Mr. Buckley, the drawing-master." Buck hadn't liked that much. He had made himself Buck Causton in nine hours of terrific combat, and as Buck Causton he preferred to be known. But all else he suffered with touching obedience, and at the proposal that they should go their several ways his finger flew to his forehead.

"Yes, miss," he said; and his heart, if not his lips, murmured the prayer that begins: "God bless the Squire and his relations——"

They parted.

They only met once more. This was in the January of the following year, in the great antlered hall at Mallard Bois, that was as regularly used on all occasions as if there had not been salons and galleries and drawing-rooms in a dozen other parts of the great place. The Honourable Mrs. Causton lay on a couch drawn up to the fire-dogs; her husband looked submissively down on her, dwarfing the suit of armour of Big Hugo by which he stood.

She made a new proposal. It was that he should put it into her hands to set herself free once for all.

"Yes, miss," said Buck.

"Then," said the Honourable Mrs. Causton a quarter of an hour later, "there's the question of cruelty."

Buck's thoughts wandered slowly back to the Piker.

"Yes, miss," he said.

"I need hardly tell you that as far as—er—procedure—can be stretched it will be stretched."

"Yes, miss. Thank you, miss."

Then wistfully Buck's eyes wandered from Big Hugo's suit of armour to his wife's face again.

"Beg your pardon, about that cruelty, miss," he said unhappily. "Couldn't I go down—just for once, Miss—as Mr. Buckley?"

"No; but I can assure you that I don't want this talked about more than must be either. Perhaps I ought to tell you that I shall probably marry again."

Buck's finger went to his forehead again, this time in a duty to his successor. Then his eyes grew grave. His wife had made a slight movement.

"If I might make so bold, miss—there's another thing——"

She knew what he meant.

"You've nothing to do with that," she said quickly.

Buck would have thought that he had, but if a lady said he hadn't, well, he hadn't, that was all.

"Yes, miss.... And asking your pardon again—about that cruelty?"

"Oh, that's over," said Mrs. Causton, closing her eyes. "Six months ago."

"I—I don't remember," said Buck; but once more, if a lady said it was so, so it was. Again the grave look came into his eyes, and again she understood.

"I can have it looked after better than you can," she said.

"And—please—you will?" he dared to supplicate.

She nodded.

Still he hesitated.

"If it's a little boy, miss—I might be opening a Sparring Academy—strictly for the gentry—I wouldn't charge him nothing——"

And after a little further discussion the shameful piece of collusion came to an end.

They were divorced in the March of 1870. On the 15th of April the child was born—a girl. Fifteen months later the Honourable Emily married Captain Cecil Chaffinger, of the White Hussars.

II

The child never got on well with her mother. Mrs. Chaffinger never forgave her her paternity. The gallant Captain, on the other hand, treated her as he would have treated his own child—that is to say, he bought her extravagant toys if the proximity of a toyshop put it into his head to do so, pinched her arms and cheeks and neck jocularly whenever he found her head at the level of his waistcoat, and then departed, as likely as not to pinch maturer arms and necks, not Mrs. Chaffinger's, elsewhere. He took his wife's former mÉsalliance with perfect serenity. She had paid his debts and enabled him to spend a day or two in his father's house when he cared to do so, and the Captain, who was a gentleman and not very much else to boast of, held faithfully to his part of the bargain. He even dropped in once or twice at Buck Causton's new Salle d'Armes in Bruton Street. The child was called by his name—Louise Chaffinger; he called her Mops, because of her quantities of thick brown hair. The Honourable Emily became querulous and an invalid; took to falling into dozes no matter who was present, and waking up again with alarming cries; and she busied herself with charitable works performed in an uncharitable temper.

Louie was not pretty; but the jocular Captain pinched no prettier neck than hers, and he declared, as the child grew, that her "points" would be best displayed could she go about in the largest and shadiest hat and the most closely fitting tights possible. His house (which, by the way, he had begun to encumber again) was Trant, in Buckinghamshire; but the child was packed off occasionally, to be rid of her, to Mallard Bois, Lord Moone's seat, there to romp with her cousin, Eric Scarisbrick, already preparing for Eton, and such small fry as climbed trees and cheeked the gardeners with him. Here she revelled in the liberty that was denied her at home; and perhaps she already realised instinctively that her mother's relief at having her out of the way was tempered only by the invalid's resentment that the child could be happy out of her own not very cheerful company. Be that as it may, the girl was told, at twelve years of age, that she was getting too big to kick these limbs her stepfather so admired about among growing boys. She was given half-long skirts and French and English governesses: the French one, though she did not yet know it, as a preparation for sending her to a Paris convent.

At fourteen years of age she had not heard of the man whose grey eyes and perfect shapeliness of body she inherited. The Scarisbricks, be sure, had allowed that episode to be hushed up. But the day was bound to come when she should hear of the Honourable Mrs. Causton and identify that lady with her mother. The day did come, no matter how; and, inwardly trembling but outwardly resolved, she sought her mother. Mrs. Chaffinger had just come with a cry out of a doze. Her daughter demanded to be told who the Honourable Mrs. Causton was. She was told that there was no such person.

"Then who was she?" the girl demanded. There were few of her questions to her mother that were not demands.

"Who's been telling you about her?"

That did not seem to Louie to matter. She repeated the question.

"She was a very great fool," Mrs. Chaffinger snapped. "Why aren't you with Mademoiselle?"

"Who was she besides being a very great fool?" the child persisted.

It had to come out.

"Then papa isn't my father?" Louie said, pale. All through her life she was pale in her moments of stress.

"I'm your mother, and I tell you to go to your French lesson at once."

But Louie did not move.

"Then who was my father?" she asked.

"Who do you suppose he is, when I was Mrs. Causton?"

"Is?... Then he isn't dead?"

Mrs. Chaffinger compressed her lips.

"I was going to tell you all about Mr. Causton all in good time" (her daughter looked coldly unbelieving), "but since you are here I'll tell you now. Sit down on that chair and stop fidgeting——"

And she told the girl the facts, not to be denied, of the divorcing of Buck.

The end of the matter was that Louie now hated, not only her mother, but her father also.

Her stepfather she thenceforward addressed as "Chaff." He liked it.

Three months later she was sent to Paris.

Eight months later still she turned up again, not at Trant, but at the Captain's club in London. She announced that she had run away from the convent and did not intend to return to it. Her arrival, though not unwelcome, was inopportune, for the Captain had a little party that evening and seemed disconcerted. The toyshops, he reflected, were closed, and then he looked at his stepdaughter again.... It could not, after all, have been one of the more characteristic of the Captain's parties, for he took Louie to it, pigtail and all, and for a whole evening pinched nobody. Then he took her to his chambers, winked at his man in token of something extraordinary, hesitated, and then, with an "Oh, be hanged to it!" expression, gave Louie the key of his own sleeping apartment. Louie examined his prints a little wonderingly, but approved of his ribboned haircurlers and large frilled pincushion, and then went to sleep. The next day the Captain took her down to Trant and left her there.

The next few years were a constant succession of wrangles with her mother. She had flatly refused to return to the convent, and if the Honourable Emily was petulant, her daughter was merciless. She had been put off with the drawing-master version of her mother's marriage, but that was enough; she held it over her mother's head, and Buck, if he had desired revenge, had it. She knew herself to be hybrid, and treated the Scarisbricks and their drawing-masters with equal scorn. Worse, she treated them equally with a contemptuous tolerance. She harped with pride on the baser strain. In a word, there was no doing anything with her.

She reached the age of twenty-one.

At twenty-two she expressed a wish to go on the stage. The Captain, who was genuinely fond of her, stopped that. At twenty-three she declared plainly that "a girl in her position" ought to have a means of earning her own living—not necessarily drawing. The Captain being averse from this also, she took the matter into her own hands by writing to the secretary of a Horticultural College in Somersetshire, paying her fees, and enrolling herself as a student without saying a word to anybody. She packed her boxes, and in the second week of January 1894 presented herself before her mother, dressed for travelling, and announced that she had very little time in which to catch her train.

"Oh, by the way," she said, turning at the door, "if you write, you might address letters to me in my own name—Causton."

Then she left.

"Was die Mutter trÄumt, das vollbringt die Tochter." Here, with its repetitions of and its departures from that of the Honourable Emily, follows her story.