That Ruth had little faith in his power as a writer, did not alter her nor diminish her in Martin's eyes. In the breathing spell of the vacation he had taken, he had spent many hours in self- analysis, and thereby learned much of himself. He had discovered that he loved beauty more than fame, and that what desire he had for fame was largely for Ruth's sake. It was for this reason that his desire for fame was strong. He wanted to be great in the world's eyes; "to make good," as he expressed it, in order that the woman he loved should be proud of him and deem him worthy.
As for himself, he loved beauty passionately, and the joy of serving her was to him sufficient wage. And more than beauty he loved Ruth. He considered love the finest thing in the world. It was love that had worked the revolution in him, changing him from an uncouth sailor to a student and an artist; therefore, to him, the finest and greatest of the three, greater than learning and artistry, was love. Already he had discovered that his brain went beyond Ruth's, just as it went beyond the brains of her brothers, or the brain of her father. In spite of every advantage of university training, and in the face of her bachelorship of arts, his power of intellect overshadowed hers, and his year or so of self-study and equipment gave him a mastery of the affairs of the world and art and life that she could never hope to possess.
All this he realized, but it did not affect his love for her, nor her love for him. Love was too fine and noble, and he was too loyal a lover for him to besmirch love with criticism. What did love have to do with Ruth's divergent views on art, right conduct, the French Revolution, or equal suffrage? They were mental processes, but love was beyond reason; it was superrational. He could not belittle love. He worshipped it. Love lay on the mountain-tops beyond the valley-land of reason. It was a sublimates condition of existence, the topmost peak of living, and it came rarely. Thanks to the school of scientific philosophers he favored, he knew the biological significance of love; but by a refined process of the same scientific reasoning he reached the conclusion that the human organism achieved its highest purpose in love, that love must not be questioned, but must be accepted as the highest guerdon of life. Thus, he considered the lover blessed over all creatures, and it was a delight to him to think of "God's own mad lover," rising above the things of earth, above wealth and judgment, public opinion and applause, rising above life itself and "dying on a kiss."
Much of this Martin had already reasoned out, and some of it he reasoned out later. In the meantime he worked, taking no recreation except when he went to see Ruth, and living like a Spartan. He paid two dollars and a half a month rent for the small room he got from his Portuguese landlady, Maria Silva, a virago and a widow, hard working and harsher tempered, rearing her large brood of children somehow, and drowning her sorrow and fatigue at irregular intervals in a gallon of the thin, sour wine that she bought from the corner grocery and saloon for fifteen cents. From detesting her and her foul tongue at first, Martin grew to admire her as he observed the brave fight she made. There were but four rooms in the little house - three, when Martin's was subtracted. One of these, the parlor, gay with an ingrain carpet and dolorous with a funeral card and a death-picture of one of her numerous departed babes, was kept strictly for company. The blinds were always down, and her barefooted tribe was never permitted to enter the sacred precinct save on state occasions. She cooked, and all ate, in the kitchen, where she likewise washed, starched, and ironed clothes on all days of the week except Sunday; for her income came largely from taking in washing from her more prosperous neighbors. Remained the bedroom, small as the one occupied by Martin, into which she and her seven little ones crowded and slept. It was an everlasting miracle to Martin how it was accomplished, and from her side of the thin partition he heard nightly every detail of the going to bed, the squalls and squabbles, the soft chattering, and the sleepy, twittering noises as of birds. Another source of income to Maria were her cows, two of them, which she milked night and morning and which gained a surreptitious livelihood from vacant lots and the grass that grew on either side the public side walks, attended always by one or more of her ragged boys, whose watchful guardianship consisted chiefly in keeping their eyes out for the poundmen.
In his own small room Martin lived, slept, studied, wrote, and kept house. Before the one window, looking out on the tiny front porch, was the kitchen table that served as desk, library, and type- writing stand. The bed, against the rear wall, occupied two-thirds of the total space of the room. The table was flanked on one side by a gaudy bureau, manufactured for profit and not for service, the thin veneer of which was shed day by day. This bureau stood in the corner, and in the opposite corner, on the table's other flank, was the kitchen - the oil-stove on a dry-goods box, inside of which were dishes and cooking utensils, a shelf on the wall for provisions, and a bucket of water on the floor. Martin had to carry his water from the kitchen sink, there being no tap in his room. On days when there was much steam to his cooking, the harvest of veneer from the bureau was unusually generous. Over the bed, hoisted by a tackle to the ceiling, was his bicycle. At first he had tried to keep it in the basement; but the tribe of Silva, loosening the bearings and puncturing the tires, had driven him out. Next he attempted the tiny front porch, until a howling southeaster drenched the wheel a night-long. Then he had retreated with it to his room and slung it aloft.
A small closet contained his clothes and the books he had accumulated and for which there was no room on the table or under the table. Hand in hand with reading, he had developed the habit of making notes, and so copiously did he make them that there would have been no existence for him in the confined quarters had he not rigged several clothes-lines across the room on which the notes were hung. Even so, he was crowded until navigating the room was a difficult task. He could not open the door without first closing the closet door, and VICE VERSA. It was impossible for him anywhere to traverse the room in a straight line. To go from the door to the head of the bed was a zigzag course that he was never quite able to accomplish in the dark without collisions. Having settled the difficulty of the conflicting doors, he had to steer sharply to the right to avoid the kitchen. Next, he sheered to the left, to escape the foot of the bed; but this sheer, if too generous, brought him against the corner of the table. With a sudden twitch and lurch, he terminated the sheer and bore off to the right along a sort of canal, one bank of which was the bed, the other the table. When the one chair in the room was at its usual place before the table, the canal was unnavigable. When the chair was not in use, it reposed on top of the bed, though sometimes he sat on the chair when cooking, reading a book while the water boiled, and even becoming skilful enough to manage a paragraph or two while steak was frying. Also, so small was the little corner that constituted the kitchen, he was able, sitting down, to reach anything he needed. In fact, it was expedient to cook sitting down; standing up, he was too often in his own way.
In conjunction with a perfect stomach that could digest anything, he possessed knowledge of the various foods that were at the same time nutritious and cheap. Pea-soup was a common article in his diet, as well as potatoes and beans, the latter large and brown and cooked in Mexican style. Rice, cooked as American housewives never cook it and can never learn to cook it, appeared on Martin's table at least once a day. Dried fruits were less expensive than fresh, and he had usually a pot of them, cooked and ready at hand, for they took the place of butter on his bread. Occasionally he graced his table with a piece of round-steak, or with a soup-bone. Coffee, without cream or milk, he had twice a day, in the evening substituting tea; but both coffee and tea were excellently cooked.
There was need for him to be economical. His vacation had consumed nearly all he had earned in the laundry, and he was so far from his market that weeks must elapse before he could hope for the first returns from his hack-work. Except at such times as he saw Ruth, or dropped in to see his sister Gertude, he lived a recluse, in each day accomplishing at least three days' labor of ordinary men. He slept a scant five hours, and only one with a constitution of iron could have held himself down, as Martin did, day after day, to nineteen consecutive hours of toil. He never lost a moment. On the looking-glass were lists of definitions and pronunciations; when shaving, or dressing, or combing his hair, he conned these lists over. Similar lists were on the wall over the oil-stove, and they were similarly conned while he was engaged in cooking or in washing the dishes. New lists continually displaced the old ones. Every strange or partly familiar word encountered in his reading was immediately jotted down, and later, when a sufficient number had been accumulated, were typed and pinned to the wall or looking- glass. He even carried them in his pockets, and reviewed them at odd moments on the street, or while waiting in butcher shop or grocery to be served.
He went farther in the matter. Reading the works of men who had arrived, he noted every result achieved by them, and worked out the tricks by which they had been achieved - the tricks of narrative, of exposition, of style, the points of view, the contrasts, the epigrams; and of all these he made lists for study. He did not ape. He sought principles. He drew up lists of effective and fetching mannerisms, till out of many such, culled from many writers, he was able to induce the general principle of mannerism, and, thus equipped, to cast about for new and original ones of his own, and to weigh and measure and appraise them properly. In similar manner he collected lists of strong phrases, the phrases of living language, phrases that bit like acid and scorched like flame, or that glowed and were mellow and luscious in the midst of the arid desert of common speech. He sought always for the principle that lay behind and beneath. He wanted to know how the thing was done; after that he could do it for himself. He was not content with the fair face of beauty. He dissected beauty in his crowded little bedroom laboratory, where cooking smells alternated with the outer bedlam of the Silva tribe; and, having dissected and learned the anatomy of beauty, he was nearer being able to create beauty itself.
He was so made that he could work only with understanding. He could not work blindly, in the dark, ignorant of what he was producing and trusting to chance and the star of his genius that the effect produced should be right and fine. He had no patience with chance effects. He wanted to know why and how. His was deliberate creative genius, and, before he began a story or poem, the thing itself was already alive in his brain, with the end in sight and the means of realizing that end in his conscious possession. Otherwise the effort was doomed to failure. On the other hand, he appreciated the chance effects in words and phrases that came lightly and easily into his brain, and that later stood all tests of beauty and power and developed tremendous and incommunicable connotations. Before such he bowed down and marvelled, knowing that they were beyond the deliberate creation of any man. And no matter how much he dissected beauty in search of the principles that underlie beauty and make beauty possible, he was aware, always, of the innermost mystery of beauty to which he did not penetrate and to which no man had ever penetrated. He knew full well, from his Spencer, that man can never attain ultimate knowledge of anything, and that the mystery of beauty was no less than that of life - nay, more that the fibres of beauty and life were intertwisted, and that he himself was but a bit of the same nonunderstandable fabric, twisted of sunshine and star-dust and wonder.
In fact, it was when filled with these thoughts that he wrote his essay entitled "Star-dust," in which he had his fling, not at the principles of criticism, but at the principal critics. It was brilliant, deep, philosophical, and deliciously touched with laughter. Also it was promptly rejected by the magazines as often as it was submitted. But having cleared his mind of it, he went serenely on his way. It was a habit he developed, of incubating and maturing his thought upon a subject, and of then rushing into the type-writer with it. That it did not see print was a matter a small moment with him. The writing of it was the culminating act of a long mental process, the drawing together of scattered threads of thought and the final generalizing upon all the data with which his mind was burdened. To write such an article was the conscious effort by which he freed his mind and made it ready for fresh material and problems. It was in a way akin to that common habit of men and women troubled by real or fancied grievances, who periodically and volubly break their long-suffering silence and "have their say" till the last word is said.
The weeks passed. Martin ran out of money, and publishers' checks were far away as ever. All his important manuscripts had come back and been started out again, and his hack-work fared no better. His little kitchen was no longer graced with a variety of foods. Caught in the pinch with a part sack of rice and a few pounds of dried apricots, rice and apricots was his menu three times a day for five days hand-running. Then he startled to realize on his credit. The Portuguese grocer, to whom he had hitherto paid cash, called a halt when Martin's bill reached the magnificent total of three dollars and eighty-five cents.
"For you see," said the grocer, "you no catcha da work, I losa da mon'."And Martin could reply nothing. There was no way of explaining. It was not true business principle to allow credit to a strong- bodied young fellow of the workingclass who was too lazy to work.
"You catcha da job, I let you have mora da grub," the grocer assured Martin. "No job, no grub. Thata da business." And then, to show that it was purely business foresight and not prejudice, "Hava da drink on da house - good friends justa da same."
So Martin drank, in his easy way, to show that he was good friends with the house, and then went supperless to bed.The fruit store, where Martin had bought his vegetables, was run by an American whose business principles were so weak that he let Martin run a bill of five dollars before stopping his credit. The baker stopped at two dollars, and the butcher at four dollars. Martin added his debts and found that he was possessed of a total credit in all the world of fourteen dollars and eighty-five cents. He was up with his type-writer rent, but he estimated that he could get two months' credit on that, which would be eight dollars. When that occurred, he would have exhausted all possible credit.
The last purchase from the fruit store had been a sack of potatoes, and for a week he had potatoes, and nothing but potatoes, three times a day. An occasional dinner at Ruth's helped to keep strength in his body, though he found it tantalizing enough to refuse further helping when his appetite was raging at sight of so much food spread before it. Now and again, though afflicted with secret shame, he dropped in at his sister's at meal-time and ate as much as he dared - more than he dared at the Morse table.
Day by day he worked on, and day by day the postman delivered to him rejected manuscripts. He had no money for stamps, so the manuscripts accumulated in a heap under the table. Came a day when for forty hours he had not tasted food. He could not hope for a meal at Ruth's, for she was away to San Rafael on a two weeks' visit; and for very shame's sake he could not go to his sister's. To cap misfortune, the postman, in his afternoon round, brought him five returned manuscripts. Then it was that Martin wore his overcoat down into Oakland, and came back without it, but with five dollars tinkling in his pocket. He paid a dollar each on account to the four tradesmen, and in his kitchen fried steak and onions, made coffee, and stewed a large pot of prunes. And having dined, he sat down at his table-desk and completed before midnight an essay which he entitled "The Dignity of Usury." Having typed it out, he flung it under the table, for there had been nothing left from the five dollars with which to buy stamps.
Later on he pawned his watch, and still later his wheel, reducing the amount available for food by putting stamps on all his manuscripts and sending them out. He was disappointed with his hack-work. Nobody cared to buy. He compared it with what he found in the newspapers, weeklies, and cheap magazines, and decided that his was better, far better, than the average; yet it would not sell. Then he discovered that most of the newspapers printed a great deal of what was called "plate" stuff, and he got the address of the association that furnished it. His own work that he sent in was returned, along with a stereotyped slip informing him that the staff supplied all the copy that was needed.
In one of the great juvenile periodicals he noted whole columns of incident and anecdote. Here was a chance. His paragraphs were returned, and though he tried repeatedly he never succeeded in placing one. Later on, when it no longer mattered, he learned that the associate editors and sub-editors augmented their salaries by supplying those paragraphs themselves. The comic weeklies returned his jokes and humorous verse, and the light society verse he wrote for the large magazines found no abiding-place. Then there was the newspaper storiette. He knew that he could write better ones than were published. Managing to obtain the addresses of two newspaper syndicates, he deluged them with storiettes. When he had written twenty and failed to place one of them, he ceased. And yet, from day to day, he read storiettes in the dailies and weeklies, scores and scores of storiettes, not one of which would compare with his. In his despondency, he concluded that he had no judgment whatever, that he was hypnotized by what he wrote, and that he was a self- deluded pretender.
The inhuman editorial machine ran smoothly as ever. He folded the stamps in with his manuscript, dropped it into the letter-box, and from three weeks to a month afterward the postman came up the steps and handed him the manuscript. Surely there were no live, warm editors at the other end. It was all wheels and cogs and oil-cups - a clever mechanism operated by automatons. He reached stages of despair wherein he doubted if editors existed at all. He had never received a sign of the existence of one, and from absence of judgment in rejecting all he wrote it seemed plausible that editors were myths, manufactured and maintained by office boys, typesetters, and pressmen.
The hours he spent with Ruth were the only happy ones he had, and they were not all happy. He was afflicted always with a gnawing restlessness, more tantalizing than in the old days before he possessed her love; for now that he did possess her love, the possession of her was far away as ever. He had asked for two years; time was flying, and he was achieving nothing. Again, he was always conscious of the fact that she did not approve what he was doing. She did not say so directly. Yet indirectly she let him understand it as clearly and definitely as she could have spoken it. It was not resentment with her, but disapproval; though less sweet-natured women might have resented where she was no more than disappointed. Her disappointment lay in that this man she had taken to mould, refused to be moulded. To a certain extent she had found his clay plastic, then it had developed stubbornness, declining to be shaped in the image of her father or of Mr. Butler.
What was great and strong in him, she missed, or, worse yet, misunderstood. This man, whose clay was so plastic that he could live in any number of pigeonholes of human existence, she thought wilful and most obstinate because she could not shape him to live in her pigeonhole, which was the only one she knew. She could not follow the flights of his mind, and when his brain got beyond her, she deemed him erratic. Nobody else's brain ever got beyond her. She could always follow her father and mother, her brothers and Olney; wherefore, when she could not follow Martin, she believed the fault lay with him. It was the old tragedy of insularity trying to serve as mentor to the universal.
"You worship at the shrine of the established," he told her once, in a discussion they had over Praps and Vanderwater. "I grant that as authorities to quote they are most excellent - the two foremost literary critics in the United States. Every school teacher in the land looks up to Vanderwater as the Dean of American criticism. Yet I read his stuff, and it seems to me the perfection of the felicitous expression of the inane. Why, he is no more than a ponderous bromide, thanks to Gelett Burgess. And Praps is no better. His 'Hemlock Mosses,' for instance is beautifully written. Not a comma is out of place; and the tone - ah! - is lofty, so lofty. He is the best-paid critic in the United States. Though, Heaven forbid! he's not a critic at all. They do criticism better in England.
"But the point is, they sound the popular note, and they sound it so beautifully and morally and contentedly. Their reviews remind me of a British Sunday. They are the popular mouthpieces. They back up your professors of English, and your professors of English back them up. And there isn't an original idea in any of their skulls. They know only the established, - in fact, they are the established. They are weak minded, and the established impresses itself upon them as easily as the name of the brewery is impressed on a beer bottle. And their function is to catch all the young fellows attending the university, to drive out of their minds any glimmering originality that may chance to be there, and to put upon them the stamp of the established."
"I think I am nearer the truth," she replied, "when I stand by the established, than you are, raging around like an iconoclastic South Sea Islander."
"It was the missionary who did the image breaking," he laughed. "And unfortunately, all the missionaries are off among the heathen, so there are none left at home to break those old images, Mr. Vanderwater and Mr. Praps."
"And the college professors, as well," she added.He shook his head emphatically. "No; the science professors should live. They're really great. But it would be a good deed to break the heads of nine-tenths of the English professors - little, microscopic-minded parrots!"
Which was rather severe on the professors, but which to Ruth was blasphemy. She could not help but measure the professors, neat, scholarly, in fitting clothes, speaking in well-modulated voices, breathing of culture and refinement, with this almost indescribable young fellow whom somehow she loved, whose clothes never would fit him, whose heavy muscles told of damning toil, who grew excited when he talked, substituting abuse for calm statement and passionate utterance for cool self-possession. They at least earned good salaries and were - yes, she compelled herself to face it - were gentlemen; while he could not earn a penny, and he was not as they.
She did not weigh Martin's words nor judge his argument by them. Her conclusion that his argument was wrong was reached - unconsciously, it is true - by a comparison of externals. They, the professors, were right in their literary judgments because they were successes. Martin's literary judgments were wrong because he could not sell his wares. To use his own phrase, they made good, and he did not make good. And besides, it did not seem reasonable that he should be right - he who had stood, so short a time before, in that same living room, blushing and awkward, acknowledging his introduction, looking fearfully about him at the bric-a-brac his swinging shoulders threatened to break, asking how long since Swinburne died, and boastfully announcing that he had read "Excelsior" and the "Psalm of Life."
Unwittingly, Ruth herself proved his point that she worshipped the established. Martin followed the processes of her thoughts, but forbore to go farther. He did not love her for what she thought of Praps and Vanderwater and English professors, and he was coming to realize, with increasing conviction, that he possessed brain-areas and stretches of knowledge which she could never comprehend nor know existed.
In music she thought him unreasonable, and in the matter of opera not only unreasonable but wilfully perverse."How did you like it?" she asked him one night, on the way home from the opera. It was a night when he had taken her at the expense of a month's rigid economizing on food. After vainly waiting for him to speak about it, herself still tremulous and stirred by what she had just seen and heard, she had asked the question.
"I liked the overture," was his answer. "It was splendid.""Yes, but the opera itself?"
"That was splendid too; that is, the orchestra was, though I'd have enjoyed it more if those jumping-jacks had kept quiet or gone off the stage."
Ruth was aghast.
"You don't mean Tetralani or Barillo?" she queried.
"All of them - the whole kit and crew."
"But they are great artists," she protested.
"They spoiled the music just the same, with their antics and unrealities."
"But don't you like Barillo's voice?" Ruth asked. "He is next to Caruso, they say."
"Of course I liked him, and I liked Tetralani even better. Her voice is exquisite - or at least I think so."
"But, but - " Ruth stammered. "I don't know what you mean, then. You admire their voices, yet say they spoiled the music."
"Precisely that. I'd give anything to hear them in concert, and I'd give even a bit more not to hear them when the orchestra is playing. I'm afraid I am a hopeless realist. Great singers are not great actors. To hear Barillo sing a love passage with the voice of an angel, and to hear Tetralani reply like another angel, and to hear it all accompanied by a perfect orgy of glowing and colorful music - is ravishing, most ravishing. I do not admit it. I assert it. But the whole effect is spoiled when I look at them - at Tetralani, five feet ten in her stocking feet and weighing a hundred and ninety pounds, and at Barillo, a scant five feet four, greasy-featured, with the chest of a squat, undersized blacksmith, and at the pair of them, attitudinizing, clasping their breasts, flinging their arms in the air like demented creatures in an asylum; and when I am expected to accept all this as the faithful illusion of a love-scene between a slender and beautiful princess and a handsome, romantic, young prince - why, I can't accept it, that's all. It's rot; it's absurd; it's unreal. That's what's the matter with it. It's not real. Don't tell me that anybody in this world ever made love that way. Why, if I'd made love to you in such fashion, you'd have boxed my ears."
"But you misunderstand," Ruth protested. "Every form of art has its limitations." (She was busy recalling a lecture she had heard at the university on the conventions of the arts.) "In painting there are only two dimensions to the canvas, yet you accept the illusion of three dimensions which the art of a painter enables him to throw into the canvas. In writing, again, the author must be omnipotent. You accept as perfectly legitimate the author's account of the secret thoughts of the heroine, and yet all the time you know that the heroine was alone when thinking these thoughts, and that neither the author nor any one else was capable of hearing them. And so with the stage, with sculpture, with opera, with every art form. Certain irreconcilable things must be accepted."
"Yes, I understood that," Martin answered. "All the arts have their conventions." (Ruth was surprised at his use of the word. It was as if he had studied at the university himself, instead of being ill-equipped from browsing at haphazard through the books in the library.) "But even the conventions must be real. Trees, painted on flat cardboard and stuck up on each side of the stage, we accept as a forest. It is a real enough convention. But, on the other hand, we would not accept a sea scene as a forest. We can't do it. It violates our senses. Nor would you, or, rather, should you, accept the ravings and writhings and agonized contortions of those two lunatics to-night as a convincing portrayal of love."
"But you don't hold yourself superior to all the judges of music?" she protested."No, no, not for a moment. I merely maintain my right as an individual. I have just been telling you what I think, in order to explain why the elephantine gambols of Madame Tetralani spoil the orchestra for me. The world's judges of music may all be right. But I am I, and I won't subordinate my taste to the unanimous judgment of mankind. If I don't like a thing, I don't like it, that's all; and there is no reason under the sun why I should ape a liking for it just because the majority of my fellow-creatures like it, or make believe they like it. I can't follow the fashions in the things I like or dislike."
"But music, you know, is a matter of training," Ruth argued; "and opera is even more a matter of training. May it not be - ""That I am not trained in opera?" he dashed in.
She nodded.
"The very thing," he agreed. "And I consider I am fortunate in not having been caught when I was young. If I had, I could have wept sentimental tears to-night, and the clownish antics of that precious pair would have but enhanced the beauty of their voices and the beauty of the accompanying orchestra. You are right. It's mostly a matter of training. And I am too old, now. I must have the real or nothing. An illusion that won't convince is a palpable lie, and that's what grand opera is to me when little Barillo throws a fit, clutches mighty Tetralani in his arms (also in a fit), and tells her how passionately he adores her."
Again Ruth measured his thoughts by comparison of externals and in accordance with her belief in the established. Who was he that he should be right and all the cultured world wrong? His words and thoughts made no impression upon her. She was too firmly intren