Their approach was anything but conventional. They had raced up from the station, Polly winning by a nose, hilarious1 young persons with flushed faces.
They found the famous Collin, in an artist’s smock of gray chambray, sweeping2 off his front steps! Upon seeing them, he called out,
“Cook left last night with a case of champagne—there are all the dishes to wash ... and the boy left yesterday morning with my two best suits—oh, ho, art is merely incidental,” continuing his sweeping in vigorous fashion.
Then he dropped the broom and came down the walk to meet them.
His garden had the air of age and mystery. The famous statue of Aphrodite attributed to Praxiteles was in a monolith of white marble lined with brass3 and surrounded by a small fountain which paid her homage4. As soon as midsummer came, he explained to Thurley, there would be yellow lilies with heavy sweetness, the clean fragrance5 of shy heliotrope6, creamy, bending tassels7 of spir?a forming an aisle8 up to the white stucco house with its contrasting dark, wooden trimmings.
But when they entered the hall, Thurley gasped9 with amused dismay, for she had seldom seen such conglomeration10 and disorder11. It was true there were pink marbleized[213] walls, tall lapis lazuli pillars capped with gold and an emerald malachite cornice with a black baseboard in the big studio. In addition to the collection of rare eighteenth century furniture with needlepoint chairs and blue and silver hangings, the growing plants and endless bird cages filled with twittering English bullfinches, there were strewn carelessly rare Greek vases and Etruscan fragments, an ugly easel and modelling stand, spotted12 canvases carelessly lying about. On chairs, but more often on the floor, were jars of brushes, rare lithographs13 by Whistler, Puvis de Chavannes’ drawings, Meryon’s etchings and Conder’s painted silks. Half finished portraits and charcoal14 outlines of figures were pinned relentlessly15 on the walls, and a shaggy Airedale answering the name of Fencer came muzzling16 the guests in suspicious welcome and walked without concern on all of the treasures.
The only books the room contained were a well worn Bible and a Human Anatomy17. The curtains were twisted back into hideous18 shapes, some fastened with twine19, others with artist’s thumb-tacks20, and one was thrown over the cornice in gay disregard.
“You see,” said Collin, “I never should have yielded to Caleb’s plea to have an artistic21 studio. By degrees, I have managed to move out some stuff and send it over to his lodge22. He thrives on such things—color schemes and doing rooms over. But some fine day there will be a bonfire at Parva Sed Apta and, hoop-la, I’ll build a log cabin with nothing but glass for the roof and sit in the midst of the débris to paint the most wonderful pictures of women.”
“Poor women, posing in your log cabin.” Polly pretended to be cross. “Now we must get this room to rights.”
[214]
“Never.” He pushed her aside. “I’ll not allow a thing to be straightened. The rest of the house is like a bandbox and I spend as little time there as I can. But here is where I live.”
Fencer lay down to roll over an etching as if emphasizing the statement.
“Here,” corrected Collin, “is where we live.”
“Show Thurley Bliss23’s portrait and then we’ll do up the dishes and cook our dinner—a fine sort of host you are.”
“Cook had been meditating24 an elopement some time—a gentleman who works in a roundhouse, I believe, has been carrying the wedding ring in his pocket for days. The boy always envied my suits—and as he was offered more wages to go to Bermuda, I presume he thought the suits a bonus for having endured an artistic atmosphere ... oh, well, I’ll call up the agency to-morrow and order a fresh supply; they’ll stay a week anyhow and that takes me through the dinner I’m supposed to give on Wednesday—well, Thurley, are you much amused?”
They were walking down the hall into his drawing-room, spick and span by contrast, done in the coolest of grays with long, glimmering25 curtains of silver damask, the furniture of polished magnolia wood with a yellow-topped Italian marble console and many-branched silver candlesticks. The only ornament26 in the room was Hobart’s portrait; it stood on a great easel on a platform, curtains halfway27 veiling it.
Thurley’s heart began an annoying pit-a-pat as she sought the correct light in which to view it. Polly and Collin each taking a curtain threw them back together and for a long instant Thurley was silent as she looked with eyes, as betraying of her love as Polly’s had been, at the wonderful face of a man. It was a man who had[215] recently left happy youth behind because he had discovered it to be disillusioning28 and had taken up manhood with no disgruntled attitude of resentment29 nor aggressive determination to win by trickery but with ideals—ideals impossible to defeat but hidden so safely from the world at large that they were incapable30 of practical expression. The lips smiled of love and sighed for regret and prayed for all the universe—there was that much painted into the picture. The eyes were shining, gray eyes showing the art of putting a bad ending to the purpose of becoming a good and fresh beginning. He was one who would try to practise some ancient but forgotten unity31 of the human race. As Thurley stared at the strange face with its rare smile of understanding, she recalled the Scotch32 legend of the Wells of Peace which an old circus clown had told her of years ago.
The Wells of Peace, so the clown had said, were Love, Beauty, Dreams, Endurance, Compassion33, Rest, Love Fulfilled! All the “little people” of the hills and forest, even the peewits who had been baseborn children, were searching endlessly for the Wells of Peace—for he who found them and drank of the water could wish for anything in the world and it would be his!
“Kiss her, Collin; that will make her speak! Are you turning into a statue, Thurley?”
Thurley stirred at the sound of Polly’s voice.
Collin was holding back the curtain and laughing at her. “Never knew I could hold a pose so long,” he said as he dropped it. “Why, Thurley, are you so susceptible34 to an old brigand35 like Bliss? Fancy him, now, walking down Piccadilly and humming,
“‘I’m going back to Lunnon,
“‘To tea and long frock coats’
[216]
Thurley let the actress in her shield the woman. She made laughable comments about the portrait, vowing37 that the color scheme of the room had given her new ideas for costumes, going through the rest of Parva Sed Apta with a careless demeanor39.
The dining-room should have been a charming spot with its green English Chintz, dead white walls and red and gold furniture, but it was heaped with soiled dishes and curious cooking utensils40 piled high with “concoctions.”
“I had a fearful appetite the moment cook left,” Collin explained, “so I thought I’d try my luck.... They all tasted queer—like mixtures of carpet tacks and modelling clay. The way I explain it is the excess paprika and I had been modelling and neglected to wash my hands.”
“Oh, good,” Polly interrupted. “Show us what you were doing,” making him return to the studio to rescue the clay model of a bird with a newly broken wing.
“Splendid,” Polly declared. “There is a force—a stirring—il y a quelque chose,” turning to Thurley for approval.
“It hurts to look at it, poor little thing! It must have been from a gun and not an accident.”
Collin actually blushed. “You really feel that, too?”
“Of course—see how the wing drags—oh, why not model it complete?”
Polly gave a triumphant41 whistle. “Always told him so. I wish now that he’s oodles of money, he’d stop painting fat dowagers and silly men in broadcloth and model—model what he dreams.”
Collin wrapped the bird in the moist cloth. “You are partial. I cannot model—nor can I tear myself away from color. I dream color, woo it, I could eat it—now,[217] maybe that was the trouble with the cooking! I was trying to put taupe shadows in the picture of the Hooker children ... anyway, Thurley, I worked as ‘ghost’ for the great Constantin and, after seeing his modelling, I never even fancied I could do likewise. It is merely remembering my days with him when I take up the clay, sentimental42 tribute—artistic fashion of drinking a toast. He had but one rule: ‘When you can model a human hand as large as the top of your thumb, you can model anything,’ he told us.... One day, when I tried, he said in his carping old fashion, ‘Hein, what is that, Hedley? A hand? So! I would mark it assaulted toad43!’ And I never tried modelling again.”
He seemed anxious to dismiss the subject and show them his last portrait. As he talked in his sweet, light voice, Thurley watched the childlike, tyrannical way in which he waited for praise and believed all they said of his work. He was seemingly unconscious of Polly’s hungry heart—and empty purse—and as Thurley studied him she realized that Collin possessed44 a great virtue45—and a great fault.
The virtue was expressed by his brilliant, joyous46 eyes which told her his was the sixth sense—the ability to look at his subject and say, “Ah, I won’t paint in the heartbreak, it would be too cruel! Just pleasant shadows,” or “Shall I show the greed which made you play the cad? I think I shall—it needs to be exploited even if you did buy off the press,” or “There is a promise of good things and you shall have them painted clearly so that when you look at yourself you will feel the need of living up to that promise—a sort of jacking-up, old man—with your slightly weak mouth but glorious forehead,” or “You are young and beautiful and you’ve the[218] world before you, but I shall find that gray-gold seriousness of your woman’s soul and make it illumine your face; then you won’t go getting too light of heart and careless of tongue—as you might with the flurry of dimples!” So the world had come to speak of a Hedley portrait as something to be almost fearful of—it was so real—and yet, with this ability, Thurley admitted as the day wore on with their playing at housekeeping or romping47 in the garden, drinking black coffee while Collin and Polly played guitar and ukelele duets, Collin remained a child. Whether this was purposely achieved or a strange whim48 of Mother Nature was yet to be proved. But a child he was, whimsical, lovable, worth while but unstable—and he skillfully shut away the duties of maturity49 by this very fact. Collin shirked responsibility! So did Ernestine, but in a cynical50, combative51 fashion. Collin did it with studied innocence52! As the child has imagination as its greatest charm and asset, so did Collin claim it for his own, at the same time retaining that opinion of women which the child possesses: A woman has but two possibilities—tyrant or slave, therefore she can never be his equal. The child regards his nurse or mother as a guardian53 angel or an unfair oppressor of rights, and so Collin chose to regard women—staying aloof54 from entangling55 romance!
He called Polly his pal56, said with admiration57 that she had never passed out of that flapper period when every woman wishes she had been born a boy, therefore, Polly was a delight to know! He helped her when she least suspected it, liked and admired her, but he kept that armor of childish irresponsibility about his famous, selfish self and no matter how keenly he might gaze into the souls of those he painted, his own soul was wrapped in nursery eiderdown and labelled, “Unwrap me and you[219] destroy genius!” Polly, like all women who love but once, understood and was content with crumbs58.
“I shall go abroad when Ernestine does,” Thurley heard him saying when she had lured59 Fencer into the garden to play retrieve60.
“I’m so glad—do get rested, you will be rushed with orders next winter,” Polly answered. Thurley knew just the look in those stabbed brown eyes!
“What will you do, pal mine?”
“Be tremendously busy, my opera scores, naturally, and for a pot-boiler I’ve hired out as proofreader during the regulars’ vacations. I’m to have a famous summer.” She picked up the ukelele and began strumming.
“I’ll find you the prettiest mantilla in Spain,” he promised, “but don’t worry if you have no letters—I can’t write letters any more than a woman can understand banking61. But you’ll write to me, won’t you, Polly?”
“Of course—we’ll all write,” she answered bravely.
Thurley paused, unmindful of Fencer’s bark, and pondered on many things, the portrait of the real Bliss Hobart, the man who was worth winning, as she thought with new logic62, on Miss Clergy63’s vow38 which cheapened any love no matter how many Lissas might argue to the contrary—unrequited love such as Polly’s—on Caleb, smug and amusing and much in need of Ernestine Christian’s heart, on Ernestine, busy with scales and cigarettes and pessimistic utterances64, on Sam Sparling, who had told her during one of their happy talks, “Be a woman first, my child,” on November, with the prospect65 of the début ... well, had Dan married Lorraine and was it true that a man was nothing short of a hero who married a brilliant woman? What a world it was and wouldn’t it be a relief to have had Ali Baba say it all for her with his usual: “Land sakes and Mrs. Davis, but[220] some folks are going to be mighty66 nervous when it comes Judgment67 Day!”
At that identical moment in Birge’s Corners, Dan and Lorraine were driving through the Boston Valley hills. It had been a hateful Sunday, to Dan’s mind; service in the morning and himself dancing attendance on the minister’s daughter when all the time he longed to bolt from the church to escape the nasal tones of Milly Crawford, the new soloist68 from Pike. He wanted to sit on the step of the box-car wagon69 in sulky retrospect70. But instead, he meekly71 followed Lorraine into the parsonage and ate the dinner she had carefully prepared, smoking on the porch while Lorraine “did up the work,” and now they had driven the best part of the afternoon, returning for the monotonous72 evening service, the cold meat and jelly tea and the customary Sunday night courtship on the vine-covered porch.
“Dan,” said Lorraine timidly, one hand reaching over to feel the solitaire on the other;—it gave her courage;—“is the new house getting on all right?”
He turned to look at her; she was such a frail73, pretty thing in her silk dress—three summers old and homemade at that—her eyes were raised to his as if she were a good heathen looking at a shrine74 to ask the granting of a boon75.
“Yes,” he said with dangerous gentleness. “Why?”
She dropped her head. “I was just wondering—”
Dan smiled; the savage76, buoyant Dan had vanished. Fine, hard lines were about his mouth and his eyes were staring, non-expressive. Every one in the Corners knew what Lorraine had “put up with” since Thurley Precore had given him the mitten77 and he had engaged himself for spite—the weeks when Dan drank, Lorraine forgiving[221] and praying over him, the times when he deliberately78 ogled79 other girls—not the nice girls, either—those women with hard, bold eyes who always live at the outskirts80 of any small town, coming in Saturday nights to prance81 along the streets arm in arm, making every one clear out of their way, who laugh loudly and make humorous comments when they pass travelling men. Dan had not only talked with these persons—he had taken them driving in his car.
Still Lorraine had refused to believe the reports. She had wept her tears and said her prayers in the solitude82 of her room with only the hope chest as confidant. Then the minister talked to Dan—with the result that Lorraine, with unheralded defiance83, came into the room during the scene and told her father she was Dan’s bespoken84 wife; she would always be willing to “bear with him.”
“Seems as if there’s nothing he can do to get rid of her except hang himself,” was the village verdict.
“’Course he’s sweet on Thurley—and whatever is she doing all this time? I guess Miss Clergy has spent enough money to teach her how to sing,” would be the answer.
Almost indifferently Dan had resigned himself to his fate and the new house began to near completion.
“I hope he won’t break out wild after they’re married,” Ali Baba said.
“A Birge never married no woman with spirit; they all die and leave a son,” Hopeful used to answer.
“Well, Thurley knew her mind, no matter if it was right or wrong,” would be Betsey’s consolation85.
“Would you like to be married this fall?” Dan finally asked Lorraine on this Sunday afternoon.
“It’s a little soon, but I guess I could be ready,” she fibbed according to feminine custom.
[222]
“Well, I suppose we may as well! Say when.”
His face clouded. November was a semi-sacred month, Thurley’s birth month—but then, was not all the village sacred because Thurley had lived there? Where could he turn without a haunting memory, what person could he pass without recalling some incident in their life together?
“All right—about the fifteenth; I’ll be ready to get away then. We’ll go to New York for a couple of weeks. Would you like that?”
Lorraine nodded. They were both thinking the same thing: suppose fate should cause them to meet Thurley Precore?
When Dan left her that night, kissing her dutifully and saying some polite thing about being a lucky fellow, Lorraine went upstairs to the little hope chest and began counting over her woman’s trifles.
“Poor Thurley,” she said out loud, “he’s mine now ... and he will learn to care.”
Dan returned to the Hotel Button and went up to his rooms. He sat at his desk, scribbling87 on a bit of paper. Then he took a fresh sheet and wrote: “Dear Thurley”—but nothing else suggested itself.
Finally he tore the paper up and whistling with utmost cheeriness tramped about the room and tried to take an interest in planning the decorations of the twenty-thousand-dollar house. It was Thurley’s house no matter what all the ministers and marriage licenses89 might try to prove to the contrary.
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1
hilarious
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| adj.充满笑声的，欢闹的；[反]depressed | |
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sweeping
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| adj.范围广大的，一扫无遗的 | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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homage
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| n.尊敬，敬意，崇敬 | |
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fragrance
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| n.芬芳，香味，香气 | |
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heliotrope
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| n.天芥菜；淡紫色 | |
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tassels
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| n.穗( tassel的名词复数 )；流苏状物；（植物的）穗；玉蜀黍的穗状雄花v.抽穗， （玉米）长穗须( tassel的第三人称单数 )；使抽穗， （为了使作物茁壮生长）摘去穗状雄花；用流苏装饰 | |
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aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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conglomeration
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| n.团块，聚集，混合物 | |
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disorder
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| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
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spotted
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| adj.有斑点的，斑纹的，弄污了的 | |
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lithographs
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| n.平版印刷品( lithograph的名词复数 ) | |
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charcoal
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| n.炭，木炭，生物炭 | |
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relentlessly
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| adv.不屈不挠地；残酷地；不间断 | |
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muzzling
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| 给（狗等）戴口套( muzzle的现在分词 )； 使缄默，钳制…言论 | |
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17
anatomy
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| n.解剖学，解剖；功能，结构，组织 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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twine
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| v.搓，织，编饰；（使）缠绕 | |
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tacks
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| 大头钉( tack的名词复数 )； 平头钉； 航向； 方法 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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lodge
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| v.临时住宿，寄宿，寄存，容纳；n.传达室，小旅馆 | |
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bliss
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| n.狂喜，福佑，天赐的福 | |
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meditating
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| a.沉思的，冥想的 | |
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glimmering
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| n.微光，隐约的一瞥adj.薄弱地发光的v.发闪光，发微光( glimmer的现在分词 ) | |
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26
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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halfway
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| adj.中途的，不彻底的，部分的；adv.半路地，在中途，在半途 | |
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disillusioning
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| 使不再抱幻想，使理想破灭( disillusion的现在分词 ) | |
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resentment
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| n.怨愤，忿恨 | |
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incapable
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| adj.无能力的，不能做某事的 | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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compassion
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| n.同情，怜悯 | |
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susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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brigand
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| n.土匪，强盗 | |
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bevy
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| n.一群 | |
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vowing
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| 起誓，发誓（vow的现在分词形式） | |
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vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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demeanor
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| n.行为；风度 | |
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utensils
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| 器具，用具，器皿( utensil的名词复数 )； 器物 | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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toad
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| n.蟾蜍，癞蛤蟆 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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46
joyous
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| adj.充满快乐的；令人高兴的 | |
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47
romping
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| adj.嬉戏喧闹的，乱蹦乱闹的v.嬉笑玩闹( romp的现在分词 )；（尤指在赛跑或竞选等中）轻易获胜 | |
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48
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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49
maturity
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| n.成熟；完成；(支票、债券等)到期 | |
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50
cynical
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| adj.(对人性或动机)怀疑的，不信世道向善的 | |
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51
combative
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| adj.好战的；好斗的 | |
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52
innocence
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| n.无罪；天真；无害 | |
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53
guardian
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| n.监护人；守卫者，保护者 | |
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54
aloof
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| adj.远离的；冷淡的，漠不关心的 | |
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55
entangling
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| v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的现在分词 ) | |
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56
pal
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| n.朋友，伙伴，同志；vi.结为友 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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58
crumbs
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| int. (表示惊讶)哎呀 n. 碎屑 名词crumb的复数形式 | |
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lured
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| 吸引，引诱（lure的过去式与过去分词形式） | |
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retrieve
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| vt.重新得到，收回；挽回，补救；检索 | |
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banking
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| n.银行业，银行学，金融业 | |
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logic
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| n.逻辑(学)；逻辑性 | |
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63
clergy
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| n.[总称]牧师，神职人员 | |
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64
utterances
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| n.发声( utterance的名词复数 )；说话方式；语调；言论 | |
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prospect
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| n.前景，前途；景色，视野 | |
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mighty
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| adj.强有力的；巨大的 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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68
soloist
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| n.独奏者，独唱者 | |
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69
wagon
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| n.四轮马车，手推车，面包车；无盖运货列车 | |
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retrospect
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| n.回顾，追溯；v.回顾，回想，追溯 | |
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meekly
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| adv.温顺地，逆来顺受地 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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boon
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| n.恩赐，恩物，恩惠 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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mitten
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| n.连指手套，露指手套 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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ogled
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| v.（向…）抛媚眼，送秋波( ogle的过去式和过去分词 ) | |
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outskirts
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| n.郊外，郊区 | |
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prance
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| v.（马）腾跃，(人)神气活现地走 | |
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solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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bespoken
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| v.预定( bespeak的过去分词 )；订（货）；证明；预先请求 | |
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consolation
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| n.安慰，慰问 | |
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86
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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scribbling
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| n.乱涂[写]胡[乱]写的文章[作品]v.潦草的书写( scribble的现在分词 )；乱画；草草地写；匆匆记下 | |
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88
hoot
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| n.鸟叫声，汽车的喇叭声； v.使汽车鸣喇叭 | |
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licenses
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| n.执照( license的名词复数 )v.批准，许可，颁发执照( license的第三人称单数 ) | |
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