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—and at the appropriate moments they would clap their hands to substitute for the forbidden words ‘God-damn’, which good Rotarians knew, but wouldn’t utter.
“I tell you it was eerie to see those two, so English, so Victorian, so theatrical, singing those utterly uncharacteristic words in their high-bred English accents, until they were laughing like loonies. Then Sir John would say something like ‘Of course one shouldn’t laugh at them Nan, because they’re really splendid fellows at heart, and do marvels for crippled children—or is it tuberculosis? I can never remember.’ But the important thing was that Milady had been cheered up. She never showed her failing spirits—at least she thought she didn’t—but he knew. And I knew.
“It was another of those secrets like Sir John’s gout, which Mac and Holroyd and some of the older members of the company were perfectly well aware of but never discussed. Milady had cataracts, and however courageously she disguised it, the visible world was getting away from her. Some of the clumsiness on stage was owing to that, and much of the remarkable lustre of her glance—that bluish lustre I had noticed the first time I saw her—was the slow veiling of her eyes. There were days that were better than others, but as each month passed the account was further on the debit side. I never heard them mention it. Why would I? Certainly I wasn’t the kind of person they would have confided in. But I was often present when all three of us knew what was in the air.
“I have you to thank for that, Roly. Ordinarily it would have been the secretary who would have helped Milady when something had to be read, or written, but you were never handily by, and when you were it was so clear that you were far too busy with literary things to be just a useful pair of eyes that it would have been impertinence to interrupt you. So that job fell to me, and Milady and I made a pretence about it that was invaluable to me.
“It was that she was teaching me to speak—to speak for the stage, that’s to say. I had several modes of speech; one was the tough-guy language of Willard and Charlie, and another was a half-Cockney lingo I had picked up in London; I could speak French far more correctly than English, but I had a poor voice, with a thin, nasal tone. So Milady had me read to her, and as I read she helped me to place my voice differently, breathe better, and choose words and expressions that did not immediately mark me as an underling. Like so many people of deficient education, when I wanted to speak classy—that was what Charlie called it—I always used as many big words as I could. Big words, said Milady, were a great mistake in ordinary conversation, and she made me read the Bible to her to rid me of the big-word habit. Of course the Bible was familiar ground to me, and she noticed that when I read it I spoke better than otherwise, but as she pointed out, too fervently. That was a recollection of my father’s Bible-reading voice. Milady said that with the Bible and Shakespeare it was better to be a little cool, rather than too hot; the meaning emerged more powerfully. ‘Listen to Sir John,’ she said, ‘and you’ll find that he never pushes a line as far as it will go.’ That was how I learned about never doing your damnedest; your next-to-damnedest was far better.
“Sir John was her ideal, so I learned to speak like Sir John, and it was quite a long time before I got over it, if indeed I ever did completely get over it. It was a beautiful voice, and perhaps too beautiful for everybody’s taste. He produced it in a special way, which I think he learned from Irving. His lower lip moved a lot, but his upper lip was almost motionless, and he never showed his upper teeth; completely loose lower jaw, lots of nasal resonance, and he usually spoke in his upper register, but sometimes he dropped into deep tones, with extraordinary effect. She insisted on careful phrasing, long breaths, and never accentuating possessive pronouns—she said that made almost anything sound petty.
“So I spent many an hour reading the Bible to her, and refreshing my memory of the Psalms. ‘Consider and hear me, O Lord my God: lighten mine eyes, lest I sleep the sleep of death. Lest mine enemy say, I have prevailed against him; and those that trouble me rejoice when I am moved.’ We had that almost every day. That, and ‘Open thou mine eyes, that I may behold wondrous things out of thy law.’ It was not long before I understood that Milady was praying, and I was helping her, and after the first surprise—I had been so long away from anybody who prayed, except for Happy Ha
“One of the things that pushed me was that as Milady’s sight grew dimmer, she liked to have somebody near to whom she could speak in French. As I’ve told you, she came from the Cha
“As well as reading aloud, I listened to her as she rehearsed her lines. The old plays, like The Master of Ballantrae, were impressed on her memory forever, but she liked to go over her words for Rosemary and Scaramouche before every performance, and I read her cues for her. I learned a good deal from that, too, because she had a fine sense of comedy (something Sir John had only in a lesser degree), and I studied her ma
“Indeed, I became a friend of Milady’s, and rather less of an adorer. Except for old Zingara, who was a very different pair of shoes, she was the only woman I had ever known who seemed to like me, and think I was of any interest or value. She nibbed it into me about how lucky I was to be working with Sir John, and doing marvellous little cameos which enhanced the value of a whole production, but I had enough common sense to see that she was right, even though she exaggerated.