The Troll Garden and Selected Stories by Willa Cather - HTML preview

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The Enchanted Bluff

We had our swim before sundown, and while we were cooking our supper the oblique rays of light made a dazzling glare on the white sand about us. The translucent red ball itself sank behind the brown stretches of cornfield as we sat down to eat, and the warm layer of air that had rested over the water and our clean sand bar grew fresher and smelled of the rank ironweed and sunflowers growing on the flatter shore. The river was brown and sluggish, like any other of the half-dozen streams that water the Nebraska corn lands. On one shore was an irregular line of bald clay bluffs where a few scrub oaks with thick trunks and flat, twisted tops threw light shadows on the long grass. The western shore was low and level, with cornfields that stretched to the skyline, and all along the water's edge were little sandy coves and beaches where slim cottonwoods and willow saplings flickered.

The turbulence of the river in springtime discouraged milling, and, beyond keeping the old red bridge in repair, the busy farmers did not concern themselves with the stream; so the Sandtown boys were left in undisputed possession. In the autumn we hunted quail through the miles of stubble and fodder land along the flat shore, and, after the winter skating season was over and the ice had gone out, the spring freshets and flooded bottoms gave us our great excitement of the year. The channel was never the same for two successive seasons. Every spring the swollen stream undermined a bluff to the east, or bit out a few acres of cornfield to the west and whirled the soil away, to deposit it in spumy mud banks somewhere else. When the water fell low in midsummer, new sand bars were thus exposed to dry and whiten in the August sun. Sometimes these were banked so firmly that the fury of the next freshet failed to unseat them; the little willow seedlings emerged triumphantly from the yellow froth, broke into spring leaf, shot up into summer growth, and with their mesh of roots bound together the moist sand beneath them against the batterings of another April. Here and there a cottonwood soon glittered among them, quivering in the low current of air that, even on breathless days when the dust hung like smoke above the wagon road, trembled along the face of the water.

It was on such an island, in the third summer of its yellow green, that we built our watch fire; not in the thicket of dancing willow wands, but on the level terrace of fine sand which had been added that spring; a little new bit of world, beautifully ridged with ripple marks, and strewn with the tiny skeletons of turtles and fish, all as white and dry as if they had been expertly cured. We had been careful not to mar the freshness of the place, although we often swam to it on summer evenings and lay on the sand to rest.

This was our last watch fire of the year, and there were reasons why I should remember it better than any of the others. Next week the other boys were to file back to their old places in the Sandtown High School, but I was to go up to the Divide to teach my first country school in the Norwegian district. I was already homesick at the thought of quitting the boys with whom I had always played; of leaving the river, and going up into a windy plain that was all windmills and cornfields and big pastures; where there was nothing wilful or unmanageable in the landscape, no new islands, and no chance of unfamiliar birds--such as often followed the watercourses.

Other boys came and went and used the river for fishing or skating, but we six were sworn to the spirit of the stream, and we were friends mainly because of the river. There were the two Hassler boys, Fritz and Otto, sons of the little German tailor. They were the youngest of us; ragged boys of ten and twelve, with sunburned hair, weather-stained faces, and pale blue eyes. Otto, the elder, was the best mathematician in school, and clever at his books, but he always dropped out in the spring term as if the river could not get on without him. He and Fritz caught the fat, horned catfish and sold them about the town, and they lived so much in the water that they were as brown and sandy as the river itself.

There was Percy Pound, a fat, freckled boy with chubby cheeks, who took half a dozen boys' story-papers and was always being kept in for reading detective stories behind his desk. There was Tip Smith, destined by his freckles and red hair to be the buffoon in all our games, though he walked like a timid little old man and had a funny, cracked laugh. Tip worked hard in his father's grocery store every afternoon, and swept it out before school in the morning. Even his recreations were laborious. He collected cigarette cards and tin tobacco-tags indefatigably, and would sit for hours humped up over a snarling little scroll-saw which he kept in his attic. His dearest possessions were some little pill bottles that purported to contain grains of wheat from the Holy Land, water from the Jordan and the Dead Sea, and earth from the Mount of Olives. His father had bought these dull things from a Baptist missionary who peddled them, and Tip seemed to derive great satisfaction from their remote origin.

The tall boy was Arthur Adams. He had fine hazel eves that were almost too reflective and sympathetic for a boy, and such a pleasant voice that we all loved to hear him read aloud. Even when he had to read poetry aloud at school, no one ever thought of laughing. To be sure, he was not at school very much of the time. He was seventeen and should have finished the High School the year before, but he was always off somewhere with his gun. Arthur's mother was dead, and his father, who was feverishly absorbed in promoting schemes, wanted to send the boy away to school and get him off his hands; but Arthur always begged off for another year and promised to study. I remember him as a tall, brown boy with an intelligent face, always lounging among a lot of us little fellows, laughing at us oftener than with us, but such a soft, satisfied laugh that we felt rather flattered when we provoked it. In after-years people said that Arthur had been given to evil ways as a ]ad, and it is true that we often saw him with the gambler's sons and with old Spanish Fanny's boy, but if he learned anything ugly in their company he never betrayed it to us. We would have followed Arthur anywhere, and I am bound to say that he led us into no worse places than the cattail marshes and the stubble fields. These, then, were the boys who camped with me that summer night upon the sand bar.

After we finished our supper we beat the willow thicket for driftwood. By the time we had collected enough, night had fallen, and the pungent, weedy smell from the shore increased with the coolness. We threw ourselves down about the fire and made another futile effort to show Percy Pound the Little Dipper. We had tried it often before, but he could never be got past the big one.

"You see those three big stars just below the handle, with the bright one in the middle?" said Otto Hassler; "that's Orion's belt, and the bright one is the clasp." I crawled behind Otto's shoulder and sighted up his arm to the star that seemed perched upon the tip of his steady forefinger. The Hassler boys did seine-fishing at night, and they knew a good many stars.

Percy gave up the Little Dipper and lay back on the sand, his hands clasped under his head. "I can see the North Star," he announced, contentedly, pointing toward it with his big toe. "Anyone might get lost and need to know that."

We all looked up at it.

 

"How do you suppose Columbus felt when his compass didn't point north any more?" Tip asked.

Otto shook his head. "My father says that there was another North Star once, and that maybe this one won't last always. I wonder what would happen to us down here if anything went wrong with it?"

Arthur chuckled. "I wouldn't worry, Ott. Nothing's apt to happen to it in your time. Look at the Milky Way! There must be lots of good dead Indians."

We lay back and looked, meditating, at the dark cover of the world. The gurgle of the water had become heavier. We had often noticed a mutinous, complaining note in it at night, quite different from its cheerful daytime chuckle, and seeming like the voice of a much deeper and more powerful stream. Our water had always these two moods: the one of sunny complaisance, the other of inconsolable, passionate regret.

"Queer how the stars are all in sort of diagrams," remarked Otto. "You could do most any proposition in geometry with 'em. They always look as if they meant something. Some folks say everybody's fortune is all written out in the stars, don't they?"

"They believe so in the old country," Fritz affirmed.

But Arthur only laughed at him. "You're thinking of Napoleon, Fritzey. He had a star that went out when he began to lose battles. I guess the stars don't keep any close tally on Sandtown folks."

We were speculating on how many times we could count a hundred before the evening star went down behind the cornfields, when someone cried, "There comes the moon, and it's as big as a cart wheel!"
We all jumped up to greet it as it swam over the bluffs behind us. It came up like a galleon in full sail; an enormous, barbaric thing, red as an angry heathen god.

"When the moon came up red like that, the Aztecs used to sacrifice their prisoners on the temple top," Percy announced.

 

"Go on, Perce. You got that out of Golden Days. Do you believe that, Arthur?" I appealed.

Arthur answered, quite seriously: "Like as not. The moon was one of their gods. When my father was in Mexico City he saw the stone where they used to sacrifice their prisoners."

As we dropped down by the fire again some one asked whether the Mound-Builders were older than the Aztecs. When we once got upon the Mound-Builders we never willingly got away from them, and we were still conjecturing when we heard a loud splash in the water.

"Must have been a big cat jumping," said Fritz. "They do sometimes. They must see bugs in the dark. Look what a track the moon makes!"

 

There was a long, silvery streak on the water, and where the current fretted over a big log it boiled up like gold pieces.

"Suppose there ever was any gold hid away in this old river?" Fritz asked. He lay like a little brown Indian, close to the fire, his chin on his hand and his bare feet in the air. His brother laughed at him, but Arthur took his suggestion seriously.

"Some of the Spaniards thought there was gold up here somewhere. Seven cities chuck full of gold, they had it, and Coronado and his men came up to hunt it. The Spaniards were all over this country once."

Percy looked interested. "Was that before the Mormons went through?"

 

We all laughed at this.

 

"Long enough before. Before the Pilgrim Fathers, Perce. Maybe they came along this very river. They always followed the watercourses."

"I wonder where this river really does begin?" Tip mused. That was an old and a favorite mystery which the map did not clearly explain. On the map the little black line stopped somewhere in western Kansas; but since rivers generally rose in mountains, it was only reasonable to suppose that ours came from the Rockies. Its destination, we knew, was the Missouri, and the Hassler boys always maintained that we could embark at Sandtown in floodtime, follow our noses, and eventually arrive at New Orleans. Now they took up their old argument. "If us boys had grit enough to try it, it wouldn't take no time to get to Kansas City and St. Joe."

We began to talk about the places we wanted to go to. The Hassler boys wanted to see the stockyards in Kansas City, and Percy wanted to see a big store in Chicago. Arthur was interlocutor and did not betray himself.

"Now it's your turn, Tip."

 

Tip rolled over on his elbow and poked the fire, and his eyes looked shyly out of his queer, tight little face. "My place is awful far away. My Uncle Bill told me about it."

 

Tip's Uncle Bill was a wanderer, bitten with mining fever, who had drifted into Sandtown with a broken arm, and when it was well had drifted out again.

 

"Where is it?"

"Aw, it's down in New Mexico somewheres. There aren't no railroads or anything. You have to go on mules, and you run out of water before you get there and have to drink canned tomatoes."

"Well, go on, kid. What's it like when you do get there?"

 

Tip sat up and excitedly began his story.

"There's a big red rock there that goes right up out of the sand for about nine hundred feet. The country's flat all around it, and this here rock goes up all by itself, like a monument. They call it the Enchanted Bluff down there, because no white man has ever been on top of it. The sides are smooth rock, and straight up, like a wall. The Indians say that hundreds of years ago, before the Spaniards came, there was a village away up there in the air. The tribe that lived there had some sort of steps, made out of wood and bark, bung down over the face of the bluff, and the braves went down to hunt and carried water up in big jars swung on their backs. They kept a big supply of water and dried meat up there, and never went down except to hunt. They were a peaceful tribe that made cloth and pottery, and they went up there to get out of the wars. You see, they could pick off any war party that tried to get up their little steps. The Indians say they were a handsome people, and they had some sort of queer religion. Uncle Bill thinks they were CliffDwellers who had got into trouble and left home. They weren't fighters, anyhow.

"One time the braves were down hunting and an awful storm came up--a kind of waterspout--and when they got back to their rock they found their little staircase had been all broken to pieces, and only a few steps were left hanging away up in the air. While they were camped at the foot of the rock, wondering what to do, a war party from the north came along and massacred 'em to a man, with all the old folks and women looking on from the rock. Then the war party went on south and left the village to get down the best way they could. Of course they never got down. They starved to death up there, and when the war party came back on their way north, they could hear the children crying from the edge of the bluff where they had crawled out, but they didn't see a sign of a grown Indian, and nobody has ever been up there since."

We exclaimed at this dolorous legend and sat up.

 

"There couldn't have been many people up there," Percy demurred. "How big is the top, Tip?"

"Oh, pretty big. Big enough so that the rock doesn't look nearly as tall as it is. The top's bigger than the base. The bluff is sort of worn away for several hundred feet up. That's one reason it's so hard to climb."

I asked how the Indians got up, in the first place.

 

"Nobody knows how they got up or when. A hunting party came along once and saw that there was a town up there, and that was all."

 

Otto rubbed his chin and looked thoughtful. "Of course there must be some way to get up there. Couldn't people get a rope over someway and pull a ladder up?"

Tip's little eyes were shining with excitement. "I know a way. Me and Uncle Bill talked it over. There's a kind of rocket that would take a rope over--lifesavers use 'em--and then you could hoist a rope ladder and peg it down at the bottom and make it tight with guy ropes on the other side. I'm going to climb that there bluff, and I've got it all planned out."

Fritz asked what he expected to find when he got up there.

 

"Bones, maybe, or the ruins of their town, or pottery, or some of their idols. There might be 'most anything up there. Anyhow, I want to see."

 

"Sure nobody else has been up there, Tip?" Arthur asked.

"Dead sure. Hardly anybody ever goes down there. Some hunters tried to cut steps in the rock once, but they didn't get higher than a man can reach. The Bluff's all red granite, and Uncle Bill thinks it's a boulder the glaciers left. It's a queer place, anyhow. Nothing but cactus and desert for hundreds of miles, and yet right under the Bluff there's good water and plenty of grass. That's why the bison used to go down there."

Suddenly we heard a scream above our fire, and jumped up to see a dark, slim bird floating southward far above us--a whooping crane, we knew by her cry and her long neck. We ran to the edge of the island, hoping we might see her alight, but she wavered southward along the rivercourse until we lost her. The Hassler boys declared that by the look of the heavens it must be after midnight, so we threw more wood on our fire, put on our jackets, and curled down in the warm sand. Several of us pretended to doze, but I fancy we were really thinking about Tip's Bluff and the extinct people. Over in the wood the ring doves were calling mournfully to one another, and once we heard a dog bark, far away. "Somebody getting into old Tommy's melon patch," Fritz murmured sleepily, but nobody answered him. By and by Percy spoke out of the shadows.

"Say, Tip, when you go down there will you take me with you?"

 

"Maybe."

 

"Suppose one of us beats you down there, Tip?"

 

"Whoever gets to the Bluff first has got to promise to tell the rest of us exactly what he finds," remarked one of the Hassler boys, and to this we all readily assented.

Somewhat reassured, I dropped off to sleep. I must have dreamed about a race for the Bluff, for I awoke in a kind of fear that other people were getting ahead of me and that I was losing my chance. I sat up in my damp clothes and looked at the other boys, who lay tumbled in uneasy attitudes about the dead fire. It was still dark, but the sky was blue with the last wonderful azure of night. The stars glistened like crystal globes, and trembled as if they shone through a depth of clear water. Even as I watched, they began to pale and the sky brightened. Day came suddenly, almost instantaneously. I turned for another look at the blue night, and it was gone. Everywhere the birds began to call, and all manner of little insects began to chirp and hop about in the willows. A breeze sprang up from the west and brought the heavy smell of ripened corn. The boys rolled over and shook themselves. We stripped and plunged into the river just as the sun came up over the windy bluffs.

When I came home to Sandtown at Christmas time, we skated out to our island and talked over the whole project of the Enchanted Bluff, renewing our resolution to find it.

Although that was twenty years ago, none of us have ever climbed the Enchanted Bluff. Percy Pound is a stockbroker in Kansas City and will go nowhere that his red touring car cannot carry him. Otto Hassler went on the railroad and lost his foot braking; after which he and Fritz succeeded their father as the town tailors.

Arthur sat about the sleepy little town all his life--he died before he was twenty-five. The last time I saw him, when I was home on one of my college vacations, he was sitting in a steamer chair under a cottonwood tree in the little yard behind one of the two Sandtown saloons. He was very untidy and his hand was not steady, but when he rose, unabashed, to greet me, his eyes were as clear and warm as ever. When I had talked with him for an hour and heard him laugh again, I wondered how it was that when Nature had taken such pains with a man, from his hands to the arch of his long foot, she had ever lost him in Sandtown. He joked about Tip Smith's Bluff, and declared he was going down there just as soon as the weather got cooler; he thought the Grand Canyon might be worth while, too.
I was perfectly sure when I left him that he would never get beyond the high plank fence and the comfortable shade of the cottonwood. And, indeed, it was under that very tree that he died one summer morning.

Tip Smith still talks about going to New Mexico. He married a slatternly, unthrifty country girl, has been much tied to a perambulator, and has grown stooped and grey from irregular meals and broken sleep. But the worst of his difficulties are now over, and he has, as he says, come into easy water. When I was last in Sandtown I walked home with him late one moonlight night, after he had balanced his cash and shut up his store. We took the long way around and sat down on the schoolhouse steps, and between us we quite revived the romance of the lone red rock and the extinct people. Tip insists that he still means to go down there, but he thinks now he will wait until his boy Bert is old enough to go with him. Bert has been let into the story, and thinks of nothing but the Enchanted Bluff.

The Bohemian Girl

The transcontinental express swung along the windings of the Sand River Valley, and in the rear seat of the observation car a young man sat greatly at his ease, not in the least discomfited by the fierce sunlight which beat in upon his brown face and neck and strong back. There was a look of relaxation and of great passivity about his broad shoulders, which seemed almost too heavy until he stood up and squared them. He wore a pale flannel shirt and a blue silk necktie with loose ends. His trousers were wide and belted at the waist, and his short sack coat hung open. His heavy shoes had seen good service. His reddish-brown hair, like his clothes, had a foreign cut. He had deep-set, dark blue eyes under heavy reddish eyebrows. His face was kept clean only by close shaving, and even the sharpest razor left a glint of yellow in the smooth brown of his skin. His teeth and the palms of his hands were very white. His head, which looked hard and stubborn, lay indolently in the green cushion of the wicker chair, and as he looked out at the ripe summer country a teasing, not unkindly smile played over his lips. Once, as he basked thus comfortably, a quick light flashed in his eves, curiously dilating the pupils, and his mouth became a hard, straight line, gradually relaxing into its former smile of rather kindly mockery. He told himself, apparently, that there was no point in getting excited; and he seemed a master hand at taking his ease when he could. Neither the sharp whistle of the locomotive nor the brakeman's call disturbed him. It was not until after the train had stopped that he rose, put on a Panama hat, took from the rack a small valise and a flute case, and stepped deliberately to the station platform. The baggage was already unloaded, and the stranger presented a check for a battered sole-leather steamer trunk.

"Can you keep it here for a day or two?" he asked the agent. "I may send for it, and I may not."

 

"Depends on whether you like the country, I suppose?" demanded the agent in a challenging tone.

 

"Just so."

The agent shrugged his shoulders, looked scornfully at the small trunk, which was marked "N.E.," and handed out a claim check without further comment. The stranger watched him as he caught one end of the trunk and dragged it into the express room. The agent's manner seemed to remind him of something amusing. "Doesn't seem to be a very big place," he remarked, looking about.

"It's big enough for us," snapped the agent, as he banged the trunk into a corner.

That remark, apparently, was what Nils Ericson had wanted. He chuckled quietly as he took a leather strap from his pocket and swung his valise around his shoulder. Then he settled his Panama securely on his head, turned up his trousers, tucked the flute case under his arm, and started off across the fields. He gave the town, as he would have said, a wide berth, and cut through a great fenced pasture, emerging, when he rolled under the barbed wire at the farther corner, upon a white dusty road which ran straight up from the river valley to the high prairies, where the ripe wheat stood yellow and the tin roofs and weathercocks were twinkling in the fierce sunlight. By the time Nils had done three miles, the sun was sinking and the farm wagons on their way home from town came rattling by, covering him with dust and making him sneeze. When one of the farmers pulled up and offered to give him a lift, he clambered in willingly. The driver was a thin, grizzled old man with a long lean neck and a foolish sort of beard, like a goat's. "How fur ye goin'?" he asked, as he clucked to his horses and started off.

"Do you go by the Ericson place?"

 

"Which Ericson?" The old man drew in his reins as if he expected to stop again.

 

"Preacher Ericson's."

"Oh, the Old Lady Ericson's!" He turned and looked at Nils. "La, me! If you're goin' out there you might a' rid out in the automobile. That's a pity, now. The Old Lady Ericson was in town with her auto. You might 'a' heard it snortin' anywhere about the post-office er the butcher shop."

"Has she a motor?" asked the stranger absently.

"'Deed an' she has! She runs into town every night about this time for her mail and meat for supper. Some folks say she's afraid her auto won't get exercise enough, but I say that's jealousy."

"Aren't there any other motors about here?"

"Oh, yes! we have fourteen in all. But nobody else gets around like the Old Lady Ericson. She's out, rain er shine, over the whole county, chargin' into town and out amongst her farms, an' up to her sons' places. Sure you ain't goin' to the wrong place?" He craned his neck and looked at Nils' flute case with eager curiosity. "The old woman ain't got any piany that I knows on. Olaf, he has a grand. His wife's musical: took lessons in Chicago."

"I'm going up there tomorrow," said Nils imperturbably. He saw that the driver took him for a piano tuner.

 

"Oh, I see!" The old man screwed up his eyes mysteriously. He was a little dashed by the stranger's noncommunicativeness, but he soon broke out again.

"I'm one o' Miss Ericson's tenants. Look after one of her places. I did own the place myself once, but I lost it a while back, in the bad years just after the World's Fair. Just as well, too, I say. Lets you out o' payin' taxes. The Ericsons do own most of the county now. I remember the old preacher's favorite text used to be, 'To them that hath shall be given.' They've spread something wonderful--run over this here country like bindweed. But I ain't one that begretches it to 'em. Folks is entitled to what they kin git; and they're hustlers. Olaf, he's in the Legislature now, and a likely man fur Congress. Listen, if that ain't the old woman comin' now. Want I should stop her?"

Nils shook his head. He heard the deep chug-chug of a motor vibrating steadily in the clear twilight behind them. The pale lights of the car swam over the hill, and the old man slapped his reins and turned clear out of the road, ducking his head at the first of three angry snorts from behind. The motor was running at a hot, even speed, and passed without turning an inch from its course. The driver was a stalwart woman who sat at ease in the front seat and drove her car bareheaded. She left a cloud of dust and a trail of gasoline behind her. Her tenant threw back his head and sneezed.

"Whew! I sometimes say I'd as lief be before Mrs. Ericson as behind her. She does beat all! Nearly seventy, and never lets another soul touch that car. Puts it into commission herself every morning, and keeps it tuned up by the hitch-bar all day. I never stop work for a drink o' water that I don't hear her a- churnin' up the road. I reckon her darter-inlaws never sets down easy nowadays. Never know when she'll pop in. Mis' Otto, she says to me: 'We're so afraid that thing'll blow up and do Ma some injury yet, she's so turrible venturesome.' Says I: 'I wouldn't stew, Mis' Otto; the old lady'll drive that car to the funeral of every darter-in-law she's got.' That was after the old woman had jumped a turrible bad culvert."

The stranger heard vaguely what the old man was saying. Just now he was experiencing something very much like homesickness, and he was wondering what had brought it about. The mention of a name or two, perhaps; the rattle of a wagon along a dusty road; the rank, resinous smell of sunflowers and ironweed, which the night damp brought up from the draws and low places; perhaps, more than all, the dancing lights of the motor that had plunged by. He squared his shoulders with a comfortable sense of strength.

The wagon, as it jolted westward, climbed a pretty steady up-grade. The country, receding from the rough river valley, swelled more and more gently, as if it had been smoothed out by the wind. On one of the last of the rugged ridges, at the end of a branch road, stood a grim square house with a tin roof and double porches. Behind the house stretched a row of broken, wind-racked poplars, and down the hill slope to the left straggled the sheds and stables. The old man stopped his horses where the Ericsons' road branched across a dry sand creek that wound about the foot of the hill.

"That's the old lady's place. Want I should drive in?" "No, thank you. I'll roll out here. Much obliged to you. Good night."

 

His passenger stepped down over the front wheel, and the old man drove on reluctantly, looking back as if he would like to see how the stranger would be received.

As Nils was crossing the dry creek he heard the restive tramp of a horse coming toward him down the hill. Instantly he flashed out of the road and stood behind a thicket of wild plum bushes that grew in the sandy bed. Peering through the dusk, be saw a light horse, under tight rein, descending the hill at a sharp walk. The rider was a slender woman-barely visible against the dark hillside--wearing an old-fashioned derby hat and a long riding skirt. She sat lightly in the saddle, with her chin high, and seemed to be looking into the distance. As she passed the plum thicket her horse snuffed the air and shied. She struck him, pulling him in sharply, with an angry exclamation, "Blazne!" in Bohemian. Once in the main road, she let him out into a lope, and they soon emerged upon the crest of high land, where they moved along the skyline, silhouetted against the band of faint colour that lingered in the west. This horse and rider, with their free, rhythmical gallop, were the only moving things to be seen on the face of the flat country. They seemed, in the last sad light of evening, not to be there accidentally, but as an inevitable detail of the landscape.

Nils watched them until they had shrunk to a mere moving speck against the sky, then he crossed the sand creek and climbed the hill. When he reached the gate the front of the house was dark, but a light was shining from the side windows. The pigs were squealing in the hog corral, and Nils could see a tall boy, who carried two big wooden buckets, moving about among them. Halfway between the barn and the house, the windmill wheezed lazily. Following the path that ran around to the back porch, Nils stopped to look through the screen door into the lamplit kitchen. The kitchen was the largest room in the house; Nils remembered that his older brothers used to give dances there when he was a boy. Beside the stove stood a little girl with two light yellow braids and a broad, flushed face, peering anxiously into a frying pan. In the dining-room beyond, a large, broadshouldered woman was moving about the table. She walked with an active, springy step. Her face was heavy and florid, almost without wrinkles, and her hair was black at seventy. Nils felt proud of her as he watched her deliberate activity; never a momentary hesitation, or a movement that did not tell. He waited until she came out into the kitchen and, brushing the child aside, took her place at the stove. Then he tapped on the screen door and entered.

"It's nobody but Nils, Mother. I expect you weren't looking for me."

 

Mrs. Ericson turned away from the stove and stood staring at him. "Bring the lamp, Hilda, and let me look."

 

Nils laughed and unslung his valise. "What's the matter, Mother? Don't you know me?"

 

Mrs. Ericson put down the lamp. "You must be Nils. You don't look very different, anyway."

 

"Nor you, Mother. You hold your own. Don't you wear glasses yet?"

 

"Only to read by. Where's your trunk, Nils?"

"Oh, I left that in town. I thought it might not be convenient for you to have company so near threshing-time."
"Don't be foolish, Nils." Mrs. Ericson turned back to the stove. "I don't thresh now. I hitched the wheat land onto the next farm and have a tenant. Hilda, take some hot water up to the company room, and go call little Eric."

The tow-haired child, who had been standing in mute amazement, took up the tea-kettle and withdrew, giving Nils a long, admiring look from the door of the kitchen stairs.

 

"Who's the youngster?" Nils asked, dropping down on the bench behind the kitchen stove.

 

"One of your Cousin Henrik's."

 

"How long has Cousin Henrik been dead?"

 

"Six years. There are two boys. One stays with Peter and one with Anders. Olaf is their guardeen."

There was a clatter of pails on the porch, and a tall, lanky boy peered wonderingly in through the screen door. He had a fair, gentle face and big grey eyes, and wisps of soft yellow hair hung down under his cap. Nils sprang up and pulled him into the kitchen, hugging him and slapping him on the shoulders. "Well, if it isn't my kid! Look at the size of him! Don't you know me, Eric?"

The boy reddened tinder his sunburn and freckles, and hung his head. "I guess it's Nils," he said shyly.

"You're a good guesser," laughed Nils giving the lad's hand a swing. To himself he was thinking: "That's why the little girl looked so friendly. He's taught her to like me. He was only six when I went away, and he's remembered for twelve years."

Eric stood fumbling with his cap and smiling. "You look just like I thought you would," he ventured.

"Go wash your hands, Eric," called Mrs. Ericson. "I've got cob corn for supper, Nils. You used to like it. I guess you don't get much of that in the old country. Here's Hilda; she'll take you up to your room. You'll want to get the dust off you before you eat."

Mrs. Ericson went into the dining-room to lay another plate, and the little girl came up and nodded to Nils as if to let him know that his room was ready. He put out his hand and she took it, with a startled glance up at his face. Little Eric dropped his towel, threw an arm about Nils and one about Hilda, gave them a clumsy squeeze, and then stumbled out to the porch.

During supper Nils heard exactly how much land each of his eight grown brothers farmed, how their crops were coming on, and how much livestock they were feeding. His mother watched him narrowly as she talked. "You've got better looking, Nils," she remarked abruptly, whereupon he grinned and the children giggled. Eric, although he was eighteen and as tall as Nils, was always accounted a child, being the last of so many sons. His face seemed childlike, too, Nils thought, and he had the open, wandering eves of a little boy. All the others had been men at his age.

After supper Nils went out to the front porch and sat down on the step to smoke a pipe. Mrs. Ericson drew a rocking-chair up near him and began to knit busily. It was one of the few Old World customs she had kept up, for she could not bear to sit with idle hands.

"Where's little Eric, Mother?"

 

"He's helping Hilda with the dishes. He does it of his own will; I don't like a boy to be too handy about the house."

 

"He seems like a nice kid."

 

"He's very obedient."

 

Nils smiled a little in the dark. It was just as well to shift the line of conversation. "What are you knitting there, Mother?"

 

"Baby stockings. The boys keep me busy." Mrs. Ericson chuckled and clicked her needles.

 

"How many grandchildren have you?"

 

"Only thirty-one now. Olaf lost his three. They were sickly, like their mother."

 

"I supposed he had a second crop by this time!"

"His second wife has no children. She's too proud. She tears about on horseback all the time. But she'll get caught up with, yet. She sets herself very high, though nobody knows what for. They were low enough Bohemians she came of. I never thought much of Bohemians; always drinking."

Nils puffed away at his pipe in silence, and Mrs. Ericson knitted on. In a few moments she added grimly: "She was down here tonight, just before you came. She'd like to quarrel with me and come between me and Olaf, but I don't give her the chance. I suppose you'll be bringing a wife home some day."

"I don't know. I've never thought much about it."

"Well, perhaps it's best as it is," suggested Mrs. Ericson hopefully. "You'd never be contented tied down to the land. There was roving blood in your father's family, and it's come out in you. I expect your own way of life suits you best." Mrs. Ericson had dropped into a blandly agreeable tone which Nils well remembered. It seemed to amuse him a good deal and his white teeth flashed behind his pipe. His mother's strategies had always diverted him, even when he was a boy--they were so flimsy and patent, so illy proportioned to her vigor and force. "They've been waiting to see which way I'd jump," he reflected. He felt that Mrs. Ericson was pondering his case deeply as she sat clicking her needles.

"I don't suppose you've ever got used to steady work," she went on presently. "Men ain't apt to if they roam around too long. It's a pity you didn't come back the year after the World's Fair. Your father picked up a good bit of land cheap then, in the hard times, and I expect maybe he'd have give you a farm. it's too bad you put off comin' back so long, for I always thought he meant to do something by you."

Nils laughed and shook the ashes out of his pipe. "I'd have missed a lot if I had come back then. But I'm sorry I didn't get back to see father."

"Well, I suppose we have to miss things at one end or the other. Perhaps you are as well satisfied with your own doings, now, as you'd have been with a farm," said Mrs. Ericson reassuringly.

"Land's a good thing to have," Nils commented, as he lit another match and sheltered it with his hand.

 

His mother looked sharply at his face until the match burned out. "Only when you stay on it!" she hastened to say.

 

Eric came round the house by the path just then, and Nils rose, with a yawn. "Mother, if you don't mind, Eric and I will take a little tramp before bedtime. It will make me sleep."

 

"Very well; only don't stay long. I'll sit up and wait for you. I like to lock up myself."

Nils put his hand on Eric's shoulder, and the two tramped down the hill and across the sand creek into the dusty highroad beyond. Neither spoke. They swung along at an even gait, Nils puffing at his pipe. There was no moon, and the white road and the wide fields lay faint in the starlight. Over everything was darkness and thick silence, and the smell of dust and sunflowers. The brothers followed the road for a mile or more without finding a place to sit down. Finally, Nils perched on a stile over the wire fence, and Eric sat on the lower step.

"I began to think you never would come back, Nils," said the boy softly.

 

"Didn't I promise you I would?"

 

"Yes; but people don't bother about promises they make to babies. Did you really know you were going away for good when you went to Chicago with the cattle that time?"

"I thought it very likely, if I could make my way." "I don't see how you did it, Nils. Not many fellows could." Eric rubbed his shoulder against his brother's knee.

"The hard thing was leaving home you and father. It was easy enough, once I got beyond Chicago. Of course I got awful homesick; used to cry myself to sleep. But I'd burned my bridges."

"You had always wanted to go, hadn't you?"

 

"Always. Do you still sleep in our little room? Is that cottonwood still by the window?"

 

Eric nodded eagerly and smiled up at his brother in the grey darkness.

"You remember how we always said the leaves were whispering when they rustled at night? Well, they always whispered to me about the sea. Sometimes they said names out of the geography books. In a high wind they had a desperate sound, like someone trying to tear loose."

"How funny, Nils," said Eric dreamily, resting his chin on his hand. "That tree still talks like that, and 'most always it talks to me about you."

They sat a while longer, watching the stars. At last Eric whispered anxiously: "Hadn't we better go back now? Mother will get tired waiting for us." They rose and took a short cut home, through the pasture.

II

The next morning Nils woke with the first flood of light that came with dawn. The whiteplastered walls of his room reflected the glare that shone through the thin window shades, and he found it impossible to sleep. He dressed hurriedly and slipped down the hall and up the back stairs to the half-story room which be used to share with his little brother. Eric, in a skimpy nightshirt, was sitting on the edge of the bed, rubbing his eyes, his pale yellow hair standing up in tufts all over his head. When he saw Nils, he murmured something confusedly and hustled his long legs into his trousers. "I didn't expect you'd be up so early, Nils," he said, as his head emerged from his blue shirt.

"Oh, you thought I was a dude, did you?" Nils gave him a playful tap which bent the tall boy up like a clasp knife. "See here: I must teach you to box." Nils thrust his hands into his pockets and walked about. "You haven't changed things much up here. Got most of my old traps, haven't you?"

He took down a bent, withered piece of sapling that hung over the dresser. "If this isn't the stick Lou Sandberg killed himself with!"

The boy looked up from his shoe-lacing. "Yes; you never used to let me play with that. Just how did he do it, Nils? You were with father when he found Lou, weren't you?"

"Yes. Father was going off to preach somewhere, and, as we drove along, Lou's place looked sort of forlorn, and we thought we'd stop and cheer him up. When we found him father said he'd been dead a couple days. He'd tied a piece of binding twine round his neck, made a noose in each end, fixed the nooses over the ends of a bent stick, and let the stick spring straight; strangled himself."

"What made him kill himself such a silly way?"

 

The simplicity of the boy's question set Nils laughing. He clapped little Eric on the shoulder. "What made him such a silly as to kill himself at all, I should say!"

 

"Oh, well! But his hogs had the cholera, and all up and died on him, didn't they?"

 

"Sure they did; but he didn't have cholera; and there were plenty of bogs left in the world, weren't there?"

 

"Well, but, if they weren't his, how could they do him any good?" Eric asked, in astonishment.

"Oh, scat! He could have had lots of fun with other people's hogs. He was a chump, Lou Sandberg. To kill yourself for a pig-- think of that, now!" Nils laughed all the way downstairs, and quite embarrassed little Eric, who fell to scrubbing his face and hands at the tin basin. While he was parting his wet hair at the kitchen looking glass, a heavy tread sounded on the stairs. The boy dropped his comb. "Gracious, there's Mother. We must have talked too long." He hurried out to the shed, slipped on his overalls, and disappeared with the milking pails.

Mrs. Ericson came in, wearing a clean white apron, her black hair shining from the application of a wet brush.

 

"Good morning, Mother. Can't I make the fire for you?"

"No, thank you, Nils. It's no trouble to make a cob fire, and I like to manage the kitchen stove myself" Mrs. Ericson paused with a shovel full of ashes in her hand. "I expect you will be wanting to see your brothers as soon as possible. I'll take you up to Anders' place this morning. He's threshing, and most of our boys are over there."

"Will Olaf be there?"

Mrs. Ericson went on taking out the ashes, and spoke between shovels. "No; Olaf's wheat is all in, put away in his new barn. He got six thousand bushel this year. He's going to town today to get men to finish roofing his barn."
"So Olaf is building a new barn?" Nils asked absently.

"Biggest one in the county, and almost done. You'll likely be here for the barn-raising. He's going to have a supper and a dance as soon as everybody's done threshing. Says it keeps the voters in good humour. I tell him that's all nonsense; but Olaf has a head for politics."

"Does Olaf farm all Cousin Henrik's land?"

Mrs. Ericson frowned as she blew into the faint smoke curling up about the cobs. "Yes; he holds it in trust for the children, Hilda and her brothers. He keeps strict account of everything he raises on it, and puts the proceeds out at compound interest for them."

Nils smiled as he watched the little flames shoot up. The door of the back stairs opened, and Hilda emerged, her arms behind her, buttoning up her long gingham apron as she came. He nodded to her gaily, and she twinkled at him out of her little blue eyes, set far apart over her wide cheekbones.

"There, Hilda, you grind the coffee--and just put in an extra handful; I expect your Cousin Nils likes his strong," said Mrs. Ericson, as she went out to the shed.

Nils turned to look at the little girl, who gripped the coffee grinder between her knees and ground so hard that her two braids bobbed and her face flushed under its broad spattering of freckles. He noticed on her middle finger something that had not been there last night, and that had evidently been put on for company: a tiny gold ring with a clumsily set garnet stone. As her hand went round and round he touched the ring with the tip of his finger, smiling.

Hilda glanced toward the shed door through which Mrs. Ericson had disappeared. "My Cousin Clara gave me that," she whispered bashfully. "She's Cousin Olaf's wife."

 

III

Mrs. Olaf Ericson--Clara Vavrika, as many people still called her--was moving restlessly about her big bare house that morning. Her husband had left for the county town before his wife was out of bed--her lateness in rising was one of the many things the Ericson family had against her. Clara seldom came downstairs before eight o'clock, and this morning she was even later, for she had dressed with unusual care. She put on, however, only a tightfitting black dress, which people thereabouts thought very plain. She was a tall, dark woman of thirty, with a rather sallow complexion and a touch of dull salmon red in her cheeks, where the blood seemed to burn under her brown skin. Her hair, parted evenly above her low forehead, was so black that there were distinctly blue lights in it. Her black eyebrows were delicate half-moons and her lashes were long and heavy. Her eyes slanted a little, as if she had a strain of Tartar or gypsy blood, and were sometimes full of fiery determination and sometimes dull and opaque. Her expression was never altogether amiable; was often, indeed, distinctly sullen, or, when she was animated, sarcastic. She was most attractive in profile, for then one saw to advantage her small, well-shaped head and delicate ears, and felt at once that here was a very positive, if not an altogether pleasing, personality.

The entire management of Mrs. Olaf's household devolved upon her aunt, Johanna Vavrika, a superstitious, doting woman of fifty. When Clara was a little girl her mother died, and Johanna's life had been spent in ungrudging service to her niece. Clara, like many self-willed and discontented persons, was really very apt, without knowing it, to do as other people told her, and to let her destiny be decided for her by intelligences much below her own. It was her Aunt Johanna who had humoured and spoiled her in her girlhood, who had got her off to Chicago to study piano, and who had finally persuaded her to marry Olaf Ericson as the best match she would be likely to make in that part of the country. Johanna Vavrika had been deeply scarred by smallpox in the old country. She was short and fat, homely and jolly and sentimental. She was so broad, and took such short steps when she walked, that her brother, Joe Vavrika, always called her his duck. She adored her niece because of her talent, because of her good looks and masterful ways, but most of all because of her selfishness.

Clara's marriage with Olaf Ericson was Johanna's particular triumph. She was inordinately proud of Olaf's position, and she found a sufficiently exciting career in managing Clara's house, in keeping it above the criticism of the Ericsons, in pampering Olaf to keep him from finding fault with his wife, and in concealing from every one Clara's domestic infelicities. While Clara slept of a morning, Johanna Vavrika was bustling about, seeing that Olaf and the men had their breakfast, and that the cleaning or the butter- making or the washing was properly begun by the two girls in the kitchen. Then, at about eight o'clock, she would take Clara's coffee up to her, and chat with her while she drank it, telling her what was going on in the house. Old Mrs. Ericson frequently said that her daughter-in-law would not know what day of the week it was if Johanna did not tell her every morning. Mrs. Ericson despised and pitied Johanna, but did not wholly dislike her. The one thing she hated in her daughter-in-law above everything else was the way in which Clara could come it over people. It enraged her that the affairs of her son's big, barnlike house went on as well as they did, and she used to feel that in this world we have to wait overlong to see the guilty punished. "Suppose Johanna Vavrika died or got sick?" the old lady used to say to Olaf. "Your wife wouldn't know where to look for her own dish-cloth." Olaf only shrugged his shoulders. The fact remained that Johanna did not die, and, although Mrs. Ericson often told her she was looking poorly, she was never ill. She seldom left the house, and she slept in a little room off the kitchen. No Ericson, by night or day, could come prying about there to find fault without her knowing it. Her one weakness was that she was an incurable talker, and she sometimes made trouble without meaning to.

This morning Clara was tying a wine-coloured ribbon about her throat when Johanna appeared with her coffee. After putting the tray on a sewing table, she began to make Clara's bed, chattering the while in Bohemian.
"Well, Olaf got off early, and the girls are baking. I'm going down presently to make some poppy-seed bread for Olaf. He asked for prune preserves at breakfast, and I told him I was out of them, and to bring some prunes and honey and cloves from town."

Clara poured her coffee. "Ugh! I don't see how men can eat so much sweet stuff. In the morning, too!"

 

Her aunt chuckled knowingly. "Bait a bear with honey, as we say in the old country."

 

"Was he cross?" her niece asked indifferently.

"Olaf? Oh, no! He was in fine spirits. He's never cross if you know how to take him. I never knew a man to make so little fuss about bills. I gave him a list of things to get a yard long, and he didn't say a word; just folded it up and put it in his pocket."

"I can well believe he didn't say a word," Clara remarked with a shrug. "Some day he'll forget how to talk."

"Oh, but they say he's a grand speaker in the Legislature. He knows when to keep quiet. That's why he's got such influence in politics. The people have confidence in him." Johanna beat up a pillow and held it under her fat chin while she slipped on the case. Her niece laughed.

"Maybe we could make people believe we were wise, Aunty, if we held our tongues. Why did you tell Mrs. Ericson that Norman threw me again last Saturday and turned my foot? She's been talking to Olaf."

Johanna fell into great confusion. "Oh, but, my precious, the old lady asked for you, and she's always so angry if I can't give an excuse. Anyhow, she needn't talk; she's always tearing up something with that motor of hers."

When her aunt clattered down to the kitchen, Clara went to dust the parlour. Since there was not much there to dust, this did not take very long. Olaf had built the house new for her before their marriage, but her interest in furnishing it had been short- lived. It went, indeed, little beyond a bathtub and her piano. They had disagreed about almost even, other article of furniture, and Clara had said she would rather have her house empty than full of things she didn't want. The house was set in a hillside, and the west windows of the parlour looked out above the kitchen yard thirty feet below. The east windows opened directly into the front yard. At one of the latter, Clara, while she was dusting, heard a low whistle. She did not turn at once, but listened intently as she drew her cloth slowly along the round of a chair. Yes, there it was:

I dreamt that I dwelt in ma-a-arble halls. She turned and saw Nils Ericson laughing in the sunlight, his hat in his hand, just outside the window. As she crossed the room he leaned against the wire screen. "Aren't you at all surprised to see me, Clara Vavrika?"

"No; I was expecting to see you. Mother Ericson telephoned Olaf last night that you were here."

 

Nils squinted and gave a long whistle. "Telephoned? That must have been while Eric and I were out walking. Isn't she enterprising? Lift this screen, won't you?"

Clara lifted the screen, and Nils swung his leg across the window-sill. As he stepped into the room she said: "You didn't think you were going to get ahead of your mother, did you?"

He threw his hat on the piano. "Oh, I do sometimes. You see, I'm ahead of her now. I'm supposed to be in Anders' wheat-field. But, as we were leaving, Mother ran her car into a soft place beside the road and sank up to the hubs. While they were going for the horses to pull her out, I cut away behind the stacks and escaped." Nils chuckled. Clara's dull eyes lit up as she looked at him admiringly.

"You've got them guessing already. 1 don't know what your mother said to Olaf over the telephone, but be came back looking as if he'd seen a ghost, and he didn't go to bed until a dreadful hour--ten o'clock, I should think. He sat out on the porch in the dark like a graven image. It had been one of his talkative days, too." They both laughed, easily and lightly, like people who have laughed a great deal together; but they remained standing.

"Anders and Otto and Peter looked as if they had seen ghosts, too, over in the threshing field. What's the matter with them all?"

 

Clara gave him a quick, searching look. "Well, for one thing, they've always been afraid you have the other will."

 

Nils looked interested. "The other will?"

"Yes. A later one. They knew your father made another, but they never knew what he did with it. They almost tore the old house to pieces looking for it. They always suspected that he carried on a clandestine correspondence with you, for the one thing he would do was to get his own mail himself. So they thought he might have sent the new will to you for safekeeping. The old one, leaving everything to your mother, was made long before you went away, and it's understood among them that it cuts you out--that she will leave all the property to the others. Your father made the second will to prevent that. I've been hoping you had it. It would be such fun to spring it on them." Clara laughed mirthfully, a thing she did not often do now.

Nils shook his head reprovingly. "Come, now, you're malicious." "No, I'm not. But I'd like something to happen to stir them all up, just for once. There never was such a family for having nothing ever happen to them but dinner and threshing. I'd almost be willing to die, just to have a funeral. You wouldn't stand it for three weeks."

Nils bent over the piano and began pecking at the keys with the finger of one hand. "I wouldn't? My dear young lady, how do you know what I can stand? You wouldn't wait to find out."

Clara flushed darkly and frowned. "I didn't believe you would ever come back--" she said defiantly.

"Eric believed I would, and he was only a baby when I went away. However, all's well that ends well, and I haven't come back to be a skeleton at the feast. We mustn't quarrel. Mother mill be here with a search warrant pretty soon." He swung round and faced her, thrusting his hands into his coat pockets. "Come, you ought to be glad to see me, if you want something to happen. I'm something, even without a will. We can have a little fun, can't we? I think we can!"

She echoed him, "I think we can!" They both laughed and their eyes sparkled. Clara Vavrika looked ten years younger than when she had put the velvet ribbon about her throat that morning.

"You know, I'm so tickled to see mother," Nils went on. "I didn't know I was so proud of her. A regular pile driver. How about little pigtails, down at the house? Is Olaf doing the square thing by those children?"

Clara frowned pensively. "Olaf has to do something that looks like the square thing, now that he's a public man!" She glanced drolly at Nils. "But he makes a good commission out of it. On Sundays they all get together here and figure. He lets Peter and Anders put in big bills for the keep of the two boys, and he pays them out of the estate. They are always having what they call accountings. Olaf gets something out of it, too. I don't know just how they do it, but it's entirely a family matter, as they say. And when the Ericsons say that--" Clara lifted her eyebrows.

Just then the angry honk-honk of an approaching motor sounded from down the road. Their eyes met and they began to laugh. They laughed as children do when they can not contain themselves, and can not explain the cause of their mirth to grown people, but share it perfectly together. When Clara Vavrika sat down at the piano after he was gone, she felt that she had laughed away a dozen years. She practised as if the house were burning over her head.

When Nils greeted his mother and climbed into the front seat of the motor beside her, Mrs. Ericson looked grim, but she made no comment upon his truancy until she had turned her car and was retracing her revolutions along the road that ran by Olaf's big pasture. Then she remarked dryly:
"If I were you I wouldn't see too much of Olaf's wife while you are here. She's the kind of woman who can't see much of men without getting herself talked about. She was a good deal talked about before he married her."

"Hasn't Olaf tamed her?" Nils asked indifferently.

Mrs. Ericson shrugged her massive shoulders. "Olaf don't seem to have much luck, when it comes to wives. The first one was meek enough, but she was always ailing. And this one has her own way. He says if he quarreled with her she'd go back to her father, and then he'd lose the Bohemian vote. There are a great many Bohunks in this district. But when you find a man under his wife's thumb you can always be sure there's a soft spot in him somewhere."

Nils thought of his own father, and smiled. "She brought him a good deal of money, didn't she, besides the Bohemian vote?"

Mrs. Ericson sniffed. "Well, she has a fair half section in her own name, but I can't see as that does Olaf much good. She will have a good deal of property some day, if old Vavrika don't marry again. But I don't consider a saloonkeeper's money as good as other people's money,"

Nils laughed outright. "Come, Mother, don't let your prejudices carry you that far. Money's money. Old Vavrika's a mighty decent sort of saloonkeeper. Nothing rowdy about him."

Mrs. Ericson spoke up angrily. "Oh, I know you always stood up for them! But hanging around there when you were a boy never did you any good, Nils, nor any of the other boys who went there. There weren't so many after her when she married Olaf, let me tell you. She knew enough to grab her chance."

Nils settled back in his seat. "Of course I liked to go there, Mother, and you were always cross about it. You never took the trouble to find out that it was the one jolly house in this country for a boy to go to. All the rest of you were working yourselves to death, and the houses were mostly a mess, full of babies and washing and flies. oh, it was all right--I understand that; but you are young only once, and I happened to be young then. Now, Vavrika's was always jolly. He played the violin, and I used to take my flute, and Clara played the piano, and Johanna used to sing Bohemian songs. She always had a big supper for us--herrings and pickles and poppy-seed bread, and lots of cake and preserves. Old Joe had been in the army in the old country, and he could tell lots of good stories. I can see him cutting bread, at the head of the table, now. I don't know what I'd have done when I was a kid if it hadn't been for the Vavrikas, really."

"And all the time he was taking money that other people had worked hard in the fields for," Mrs. Ericson observed.
"So do the circuses, Mother, and they're a good thing. People ought to get fun for some of their money. Even father liked old Joe."

"Your father," Mrs. Ericson said grimly, "liked everybody."

As they crossed the sand creek and turned into her own place, Mrs. Ericson observed, "There's Olaf's buggy. He's stopped on his way from town." Nils shook himself and prepared to greet his brother, who was waiting on the porch.

Olaf was a big, heavy Norwegian, slow of speech and movement. His head was large and square, like a block of wood. When Nils, at a distance, tried to remember what his brother looked like, he could recall only his heavy head, high forehead, large nostrils, and pale blue eyes, set far apart. Olaf's features were rudimentary: the thing one noticed was the face itself, wide and flat and pale; devoid of any expression, betraying his fifty years as little as it betrayed anything else, and powerful by reason of its very stolidness. When Olaf shook hands with Nils he looked at him from under his light eyebrows, but Nils felt that no one could ever say what that pale look might mean. The one thing he had always felt in Olaf was a heavy stubbornness, like the unyielding stickiness of wet loam against the plow. He had always found Olaf the most difficult of his brothers.

"How do you do, Nils? Expect to stay with us long?"

 

"Oh, I may stay forever," Nils answered gaily. "I like this country better than I used to."

 

"There's been some work put into it since you left," Olaf remarked.

"Exactly. I think it's about ready to live in now--and I'm about ready to settle down." Nils saw his brother lower his big head ("Exactly like a bull," he thought.) "Mother's been persuading me to slow down now, and go in for farming," he went on lightly.

Olaf made a deep sound in his throat. "Farming ain't learned in a day," he brought out, still looking at the ground.

"Oh, I know! But I pick things up quickly." Nils had not meant to antagonize his brother, and he did not know now why he was doing it. "Of course," he went on, "I shouldn't expect to make a big success, as you fellows have done. But then, I'm not ambitious. I won't want much. A little land, and some cattle, maybe."

Olaf still stared at the ground, his head down. He wanted to ask Nils what he had been doing all these years, that he didn't have a business somewhere he couldn't afford to leave; why he hadn't more pride than to come back with only a little sole-leather trunk to show for himself, and to present himself as the only failure in the family. He did not ask one of these questions, but he made them all felt distinctly.

"Humph!" Nils thought. "No wonder the man never talks, when he can butt his ideas into you like that without ever saying a word. I suppose he uses that kind of smokeless powder on his wife all the time. But I guess she has her innings." He chuckled, and Olaf looked up. "Never mind me, Olaf. I laugh without knowing why, like little Eric. He's another cheerful dog."

"Eric," said Olaf slowly, "is a spoiled kid. He's just let his mother's best cow go dry because he don't milk her right. I was hoping you'd take him away somewhere and put him into business.

If he don't do any good among strangers, he never will." This was a long speech for Olaf, and as he finished it he climbed into his buggy.

Nils shrugged his shoulders. "Same old tricks," he thought. "Hits from behind you every time. What a whale of a man!" He turned and went round to the kitchen, where his mother was scolding little Eric for letting the gasoline get low.

IV

Joe Vavrika's saloon was not in the county seat, where Olaf and Mrs. Ericson did their trading, but in a cheerfuller place, a little Bohemian settlement which lay at the other end of the county, ten level miles north of Olaf's farm. Clara rode up to see her father almost every day. Vavrika's house was, so to speak, in the back yard of his saloon. The garden between the two buildings was inclosed by a high board fence as tight as a partition, and in summer Joe kept beer tables and wooden benches among the gooseberry bushes under his little cherry tree. At one of these tables Nils Ericson was seated in the late afternoon, three days after his return home. Joe had gone in to serve a customer, and Nils was lounging on his elbows, looking rather mournfully into his half- emptied pitcher, when he heard a laugh across the little garden. Clara, in her riding habit, was standing at the back door of the house, under the grapevine trellis that old Joe had grown there long ago. Nils rose.

"Come out and keep your father and me company. We've been gossiping all afternoon. Nobody to bother us but the flies."

 

She shook her head. "No, I never come out here any more. Olaf doesn't like it. I must live up to my position, you know."

 

"You mean to tell me you never come out and chat with the boys, as you used to? He has tamed you! Who keeps up these flower-beds?"

 

"I come out on Sundays, when father is alone, and read the Bohemian papers to him. But I am never here when the bar is open. What have you two been doing?"

"Talking, as I told you. I've been telling him about my travels. I find I can't talk much at home, not even to Eric."
Clara reached up and poked with her riding-whip at a white moth that was fluttering in the sunlight among the vine leaves. "I suppose you will never tell me about all those things."

"Where can I tell them? Not in Olaf's house, certainly. What's the matter with our talking here?" He pointed persuasively with his hat to the bushes and the green table, where the flies were singing lazily above the empty beer glasses.

Clara shook her head weakly. "No, it wouldn't do. Besides, I am going now."

 

"I'm on Eric's mare. Would you be angry if I overtook you?"

 

Clara looked back and laughed. "You might try and see. I can leave you if I don't want you. Eric's mare can't keep up with Norman."

Nils went into the bar and attempted to pay his score. Big Joe, six feet four, with curly yellow hair and mustache, clapped him on the shoulder. "Not a Goddamn a your money go in my drawer, you hear? Only next time you bring your flute, te-te-te-te-te-ty." Joe wagged his fingers in imitation of the flute player's position.

"My Clara, she come all-a-time Sundays an' play for me. She not like to play at Ericson's place." He shook his yellow curls and laughed. "Not a Goddamn a fun at Ericson's. You come a Sunday. You like-a fun. No forget de flute." Joe talked very rapidly and always tumbled over his English. He seldom spoke it to his customers, and had never learned much.

Nils swung himself into the saddle and trotted to the west of the village, where the houses and gardens scattered into prairie land and the road turned south. Far ahead of him, in the declining light, he saw Clara Vavrika's slender figure, loitering on horseback. He touched his mare with the whip, and shot along the white, level road, under the reddening sky. When he overtook Olaf's wife he saw that she had been crying. "What's the matter, Clara Vavrika?" he asked kindly.

"Oh, I get blue sometimes. It was awfully jolly living there with father. I wonder why I ever went away."

Nils spoke in a low, kind tone that he sometimes used with women: "That's what I've been wondering these many years. You were the last girl in the country I'd have picked for a wife for Olaf. What made you do it, Clara?"

"I suppose I really did it to oblige the neighbours"--Clara tossed her head. "People were beginning to wonder."

"To wonder?" "Yes--why I didn't get married. I suppose I didn't like to keep them in suspense. I've discovered that most girls marry out of consideration for the neighbourhood."

Nils bent his head toward her and his white teeth flashed. "I'd have gambled that one girl I knew would say, 'Let the neighbourhood be damned.'"

Clara shook her head mournfully. "You see, they have it on you, Nils; that is, if you're a woman. They say you're beginning to go off. That's what makes us get married: we can't stand the laugh."

Nils looked sidewise at her. He had never seen her head droop before. Resignation was the last thing he would have expected of her. "In your case, there wasn't something else?"

 

"Something else?"

 

"I mean, you didn't do it to spite somebody? Somebody who didn't come back?"

 

Clara drew herself up. "Oh, I never thought you'd come back. Not after I stopped writing to you, at least. That was all over, long before I married Olaf."

 

"It never occurred to you, then, that the meanest thing you could do to me was to marry Olaf?"

 

Clara laughed. "No; I didn't know you were so fond of Olaf."

Nils smoothed his horse's mane with his glove. "You know, Clara Vavrika, you are never going to stick it out. You'll cut away some day, and I've been thinking you might as well cut away with me."

Clara threw up her chin. "Oh, you don't know me as well as you think. I won't cut away. Sometimes, when I'm with father, I feel like it. But I can hold out as long as the Ericsons can. They've never got the best of me yet, and one can live, so long as one isn't beaten. If I go back to father, it's all up with Olaf in politics. He knows that, and he never goes much beyond sulking. I've as much wit as the Ericsons. I'll never leave them unless I can show them a thing or two."

"You mean unless you can come it over them?"

 

"Yes--unless I go away with a man who is cleverer than they are, and who has more money."

Nils whistled. "Dear me, you are demanding a good deal. The Ericsons, take the lot of them, are a bunch to beat. But I should think the excitement of tormenting them would have worn off by this time."

"It has, I'm afraid," Clara admitted mournfully. "Then why don't you cut away? There are more amusing games than this in the world. When I came home I thought it might amuse me to bully a few quarter sections out of the Ericsons; but I've almost decided I can get more fun for my money somewhere else."

Clara took in her breath sharply. "Ah, you have got the other will! That was why you came home!"

 

"No, it wasn't. I came home to see how you were getting on with Olaf."

Clara struck her horse with the whip, and in a bound she was far ahead of him. Nils dropped one word, "Damn!" and whipped after her; but she leaned forward in her saddle and fairly cut the wind. Her long riding skirt rippled in the still air behind her. The sun was just sinking behind the stubble in a vast, clear sky, and the shadows drew across the fields so rapidly that Nils could scarcely keep in sight the dark figure on the road. When he overtook her he caught her horse by the bridle. Norman reared, and Nils was frightened for her; but Clara kept her seat.

"Let me go, Nils Ericson!" she cried. "I hate you more than any of them. You were created to torture me, the whole tribe of you--to make me suffer in every possible way."

She struck her horse again and galloped away from him. Nils set his teeth and looked thoughtful. He rode slowly home along the deserted road, watching the stars come out in the clear violet sky.

They flashed softly into the limpid heavens, like jewels let fall into clear water. They were a reproach, he felt, to a sordid world. As he turned across the sand creek, he looked up at the North Star and smiled, as if there were an understanding between them. His mother scolded him for being late for supper.

V

On Sunday afternoon Joe Vavrika, in his shirt sleeves arid carpet slippers, was sitting in his garden, smoking a long-tasseled porcelain pipe with a hunting scene painted on the bowl. Clara sat under the cherry tree, reading aloud to him from the, weekly Bohemian papers. She had worn a white muslin dress under her riding habit, and the leaves of the cherry tree threw a pattern of sharp shadows over her skirt. The black cat was dozing in the sunlight at her feet, and Joe's dachshund was scratching a hole under the scarlet geraniums and dreaming of badgers. Joe was filling his pipe for the third time since dinner, when he heard a knocking on the fence. He broke into a loud guffaw and unlatched the little door that led into the street. He did not call Nils by name, but caught him by the hand and dragged him in. Clara stiffened and the colour deepened under her dark skin. Nils, too, felt a little awkward. He had not seen her since the night when she rode away from him and left him alone on the level road between the fields. Joe dragged him to the wooden bench beside the green table.
"You bring de flute," he cried, tapping the leather case under Nils' arm. "Ah, das-a good' Now we have some liddle fun like old times. I got somet'ing good for you." Joe shook his finger at Nils and winked his blue eye, a bright clear eye, full of fire, though the tiny bloodvessels on the ball were always a little distended. "I got somet'ing for you from"--he paused and waved his hand-- "Hongarie. You know Hongarie? You wait!" He pushed Nils down on the bench, and went through the back door of his saloon.

Nils looked at Clara, who sat frigidly with her white skirts drawn tight about her. "He didn't tell you he had asked me to come, did he? He wanted a party and proceeded to arrange it. Isn't he fun? Don't be cross; let's give him a good time."

Clara smiled and shook out her skirt. "Isn't that like Father? And he has sat here so meekly all day. Well, I won't pout. I'm glad you came. He doesn't have very many good times now any more. There are so few of his kind left. The second generation are a tame lot."

Joe came back with a flask in one hand and three wine glasses caught by the stems between the fingers of the other. These he placed on the table with an air of ceremony, and, going behind Nils, held the flask between him and the sun, squinting into it admiringly. "You know dis, Tokai? A great friend of mine, he bring dis to me, a present out of Hongarie. You know how much it cost, dis wine? Chust so much what it weigh in gold. Nobody but de nobles drink him in Bohemie. Many, many years I save him up, dis Tokai." Joe whipped out his official corkscrew and delicately removed the cork. "De old man die what bring him to me, an' dis wine he lay on his belly in my cellar an' sleep. An' now," carefully pouring out the heavy yellow wine, "an' now he wake up; and maybe he wake us up, too!" He carried one of the glasses to his daughter and presented it with great gallantry.

Clara shook her head, but, seeing her father's disappointment, relented. "You taste it first. I don't want so much."

 

Joe sampled it with a beatific expression, and turned to Nils. "You drink him slow, dis wine. He very soft, but he go down hot. You see!"

 

After a second glass Nils declared that he couldn't take any more without getting sleepy. "Now get your fiddle, Vavrika," he said as he opened his flute case.

But Joe settled back in his wooden rocker and wagged his big carpet slipper. "No-no-nono-no-no-no! No play fiddle now any more: too much ache in de finger," waving them, "all-a-time rheumatic. You play de flute, te-tety-tetety-te. Bohemie songs."

"I've forgotten all the Bohemian songs I used to play with you and Johanna. But here's one that will make Clara pout. You remember how her eyes used to snap when we called her the Bohemian Girl?" Nils lifted his flute and began "When Other Lips and Other Hearts," and Joe hummed the air in a husky baritone, waving his carpet slipper. "Oh-h-h, das-a fine music," he cried, clapping his hands as Nils finished. "Now 'Marble Halls, Marble Halls'! Clara, you sing him."

Clara smiled and leaned back in her chair, beginning softly:

 

I dreamt that I dwelt in ma-a-arble halls, With vassals and serfs at my knee,"

 

and Joe hummed like a big bumblebee.

"There's one more you always played," Clara said quietly, "I remember that best." She locked her hands over her knee and began "The Heart Bowed Down," and sang it through without groping for the words. She was singing with a good deal of warmth when she came to the end of the old song:

"For memory is the only friend That grief can call its own."

 

Joe flashed out his red silk handkerchief and blew his nose, shaking his head. "No-no-nono-no-no-no! Too sad, too sad! I not like-a dat. Play quick somet'ing gay now."

Nils put his lips to the instrument, and Joe lay back in his chair, laughing and singing, "Oh, Evelina, Sweet Evelina!" Clara laughed, too. Long ago, when she and Nils went to high school, the model student of their class was a very homely girl in thick spectacles. Her name was Evelina Oleson; she had a long, swinging walk which somehow suggested the measure of that song, and they used mercilessly to sing it at her.

"Dat ugly Oleson girl, she teach in de school," Joe gasped, "an' she still walks chust like dat, yup-a, yup-a, yup-a, chust like a camel she go! Now, Nils, we have some more li'l drink. Oh, yes-yes-yes-yes-yes-yesyes! Dis time you haf to drink, and Clara she haf to, so she show she not jealous. So, we all drink to your girl. You not tell her name, eh? Nono-no, I no make you tell. She pretty, eh? She make good sweetheart? I bet!" Joe winked and lifted his glass. "How soon you get married?"

Nils screwed up his eyes. "That I don't know. When she says."

 

Joe threw out his chest. "Das-a way boys talks. No way for mans. Mans say, 'You come to de church, an' get a hurry on you.' Das-a way mans talks."

 

"Maybe Nils hasn't got enough to keep a wife," put in Clara ironically. "How about that, Nils?" she asked him frankly, as if she wanted to know.

 

Nils looked at her coolly, raising one eyebrow. "oh, I can keep her, all right."

 

"The way she wants to be kept?" "With my wife, I'll decide that," replied Nils calmly. "I'll give her what's good for her."

 

Clara made a wry face. "You'll give her the strap, I expect, like old Peter Oleson gave his wife."

"When she needs it," said Nils lazily, locking his hands behind his head and squinting up through the leaves of the cherry tree. "Do you remember the time I squeezed the cherries all over your clean dress, and Aunt Johanna boxed my ears for me? My gracious, weren't you mad! You had both hands full of cherries, and I squeezed 'em and made the juice fly all over you. I liked to have fun with you; you'd get so mad."

"We did have fun, didn't we? None of the other kids ever had so much fun. We knew how to play."

 

Nils dropped his elbows on the table and looked steadily across at her. "I've played with lots of girls since, but I haven't found one who was such good fun."

Clara laughed. The late afternoon sun was shining full in her face, and deep in the back of her eyes there shone something fiery, like the yellow drops of Tokai in the brown glass bottle. "Can you still play, or are you only pretending?"

"I can play better than I used to, and harder."

 

"Don't you ever work, then?" She had not intended to say it. It slipped out because she was confused enough to say just the wrong thing.

"I work between times." Nils' steady gaze still beat upon her. "Don't you worry about my working, Mrs. Ericson. You're getting like all the rest of them." He reached his brown, warm hand across the table and dropped it on Clara's, which was cold as an icicle. "Last call for play, Mrs. Ericson!" Clara shivered, and suddenly her hands and cheeks grew warm. Her fingers lingered in his a moment, and they looked at each other earnestly. Joe Vavrika had put the mouth of the bottle to his lips and was swallowing the last drops of the Tokai, standing. The sun, just about to sink behind his shop, glistened on the bright glass, on his flushed face and curly yellow hair. "Look," Clara whispered, "that's the way I want to grow old."

VI

On the day of Olaf Ericson's barn-raising, his wife, for once in a way, rose early. Johanna Vavrika had been baking cakes and frying and boiling and spicing meats for a week beforehand, but it was not until the day before the party was to take place that Clara showed any interest in it. Then she was seized with one of her fitful spasms of energy, and took the wagon and little Eric and spent the day on Plum Creek, gathering vines and swamp goldenrod to decorate the barn.
By four o'clock in the afternoon buggies and wagons began to arrive at the big unpainted building in front of Olaf's house. When Nils and his mother came at five, there were more than fifty people in the barn, and a great drove of children. On the ground floor stood six long tables, set with the crockery of seven flourishing Ericson families, lent for the occasion. In the middle of each table was a big yellow pumpkin, hollowed out and filled with woodbine. In one corner of the barn, behind a pile of green- and-white striped watermelons, was a circle of chairs for the old people; the younger guests sat on bushel measures or barbed-wire spools, and the children tumbled about in the haymow. The box stalls Clara had converted into booths. The framework was hidden by goldenrod and sheaves of wheat, and the partitions were covered 'With wild grapevines full of fruit. At one of these Johanna Vavrika watched over her cooked meats, enough to provision an army; and at the next her kitchen girls had ranged the ice-cream freezers, and Clara was already cutting pies and cakes against the hour of serving. At the third stall, little Hilda, in a bright pink lawn dress, dispensed lemonade throughout the afternoon. Olaf, as a public man, had thought it inadvisable to serve beer in his barn; but Joe Vavrika had come over with two demijohns concealed in his buggy, and after his arrival the wagon shed was much frequented by the men.

"Hasn't Cousin Clara fixed things lovely?" little Hilda whispered, when Nils went up to her stall and asked for lemonade.

Nils leaned against the booth, talking to the excited little girl and watching the people. The barn faced the west, and the sun, pouring in at the big doors, filled the whole interior with a golden light, through which filtered fine particles of dust from the haymow, where the children were romping. There was a great chattering from the stall where Johanna Vavrika exhibited to the admiring women her platters heaped with fried chicken, her roasts of beef, boiled tongues, and baked hams with cloves stuck in the crisp brown fat and garnished with tansy and parsley. The older women, having assured themselves that there were twenty kinds of cake, not counting cookies, and three dozen fat pies, repaired to the corner behind the pile of watermelons, put on their white aprons, and fell to their knitting and fancywork. They were a fine company of old women, and a Dutch painter would have loved to find them there together, where the sun made bright patches on the floor and sent long, quivering shafts of gold through the dusky shade up among the rafters. There were fat, rosy old women who looked hot in their best black dresses; spare, alert old women with brown, dark-veined hands; and several of almost heroic frame, not less massive than old Mrs. Ericson herself. Few of them wore glasses, and old Mrs. Svendsen, a Danish woman, who was quite bald, wore the only cap among them. Mrs. Oleson, who had twelve big grandchildren, could still show two braids of yellow hair as thick as her own wrists. Among all these grandmothers there were more brown heads than white. They all had a pleased, prosperous air, as if they were more than satisfied with themselves and with life. Nils, leaning against Hilda's lemonade stand, watched them as they sat chattering in four languages, their fingers never lagging behind their tongues.
"Look at them over there," he whispered, detaining Clara as she passed him. "Aren't they the Old Guard? I've just counted thirty hands. I guess they've wrung many a chicken's neck and warmed many a boy's jacket for him in their time."

In reality he fell into amazement when he thought of the Herculean labours those fifteen pairs of hands had performed: of the cows they had milked, the butter they had made, the gardens they had planted, the children and grandchildren they had tended, the brooms they had worn out, the mountains of food they had cooked. It made him dizzy. Clara Vavrika smiled a hard, enigmatical smile at him and walked rapidly away. Nils' eyes followed her white figure as she went toward the house. He watched her walking alone in the sunlight, looked at her slender, defiant shoulders and her little hard-set head with its coils of blue-black hair. "No," he reflected; "she'd never be like them, not if she lived here a hundred years. She'd only grow more bitter. You can't tame a wild thing; you can only chain it. People aren't all alike. I mustn't lose my nerve." He gave Hilda's pigtail a parting tweak and set out after Clara. "Where to?" he asked, as he came upon her in the kitchen.

"I'm going to the cellar for preserves."

 

"Let me go with you. I never get a moment alone with you. Why do you keep out of my way?"

 

Clara laughed. "I don't usually get in anybody's way."

Nils followed her down the stairs and to the far corner of the cellar, where a basement window let in a stream of light. From a swinging shelf Clara selected several glass jars, each labeled in Johanna's careful hand. Nils took up a brown flask. "What's this? It looks good."

"It is. It's some French brandy father gave me when I was married. Would you like some? Have you a corkscrew? I'll get glasses."

 

When she brought them, Nils took them from her and put them down on the window-sill. "Clara Vavrika, do you remember how crazy I used to be about you?"

 

Clara shrugged her shoulders. "Boys are always crazy about somebody or another. I dare say some silly has been crazy about Evelina Oleson. You got over it in a hurry."

 

"Because I didn't come back, you mean? I had to get on, you know, and it was hard sledding at first. Then I heard you'd married Olaf."

 

"And then you stayed away from a broken heart," Clara laughed.

"And then I began to think about you more than I had since I first went away. I began to wonder if you were really as you had seemed to me when I was a boy. I thought I'd like to see. I've had lots of girls, but no one ever pulled me the same way. The more I thought about you, the more I remembered how it used to be-- like hearing a wild tune you can't resist, calling you out at night. It had been a long while since anything had pulled me out of my boots, and I wondered whether anything ever could again." Nils thrust his hands into his coat pockets and squared his shoulders, as his mother sometimes squared hers, as Olaf, in a clumsier manner, squared his. "So I thought I'd come back and see. Of course the family have tried to do me, and I rather thought I'd bring out father's will and make a fuss. But they can have their old land; they've put enough sweat into it." He took the flask and filled the two glasses carefully to the brim. "I've found out what I want from the Ericsons. Drink skoal, Clara." He lifted his glass, and Clara took hers with downcast eyes. "Look at me, Clara Vavrika. Skoal!"

She raised her burning eyes and answered fiercely: "Skoal!"

The barn supper began at six o'clock and lasted for two hilarious hours. Yense Nelson had made a wager that he could eat two whole fried chickens, and he did. Eli Swanson stowed away two whole custard pies, and Nick Hermanson ate a chocolate layer cake to the last crumb. There was even a cooky contest among the children, and one thin, slablike Bohemian boy consumed sixteen and won the prize, a gingerbread pig which Johanna Vavrika had carefully decorated with red candies and burnt sugar. Fritz Sweiheart, the German carpenter, won in the pickle contest, but he disappeared soon after supper and was not seen for the rest of the evening. Joe Vavrika said that Fritz could have managed the pickles all right, but he had sampled the demijohn in his buggy too often before sitting down to the table.

While the supper was being cleared away the two fiddlers began to tune up for the dance. Clara was to accompany them on her old upright piano, which had been brought down from her father's. By this time Nils had renewed old acquaintances. Since his interview with Clara in the cellar, he had been busy telling all the old women how young they looked, and all the young ones how pretty they were, and assuring the men that they had here the best farmland in the world. He had made himself so agreeable that old Mrs. Ericson's friends began to come up to her and tell how lucky she was to get her smart son back again, and please to get him to play his flute. Joe Vavrika, who could still play very well when he forgot that he had rheumatism, caught up a fiddle from Johnny Oleson and played a crazy Bohemian dance tune that set the wheels going. When he dropped the bow every one was ready to dance.

Olaf, in a frock coat and a solemn made-up necktie, led the grand march with his mother. Clara had kept well out of that by sticking to the piano. She played the march with a pompous solemnity which greatly amused the prodigal son, who went over and stood behind her.

"Oh, aren't you rubbing it into them, Clara Vavrika? And aren't you lucky to have me here, or all your wit would be thrown away."

"I'm used to being witty for myself. It saves my life." The fiddles struck up a polka, and Nils convulsed Joe Vavrika by leading out Evelina Oleson, the homely schoolteacher. His next partner was a very fat Swedish girl, who, although she was an heiress, had not been asked for the first dance, but had stood against the wall in her tight, high-heeled shoes, nervously fingering a lace handkerchief. She was soon out of breath, so Nils led her, pleased and panting, to her seat, and went over to the piano, from which Clara had been watching his gallantry. "Ask Olena Yenson," she whispered. "She waltzes beautifully."

Olena, too, was rather inconveniently plump, handsome in a smooth, heavy way, with a fine colour and good-natured, sleepy eyes. She was redolent of violet sachet powder, and had warm, soft, white hands, but she danced divinely, moving as smoothly as the tide coming in. "There, that's something like," Nils said as he released her. "You'll give me the next waltz, won't you? Now I must go and dance with my little cousin."

Hilda was greatly excited when Nils went up to her stall and held out his arm. Her little eyes sparkled, but she declared that she could not leave her lemonade. Old Mrs. Ericson, who happened along at this moment, said she would attend to that, and Hilda came out, as pink as her pink dress. The dance was a schottische, and in a moment her yellow braids were fairly standing on end. "Bravo!" Nils cried encouragingly. "Where did you learn to dance so nicely?"

"My Cousin Clara taught me," the little girl panted.

 

Nils found Eric sitting with a group of boys who were too awkward or too shy to dance, and told him that he must dance the next waltz with Hilda.

 

The boy screwed up his shoulders. "Aw, Nils, I can't dance. My feet are too big; I look silly."

 

"Don't be thinking about yourself. It doesn't matter how boys look."

 

Nils had never spoken to him so sharply before, and Eric made haste to scramble out of his corner and brush the straw from his coat.

 

Clara nodded approvingly. "Good for you, Nils. I've been trying to get hold of him. They dance very nicely together; I sometimes play for them."

 

"I'm obliged to you for teaching him. There's no reason why he should grow up to be a lout."

"He'll never be that. He's more like you than any of them. Only he hasn't your courage." From her slanting eyes Clara shot forth one of those keen glances, admiring and at the same time challenging, which she seldom bestowed on any one, and which seemed to say, "Yes, I admire you, but I am your equal."
Clara was proving a much better host than Olaf, who, once the supper was over, seemed to feel no interest in anything but the lanterns. He had brought a locomotive headlight from town to light the revels, and he kept skulking about as if he feared the mere light from it might set his new barn on fire. His wife, on the contrary, was cordial to every one, was animated and even gay. The deep salmon colour in her cheeks burned vividly, and her eyes were full of life. She gave the piano over to the fat Swedish heiress, pulled her father away from the corner where he sat gossiping with his cronies, and made him dance a Bohemian dance with her. In his youth Joe had been a famous dancer, and his daughter got him so limbered up that every one sat around and applauded them. The old ladies were particularly delighted, and made them go through the dance again. From their corner where they watched and commented, the old women kept time with their feet and hands, and whenever the fiddles struck up a new air old Mrs. Svendsen's white cap would begin to bob.

Clara was waltzing with little Eric when Nils came up to them, brushed his brother aside, and swung her out among the dancers. "Remember how we used to waltz on rollers at the old skating rink in town? I suppose people don't do that any more. We used to keep it up for hours. You know, we never did moon around as other boys and girls did. It was dead serious with us from the beginning. When we were most in love with each other, we used to fight. You were always pinching people; your fingers were like little nippers.

A regular snapping turtle, you were. Lord, how you'd like Stockholm! Sit out in the streets in front of cafes and talk all night in summer. just like a reception--officers and ladies and funny English people. Jolliest people in the world, the Swedes, once you get them going. Always drinking things--champagne and stout mixed, half-and-half, serve it out of big pitchers, and serve plenty. Slow pulse, you know; they can stand a lot. Once they light up, they're glowworms, I can tell you."

"All the same, you don't really like gay people."

 

"I don't?"

"No; I could tell that when you were looking at the old women there this afternoon. They're the kind you really admire, after all; women like your mother. And that's the kind you'll marry."

"Is it, Miss Wisdom? You'll see who I'll marry, and she won't have a domestic virtue to bless herself with. She'll be a snapping turtle, and she'll be a match for me. All the same, they're a fine bunch of old dames over there. You admire them yourself

"No, I don't; I detest them."

"You won't, when you look back on them from Stockholm or Budapest. Freedom settles all that. Oh, but you're the real Bohemian Girl, Clara Vavrika!" Nils laughed down at her sullen frown and began mockingly to sing:
"Oh, how could a poor gypsy maiden like me Expect the proud bride of a baron to be?"

Clara clutched his shoulder. "Hush, Nils; every one is looking at you."

"I don't care. They can't gossip. It's all in the family, as the Ericsons say when they divide up little Hilda's patrimony amongst them. Besides, we'll give them something to talk about when we hit the trail. Lord, it will be a godsend to them! They haven't had anything so interesting to chatter about since the grasshopper year. It'll give them a new lease of life. And Olaf won't lose the Bohemian vote, either. They'll have the laugh on him so that they'll vote two apiece. They'll send him to Congress. They'll never forget his barn party, or us. They'll always remember us as we're dancing together now. We're making a legend. Where's my waltz, boys?" he called as they whirled past the fiddlers.

The musicians grinned, looked at each other, hesitated, and began a new air; and Nils sang with them, as the couples fell from a quick waltz to a long, slow glide:

"When other lips and other hearts Their tale of love shall tell, In language whose excess imparts The power they feel so well."

The old women applauded vigorously. "What a gay one he is, that Nils!" And old Mrs. Svendsen's cap lurched dreamily from side to side to the flowing measure of the dance.

 

Of days that have as ha-a-p-py been, And you'll remember me."

 

VII

The moonlight flooded that great, silent land. The reaped fields lay yellow in it. The straw stacks and poplar windbreaks threw sharp black shadows. The roads were white rivers of dust. The sky was a deep, crystalline blue, and the stars were few and faint. Everything seemed to have succumbed, to have sunk to sleep, under the great, golden, tender, midsummer moon. The splendour of it seemed to transcend human life and human fate. The senses were too feeble to take it in, and every time one looked up at the sky one felt unequal to it, as if one were sitting deaf under the waves of a great river of melody. Near the road, Nils Ericson was lying against a straw stack in Olaf's wheat field. His own life seemed strange and unfamiliar to him, as if it were something he had read about, or dreamed, and forgotten. He lay very still, watching the white road that ran in front of him, lost itself among the fields, and then, at a distance, reappeared over a little hill. At last, against this white band he saw something moving rapidly, and he got up and walked to the edge of the field. "She is passing the row of poplars now," he thought. He heard the padded beat of hoofs along the dusty road, and as she came into sight he stepped out and waved his arms. Then, for fear of frightening the horse, he drew back and waited. Clara had seen him, and she came up at a walk. Nils took the horse by the bit and stroked his neck.

"What are you doing out so late, Clara Vavrika? I went to the house, but Johanna told me you had gone to your father's."

 

"Who can stay in the house on a night like this? Aren't you out yourself?"

 

"Ah, but that's another matter."

 

Nils turned the horse into the field.

 

"What are you doing? Where are you taking Norman?"

 

"Not far, but I want to talk to you tonight; I have something to say to you. I can't talk to you at the house, with Olaf sitting there on the porch, weighing a thousand tons."

 

Clara laughed. "He won't be sitting there now. He's in bed by this time, and asleep-weighing a thousand tons."

Nils plodded on across the stubble. "Are you really going to spend the rest of your life like this, night after night, summer after summer? Haven't you anything better to do on a night like this than to wear yourself and Norman out tearing across the country to your father's and back? Besides, your father won't live forever, you know. His little place will be shut up or sold, and then you'll have nobody but the Ericsons. You'll have to fasten down the hatches for the winter then."

Clara moved her head restlessly. "Don't talk about that. I try never to think of it. If I lost Father I'd lose everything, even my hold over the Ericsons."

 

"Bah! You'd lose a good deal more than that. You'd lose your race, everything that makes you yourself. You've lost a good deal of it now."

 

"Of what?"

 

"Of your love of life, your capacity for delight."

 

Clara put her hands up to her face. "I haven't, Nils Ericson, I haven't! Say anything to me but that. I won't have it!" she declared vehemently.

Nils led the horse up to a straw stack, and turned to Clara, looking at her intently, as he had looked at her that Sunday afternoon at Vavrika's. "But why do you fight for that so? What good is the power to enjoy, if you never enjoy? Your hands are cold again; what are you afraid of all the time? Ah, you're afraid of losing it; that's what's the matter with you! And you will, Clara Vavrika, you will! When I used to know you--listen; you've caught a wild bird in your hand, haven't you, and felt its heart beat so hard that you were afraid it would shatter its little body to pieces? Well, you used to be just like that, a slender, eager thing with a wild delight inside you. That is how I remembered you. And I come back and find you--a bitter woman. This is a perfect ferret fight here; you live by biting and being bitten. Can't you remember what life used to be? Can't you remember that old delight? I've never forgotten it, or known its like, on land or sea."

He drew the horse under the shadow of the straw stack. Clara felt him take her foot out of the stirrup, and she slid softly down into his arms. He kissed her slowly. He was a deliberate man, but his nerves were steel when he wanted anything. Something flashed out from him like a knife out of a sheath. Clara felt everything slipping away from her; she was flooded by the summer night. He thrust his hand into his pocket, and then held it out at arm's length. "Look," he said. The shadow of the straw stack fell sharp across his wrist, and in the palm of his hand she saw a silver dollar shining. "That's my pile," he muttered; "will you go with me?"

Clara nodded, and dropped her forehead on his shoulder.

 

Nils took a deep breath. "Will you go with me tonight?"

 

"Where?" she whispered softly.

 

"To town, to catch the midnight flyer."

 

Clara lifted her head and pulled herself together. "Are you crazy, Nils? We couldn't go away like that."

"That's the only way we ever will go. You can't sit on the bank and think about it. You have to plunge. That's the way I've always done, and it's the right way for people like you and me. There's nothing so dangerous as sitting still. You've only got one life, one youth, and you can let it slip through your fingers if you want to; nothing easier. Most people do that. You'd be better off tramping the roads with me than you are here." Nils held back her head and looked into her eyes. "But I'm not that kind of a tramp, Clara. You won't have to take in sewing. I'm with a Norwegian shipping line; came over on business with the New York offices, but now I'm going straight back to Bergen. I expect I've got as much money as the Ericsons. Father sent me a little to get started. They never knew about that. There, I hadn't meant to tell you; I wanted you to come on your own nerve."

Clara looked off across the fields. "It isn't that, Nils, but something seems to hold me. I'm afraid to pull against it. It comes out of the ground, I think."

"I know all about that. One has to tear loose. You're not needed here. Your father will understand; he's made like us. As for Olaf, Johanna will take better care of him than ever you could. It's now or never, Clara Vavrika. My bag's at the station; I smuggled it there yesterday."
Clara clung to him and hid her face against his shoulder. "Not tonight," she whispered. "Sit here and talk to me tonight. I don't want to go anywhere tonight. I may never love you like this again."

Nils laughed through his teeth. "You can't come that on me. That's not my way, Clara Vavrika. Eric's mare is over there behind the stacks, and I'm off on the midnight. It's goodbye, or off across the world with me. My carriage won't wait. I've written a letter to Olaf, I'll mail it in town. When he reads it he won't bother us--not if I know him. He'd rather have the land. Besides, I could demand an investigation of his administration of Cousin Henrik's estate, and that would be bad for a public man. You've no clothes, I know; but you can sit up tonight, and we can get everything on the way. Where's your old dash, Clara Vavrika? What's become of your Bohemian blood? I used to think you had courage enough for anything. Where's your nerve--what are you waiting for?"

Clara drew back her head, and he saw the slumberous fire in her eyes. "For you to say one thing, Nils Ericson."

"I never say that thing to any woman, Clara Vavrika." He leaned back, lifted her gently from the ground, and whispered through his teeth: "But I'll never, never let you go, not to any man on earth but me! Do you understand me? Now, wait here."

Clara sank down on a sheaf of wheat and covered her face with her hands. She did not know what she was going to do-- whether she would go or stay. The great, silent country seemed to lay a spell upon her. The ground seemed to hold her as if by roots. Her knees were soft under her. She felt as if she could not bear separation from her old sorrows, from her old discontent. They were dear to her, they had kept her alive, they were a part of her. There would be nothing left of her if she were wrenched away from them. Never could she pass beyond that skyline against which her restlessness had beat so many times. She felt as if her soul had built itself a nest there on that horizon at which she looked every morning and every evening, and it was dear to her, inexpressibly dear. She pressed her fingers against her eyeballs to shut it out. Beside her she heard the tramping of horses in the soft earth. Nils said nothing to her. He put his hands under her arms and lifted her lightly to her saddle. Then he swung himself into his own.

"We shall have to ride fast to catch the midnight train. A last gallop, Clara Vavrika. Forward!"

There was a start, a thud of hoofs along the moonlit road, two dark shadows going over the hill; and then the great, still land stretched untroubled under the azure night. Two shadows had passed.

VII

A year after the flight of Olaf Ericson's wife, the night train was steaming across the plains of Iowa. The conductor was hurrying through one of the day coaches, his lantern on his arm, when a lank, fair-haired boy sat up in one of the plush seats and tweaked him by the coat.

"What is the next stop, please, sir?"

 

"Red Oak, Iowa. But you go through to Chicago, don't you?" He looked down, and noticed that the boy's eyes were red and his face was drawn, as if he were in trouble.

 

"Yes. But I was wondering whether I could get off at the next place and get a train back to Omaha."

 

"Well, I suppose you could. Live in Omaha?"

 

"No. In the western part of the State. How soon do we get to Red Oak?"

 

"Forty minutes. You'd better make up your mind, so I can tell the baggageman to put your trunk off."

 

"Oh, never mind about that! I mean, I haven't got any," the boy added, blushing.

 

"Run away," the conductor thought, as he slammed the coach door behind him.

Eric Ericson crumpled down in his seat and put his brown hand to his forehead. He had been crying, and he had had no supper, and his head was aching violently. "Oh, what shall I do?" he thought, as he looked dully down at his big shoes. "Nils will be ashamed of me; I haven't got any spunk."

Ever since Nils had run away with his brother's wife, life at home had been hard for little Eric. His mother and Olaf both suspected him of complicity. Mrs. Ericson was harsh and faultfinding, constantly wounding the boy's pride; and Olaf was always setting her against him.

Joe Vavrika heard often from his daughter. Clara had always been fond of her father, and happiness made her kinder. She wrote him long accounts of the voyage to Bergen, and of the trip she and Nils took through Bohemia to the little town where her father had grown up and where she herself was born. She visited all her kinsmen there, and sent her father news of his brother, who was a priest; of his sister, who had married a horse-breeder--of their big farm and their many children. These letters Joe always managed to read to little Eric. They contained messages for Eric and Hilda. Clara sent presents, too, which Eric never dared to take home and which poor little Hilda never even saw, though she loved to hear Eric tell about them when they were out getting the eggs together. But Olaf once saw Eric coming out of Vavrika's house-- the old man had never asked the boy to come into his saloon--and Olaf went straight to his mother and told her. That night Mrs. Ericson came to Eric's room after he was in bed and made a terrible scene. She could be very terrifying when she was really angry. She forbade him ever to speak to Vavrika again, and after that night she would not allow him to go to town alone. So it was a long while before Eric got any more news of his brother. But old Joe suspected what was going on, and he carried Clara's letters about in his pocket. One Sunday he drove out to see a German friend of his, and chanced to catch sight of Eric, sitting by the cattle pond in the big pasture. They went together into Fritz Oberlies' barn, and read the letters and talked things over. Eric admitted that things were getting hard for him at home. That very night old Joe sat down and laboriously penned a statement of the case to his daughter.

Things got no better for Eric. His mother and Olaf felt that, however closely he was watched, he still, as they said, "heard." Mrs. Ericson could not admit neutrality. She had sent Johanna Vavrika packing back to her brother's, though Olaf would much rather have kept her than Anders' eldest daughter, whom Mrs. Ericson installed in her place. He was not so highhanded as his mother, and he once sulkily told her that she might better have taught her granddaughter to cook before she sent Johanna away. Olaf could have borne a good deal for the sake of prunes spiced in honey, the secret of which Johanna had taken away with her.

At last two letters came to Joe Vavrika: one from Nils, enclosing a postal order for money to pay Eric's passage to Bergen, and one from Clara, saying that Nils had a place for Eric in the offices of his company, that he was to live with them, and that they were only waiting for him to come. He was to leave New York on one of the boats of Nils' own line; the captain was one of their friends, and Eric was to make himself known at once.

Nils' directions were so explicit that a baby could have followed them, Eric felt. And here he was, nearing Red Oak, Iowa, and rocking backward and forward in despair. Never had he loved his brother so much, and never had the big world called to him so hard. But there was a lump in his throat which would not go down. Ever since nightfall he had been tormented by the thought of his mother, alone in that big house that had sent forth so many men. Her unkindness now seemed so little, and her loneliness so great. He remembered everything she had ever done for him: how frightened she had been when he tore his hand in the corn-sheller, and how she wouldn't let Olaf scold him. When Nils went away he didn't leave his mother all alone, or he would never have gone. Eric felt sure of that.

The train whistled. The conductor came in, smiling not unkindly. "Well, young man, what are you going to do? We stop at Red Oak in three minutes."

"Yes, thank you. I'll let you know." The conductor went out, and the boy doubled up with misery. He couldn't let his one chance go like this. He felt for his breast pocket and crackled Nils' letter to give him courage. He didn't want Nils to be ashamed of him. The train stopped. Suddenly he remembered his brother's kind, twinkling eyes, that always looked at you as if from far away. The lump in his throat softened. "Ah, but Nils, Nils would understand!" he thought. "That's just it about Nils; he always understands."

A lank, pale boy with a canvas telescope stumbled off the train to the Red Oak siding, just as the conductor called, "All aboard!"
The next night Mrs. Ericson was sitting alone in her wooden rocking-chair on the front porch. Little Hilda had been sent to bed and had cried herself to sleep. The old woman's knitting was on her lap, but her hands lay motionless on top of it. For more than an hour she had not moved a muscle. She simply sat, as only the Ericsons and the mountains can sit. The house was dark, and there was no sound but the croaking of the frogs down in the pond of the little pasture.

Eric did not come home by the road, but across the fields, where no one could see him. He set his telescope down softly in the kitchen shed, and slipped noiselessly along the path to the front porch. He sat down on the step without saying anything. Mrs. Ericson made no sign, and the frogs croaked on. At last the boy spoke timidly.

"I've come back, Mother."

 

"Very well," said Mrs. Ericson.

 

Eric leaned over and picked up a little stick out of the grass.

 

"How about the milking?" he faltered.

 

"That's been done, hours ago."

 

"Who did you get?"

 

"Get? I did it myself. I can milk as good as any of you."

 

Eric slid along the step nearer to her. "Oh, Mother, why did you?" he asked sorrowfully. "Why didn't you get one of Otto's boys?"

"I didn't want anybody to know I was in need of a boy," said Mrs. Ericson bitterly. She looked straight in front of her and her mouth tightened. "I always meant to give you the home farm," she added.

The boy stared and slid closer. "Oh, Mother," he faltered, "I don't care about the farm. I came back because I thought you might be needing me, maybe." He hung his head and got no further.

"Very well," said Mrs. Ericson. Her hand went out from her suddenly and rested on his head. Her fingers twined themselves in his soft, pale hair. His tears splashed down on the boards; happiness filled his heart

Flavia and Her Artists

As the train neared Tarrytown, Imogen Willard began to wonder why she had consented to be one of Flavia's house party at all. She had not felt enthusiastic about it since leaving the city, and was experiencing a prolonged ebb of purpose, a current of chilling indecision, under which she vainly sought for the motive which had induced her to accept Flavia's invitation.

Perhaps it was a vague curiosity to see Flavia's husband, who had been the magician of her childhood and the hero of innumerable Arabian fairy tales. Perhaps it was a desire to see M. Roux, whom Flavia had announced as the especial attraction of the occasion. Perhaps it was a wish to study that remarkable woman in her own setting.

Imogen admitted a mild curiosity concerning Flavia. She was in the habit of taking people rather seriously, but somehow found it impossible to take Flavia so, because of the very vehemence and insistence with which Flavia demanded it. Submerged in her studies, Imogen had, of late years, seen very little of Flavia; but Flavia, in her hurried visits to New York, between her excursions from studio to studio--her luncheons with this lady who had to play at a matinee, and her dinners with that singer who had an evening concert--had seen enough of her friend's handsome daughter to conceive for her an inclination of such violence and assurance as only Flavia could afford. The fact that Imogen had shown rather marked capacity in certain esoteric lines of scholarship, and had decided to specialize in a well- sounding branch of philology at the Ecole des Chartes, had fairly placed her in that category of "interesting people" whom Flavia considered her natural affinities, and lawful prey.

When Imogen stepped upon the station platform she was immediately appropriated by her hostess, whose commanding figure and assurance of attire she had recognized from a distance. She was hurried into a high tilbury and Flavia, taking the driver's cushion beside her, gathered up the reins with an experienced hand.

"My dear girl," she remarked, as she turned the horses up the street, "I was afraid the train might be late. M. Roux insisted upon coming up by boat and did not arrive until after seven."

"To think of M. Roux's being in this part of the world at all, and subject to the vicissitudes of river boats! Why in the world did he come over?" queried Imogen with lively interest. "He is the sort of man who must dissolve and become a shadow outside of Paris."

"Oh, we have a houseful of the most interesting people," said Flavia, professionally. "We have actually managed to get Ivan Schemetzkin. He was ill in California at the close of his concert tour, you know, and he is recuperating with us, after his wearing journey from the coast. Then there is Jules Martel, the painter; Signor Donati, the tenor; Professor Schotte, who has dug up Assyria, you know; Restzhoff, the Russian chemist; Alcee Buisson, the philologist; Frank Wellington, the novelist; and Will Maidenwood, the editor of Woman. Then there is my second cousin, Jemima Broadwood, who made such a hit in Pinero's comedy last winter, and Frau Lichtenfeld. Have you read her?"

Imogen confessed her utter ignorance of Frau Lichtenfeld, and Flavia went on.

"Well, she is a most remarkable person; one of those advanced German women, a militant iconoclast, and this drive will not be long enough to permit of my telling you her history. Such a story! Her novels were the talk of all Germany when I was there last, and several of them have been suppressed--an honor in Germany, I understand. 'At Whose Door' has been translated. I am so unfortunate as not to read German."

"I'm all excitement at the prospect of meeting Miss Broadwood," said Imogen. "I've seen her in nearly everything she does. Her stage personality is delightful. She always reminds me of a nice, clean, pink-and-white boy who has just had his cold bath, and come down all aglow for a run before breakfast."

"Yes, but isn't it unfortunate that she will limit herself to those minor comedy parts that are so little appreciated in this country? One ought to be satisfied with nothing less than the best, ought one?" The peculiar, breathy tone in which Flavia always uttered that word "best," the most worn in her vocabulary, always jarred on Imogen and always made her obdurate.

"I don't at all agree with you," she said reservedly. "I thought everyone admitted that the most remarkable thing about Miss Broadwood is her admirable sense of fitness, which is rare enough in her profession."

Flavia could not endure being contradicted; she always seemed to regard it in the light of a defeat, and usually colored unbecomingly. Now she changed the subject.

 

"Look, my dear," she cried, "there is Frau Lichtenfeld now, coming to meet us. Doesn't she look as if she had just escaped out of Valhalla? She is actually over six feet."

Imogen saw a woman of immense stature, in a very short skirt and a broad, flapping sun hat, striding down the hillside at a long, swinging gait. The refugee from Valhalla approached, panting. Her heavy, Teutonic features were scarlet from the rigor of her exercise, and her hair, under her flapping sun hat, was tightly befrizzled about her brow. She fixed her sharp little eves upon Imogen and extended both her hands.

"So this is the little friend?" she cried, in a rolling baritone.

 

Imogen was quite as tall as her hostess; but everything, she reflected, is comparative. After the introduction Flavia apologized.

"I wish I could ask you to drive up with us, Frau Lichtenfeld." "Ah, no!" cried the giantess, drooping her head in humorous caricature of a time-honored pose of the heroines of sentimental romances. "It has never been my fate to be fitted into corners. I have never known the sweet privileges of the tiny."

Laughing, Flavia started the ponies, and the colossal woman, standing in the middle of the dusty road, took off her wide hat and waved them a farewell which, in scope of gesture, recalled the salute of a plumed cavalier.

When they arrived at the house, Imogen looked about her with keen curiosity, for this was veritably the work of Flavia's hands, the materialization of hopes long deferred. They passed directly into a large, square hall with a gallery on three sides, studio fashion. This opened at one end into a Dutch breakfast room, beyond which was the large dining room. At the other end of the hall was the music room. There was a smoking room, which one entered through the library behind the staircase. On the second floor there was the same general arrangement: a square hall, and, opening from it, the guest chambers, or, as Miss Broadwood termed them, the "cages."

When Imogen went to her room, the guests had begun to return from their various afternoon excursions. Boys were gliding through the halls with ice water, covered trays, and flowers, colliding with maids and valets who carried shoes and other articles of wearing apparel. Yet, all this was done in response to inaudible bells, on felt soles, and in hushed voices, so that there was very little confusion about it.

Flavia had at last built her house and hewn out her seven pillars; there could be no doubt, now, that the asylum for talent, the sanatorium of the arts, so long projected, was an accomplished fact. Her ambition had long ago outgrown the dimensions of her house on Prairie Avenue; besides, she had bitterly complained that in Chicago traditions were against her. Her project had been delayed by Arthur's doggedly standing out for the Michigan woods, but Flavia knew well enough that certain of the rarae aves--"the best"-could not be lured so far away from the seaport, so she declared herself for the historic Hudson and knew no retreat. The establishing of a New York office had at length overthrown Arthur's last valid objection to quitting the lake country for three months of the year; and Arthur could be wearied into anything, as those who knew him knew.

Flavia's house was the mirror of her exultation; it was a temple to the gods of Victory, a sort of triumphal arch. In her earlier days she had swallowed experiences that would have unmanned one of less torrential enthusiasm or blind pertinacity. But, of late years, her determination had told; she saw less and less of those mysterious persons with mysterious obstacles in their path and mysterious grievances against the world, who had once frequented her house on Prairie Avenue. In the stead of this multitude of the unarrived, she had now the few, the select, "the best." Of all that band of indigent retainers who had once fed at her board like the suitors in the halls of Penelope, only Alcee Buisson still retained his right of entree. He alone had remembered that ambition hath a knapsack at his back, wherein he puts alms to oblivion, and he alone had been considerate enough to do what Flavia had expected of him, and give his name a current value in the world. Then, as Miss Broadwood put it, "he was her first real one,"--and Flavia, like Mohammed, could remember her first believer.

"The House of Song," as Miss Broadwood had called it, was the outcome of Flavia's more exalted strategies. A woman who made less a point of sympathizing with their delicate organisms, might have sought to plunge these phosphorescent pieces into the tepid bath of domestic life; but Flavia's discernment was deeper. This must be a refuge where the shrinking soul, the sensitive brain, should be unconstrained; where the caprice of fancy should outweigh the civil code, if necessary. She considered that this much Arthur owed her; for she, in her turn, had made concessions. Flavia had, indeed, quite an equipment of epigrams to the effect that our century creates the iron genii which evolve its fairy tales: but the fact that her husband's name was annually painted upon some ten thousand threshing machines in reality contributed very little to her happiness.

Arthur Hamilton was born and had spent his boyhood in the West Indies, and physically he had never lost the brand of the tropics. His father, after inventing the machine which bore his name, had returned to the States to patent and manufacture it. After leaving college, Arthur had spent five years ranching in the West and traveling abroad. Upon his father's death he had returned to Chicago and, to the astonishment of all his friends, had taken up the business--without any demonstration of enthusiasm, but with quiet perseverance, marked ability, and amazing industry. Why or how a self-sufficient, rather ascetic man of thirty, indifferent in manner, wholly negative in all other personal relations, should have doggedly wooed and finally married Flavia Malcolm was a problem that had vexed older heads than Imogen's.

While Imogen was dressing she heard a knock at her door, and a young woman entered whom she at once recognized as Jemima Broadwood--"Jimmy" Broadwood she was called by people in her own profession. While there was something unmistakably professional in her frank savoir-faire, "Jimmy's" was one of those faces to which the rouge never seems to stick. Her eyes were keen and gray as a windy April sky, and so far from having been seared by calcium lights, you might have fancied they had never looked on anything less bucolic than growing fields and country fairs. She wore her thick, brown hair short and parted at the side; and, rather than hinting at freakishness, this seemed admirably in keeping with her fresh, boyish countenance. She extended to Imogen a large, well-shaped hand which it was a pleasure to clasp.

"Ah! You are Miss Willard, and I see I need not introduce myself. Flavia said you were kind enough to express a wish to meet me, and I preferred to meet you alone. Do you mind if I smoke?"

"Why, certainly not," said Imogen, somewhat disconcerted and looking hurriedly about for matches.

"There, be calm, I'm always prepared," said Miss Broadwood, checking Imogen's flurry with a soothing gesture, and producing an oddly fashioned silver match-case from some mysterious recess in her dinner gown. She sat down in a deep chair, crossed her patentleather Oxfords, and lit her cigarette. "This matchbox," she went on meditatively, "once belonged to a Prussian officer. He shot himself in his bathtub, and I bought it at the sale of his effects."

Imogen had not yet found any suitable reply to make to this rather irrelevant confidence, when Miss Broadwood turned to her cordially: "I'm awfully glad you've come, Miss Willard, though I've not quite decided why you did it. I wanted very much to meet you. Flavia gave me your thesis to read."

"Why, how funny!" ejaculated Imogen.

 

"On the contrary," remarked Miss Broadwood. "I thought it decidedly lacked humor."

"I meant," stammered Imogen, beginning to feel very much like Alice in Wonderland, "I meant that I thought it rather strange Mrs. Hamilton should fancy you would be interested."

Miss Broadwood laughed heartily. "Now, don't let my rudeness frighten you. Really, I found it very interesting, and no end impressive. You see, most people in my profession are good for absolutely nothing else, and, therefore, they have a deep and abiding conviction that in some other line they might have shone. Strange to say, scholarship is the object of our envious and particular admiration. Anything in type impresses us greatly; that's why so many of us marry authors or newspapermen and lead miserable lives." Miss Broadwood saw that she had rather disconcerted Imogen, and blithely tacked in another direction. "You see," she went on, tossing aside her half-consumed cigarette, "some years ago Flavia would not have deemed me worthy to open the pages of your thesis--nor to be one of her house party of the chosen, for that matter. I've Pinero to thank for both pleasures. It all depends on the class of business I'm playing whether I'm in favor or not. Flavia is my second cousin, you know, so I can say whatever disagreeable things I choose with perfect good grace. I'm quite desperate for someone to laugh with, so I'm going to fasten myself upon you--for, of course, one can't expect any of these gypsy-dago people to see anything funny. I don't intend you shall lose the humor of the situation. What do you think of Flavia's infirmary for the arts, anyway?"

"Well, it's rather too soon for me to have any opinion at all," said Imogen, as she again turned to her dressing. "So far, you are the only one of the artists I've met."

"One of them?" echoed Miss Broadwood. "One of the artists? My offense may be rank, my dear, but I really don't deserve that. Come, now, whatever badges of my tribe I may bear upon me, just let me divest you of any notion that I take myself seriously."

Imogen turned from the mirror in blank astonishment and sat down on the arm of a chair, facing her visitor. "I can't fathom you at all, Miss Broadwood," she said frankly. "Why shouldn't you take yourself seriously? What's the use of beating about the bush? Surely you know that you are one of the few players on this side of the water who have at all the spirit of natural or ingenuous comedy?"
"Thank you, my dear. Now we are quite even about the thesis, aren't we? Oh, did you mean it? Well, you are a clever girl. But you see it doesn't do to permit oneself to look at it in that light. If we do, we always go to pieces and waste our substance astarring as the unhappy daughter of the Capulets. But there, I hear Flavia coming to take you down; and just remember I'm not one of them--the artists, I mean."

Flavia conducted Imogen and Miss Broadwood downstairs. As they reached the lower hall they heard voices from the music room, and dim figures were lurking in the shadows under the gallery, but their hostess led straight to the smoking room. The June evening was chilly, and a fire had been lighted in the fireplace. Through the deepening dusk, the firelight flickered upon the pipes and curious weapons on the wall and threw an orange glow over the Turkish hangings. One side of the smoking room was entirely of glass, separating it from the conservatory, which was flooded with white light from the electric bulbs. There was about the darkened room some suggestion of certain chambers in the Arabian Nights, opening on a court of palms. Perhaps it was partially this memoryevoking suggestion that caused Imogen to start so violently when she saw dimly, in a blur of shadow, the figure of a man, who sat smoking in a low, deep chair before the fire. He was long, and thin, and brown. His long, nerveless hands drooped from the arms of his chair. A brown mustache shaded his mouth, and his eyes were sleepy and apathetic. When Imogen entered he rose indolently and gave her his hand, his manner barely courteous.

"I am glad you arrived promptly, Miss Willard," he said with an indifferent drawl. "Flavia was afraid you might be late. You had a pleasant ride up, I hope?"

 

"Oh, very, thank you, Mr. Hamilton," she replied, feeling that he did not particularly care whether she replied at all.

Flavia explained that she had not yet had time to dress for dinner, as she had been attending to Mr. Will Maidenwood, who had become faint after hurting his finger in an obdurate window, and immediately excused herself As she left, Hamilton turned to Miss Broadwood with a rather spiritless smile.

"Well, Jimmy," he remarked, "I brought up a piano box full of fireworks for the boys. How do you suppose we'll manage to keep them until the Fourth?"

"We can't, unless we steel ourselves to deny there are any on the premises," said Miss Broadwood, seating herself on a low stool by Hamilton's chair and leaning back against the mantel. "Have you seen Helen, and has she told you the tragedy of the tooth?"

"She met me at the station, with her tooth wrapped up in tissue paper. I had tea with her an hour ago. Better sit down, Miss Willard;" he rose and pushed a chair toward Imogen, who was standing peering into the conservatory. "We are scheduled to dine at seven, but they seldom get around before eight."
By this time Imogen had made out that here the plural pronoun, third person, always referred to the artists. As Hamilton's manner did not spur one to cordial intercourse, and as his attention seemed directed to Miss Broadwood, insofar as it could be said to be directed to anyone, she sat down facing the conservatory and watched him, unable to decide in how far he was identical with the man who had first met Flavia Malcolm in her mother's house, twelve years ago. Did he at all remember having known her as a little girl, and why did his indifference hurt her so, after all these years? Had some remnant of her childish affection for him gone on living, somewhere down in the sealed caves of her consciousness, and had she really expected to find it possible to be fond of him again? Suddenly she saw a light in the man's sleepy eyes, an unmistakable expression of interest and pleasure that fairly startled her. She turned quickly in the direction of his glance, and saw Flavia, just entering, dressed for dinner and lit by the effulgence of her most radiant manner. Most people considered Flavia handsome, and there was no gainsaying that she carried her five-and-thirty years splendidly. Her figure had never grown matronly, and her face was of the sort that does not show wear. Its blond tints were as fresh and enduring as enamel--and quite as hard. Its usual expression was one of tense, often strained, animation, which compressed her lips nervously. A perfect scream of animation, Miss Broadwood had called it, created and maintained by sheer, indomitable force of will. Flavia's appearance on any scene whatever made a ripple, caused a certain agitation and recognition, and, among impressionable people, a certain uneasiness, For all her sparkling assurance of manner, Flavia was certainly always ill at ease and, even more certainly, anxious. She seemed not convinced of the established order of material things, seemed always trying to conceal her feeling that walls might crumble, chasms open, or the fabric of her life fly to the winds in irretrievable entanglement. At least this was the impression Imogen got from that note in Flavia which was so manifestly false.

Hamilton's keen, quick, satisfied glance at his wife had recalled to Imogen all her inventory of speculations about them. She looked at him with compassionate surprise. As a child she had never permitted herself to believe that Hamilton cared at all for the woman who had taken him away from her; and since she had begun to think about them again, it had never occurred to her that anyone could become attached to Flavia in that deeply personal and exclusive sense. It seemed quite as irrational as trying to possess oneself of Broadway at noon.

When they went out to dinner Imogen realized the completeness of Flavia's triumph. They were people of one name, mostly, like kings; people whose names stirred the imagination like a romance or a melody. With the notable exception of M. Roux, Imogen had seen most of them before, either in concert halls or lecture rooms; but they looked noticeably older and dimmer than she remembered them.

Opposite her sat Schemetzkin, the Russian pianist, a short, corpulent man, with an apoplectic face and purplish skin, his thick, iron-gray hair tossed back from his forehead. Next to the German giantess sat the Italian tenor --the tiniest of men--pale, with soft, light hair, much in disorder, very red lips, and fingers yellowed by cigarettes. Frau Lichtenfeld shone in a gown of emerald green, fitting so closely as to enhance her natural floridness. However, to do the good lady justice, let her attire be never so modest, it gave an effect of barbaric splendor. At her left sat Herr Schotte, the Assyriologist, whose features were effectually concealed by the convergence of his hair and beard, and whose glasses were continually falling into his plate. This gentleman had removed more tons of earth in the course of his explorations than had any of his confreres, and his vigorous attack upon his food seemed to suggest the strenuous nature of his accustomed toil. His eyes were small and deeply set, and his forehead bulged fiercely above his eves in a bony ridge. His heavy brows completed the leonine suggestion of his face. Even to Imogen, who knew something of his work and greatly respected it, he was entirely too reminiscent of the Stone Age to be altogether an agreeable dinner companion. He seemed, indeed, to have absorbed something of the savagery of those early types of life which he continually studied.

Frank Wellington, the young Kansas man who had been two years out of Harvard and had published three historical novels, sat next to Mr. Will Maidenwood, who was still pale from his recent sufferings and carried his hand bandaged. They took little part in the general conversation, but, like the lion and the unicorn, were always at it, discussing, every time they met, whether there were or were not passages in Mr. Wellington's works which should be eliminated, out of consideration for the Young Person. Wellington had fallen into the hands of a great American syndicate which most effectually befriended struggling authors whose struggles were in the right direction, and which had guaranteed to make him famous before he was thirty. Feeling the security of his position he stoutly defended those passages which jarred upon the sensitive nerves of the young editor of Woman. Maidenwood, in the smoothest of voices, urged the necessity of the author's recognizing certain restrictions at the outset, and Miss Broadwood, who joined the argument quite without invitation or encouragement, seconded him with pointed and malicious remarks which caused the young editor manifest discomfort. Restzhoff, the chemist, demanded the attention of the entire company for his exposition of his devices for manufacturing ice cream from vegetable oils and for administering drugs in bonbons.

Flavia, always noticeably restless at dinner, was somewhat apathetic toward the advocate of peptonized chocolate and was plainly concerned about the sudden departure of M. Roux, who had announced that it would be necessary for him to leave tomorrow. M. Emile Roux, who sat at Flavia's right, was a man in middle life and quite bald, clearly without personal vanity, though his publishers preferred to circulate only those of his portraits taken in his ambrosial youth. Imogen was considerably shocked at his unlikeness to the slender, black-stocked Rolla he had looked at twenty. He had declined into the florid, settled heaviness of indifference and approaching age. There was, however, a certain look of durability and solidity about him; the look of a man who has earned the right to be fat and bald, and even silent at dinner if he chooses.

Throughout the discussion between Wellington and Will Maidenwood, though they invited his participation, he remained silent, betraying no sign either of interest or contempt. Since his arrival he had directed most of his conversation to Hamilton, who had never read one of his twelve great novels. This perplexed and troubled Flavia. On the night of his arrival Jules Martel had enthusiastically declared, "There are schools and schools, manners and manners; but Roux is Roux, and Paris sets its watches by his clock." Flavia bad already repeated this remark to Imogen. It haunted her, and each time she quoted it she was impressed anew.

Flavia shifted the conversation uneasily, evidently exasperated and excited by her repeated failures to draw the novelist out. "Monsieur Roux," she began abruptly, with her most animated smile, "I remember so well a statement I read some years ago in your 'Mes Etudes des Femmes' to the effect that you had never met a really intellectual woman. May I ask, without being impertinent, whether that assertion still represents your experience?"

"I meant, madam," said the novelist conservatively, "intellectual in a sense very special, as we say of men in whom the purely intellectual functions seem almost independent."

 

"And you still think a woman so constituted a mythical personage?" persisted Flavia, nodding her head encouragingly.

" Une Meduse, madam, who, if she were discovered, would transmute us all into stone," said the novelist, bowing gravely. "If she existed at all," he added deliberately, "it was my business to find her, and she has cost me many a vain pilgrimage. Like Rudel of Tripoli, I have crossed seas and penetrated deserts to seek her out. I have, indeed, encountered women of learning whose industry I have been compelled to respect; many who have possessed beauty and charm and perplexing cleverness; a few with remarkable information and a sort of fatal facility."

"And Mrs. Browning, George Eliot, and your own Mme. Dudevant?" queried Flavia with that fervid enthusiasm with which she could, on occasion, utter things simply incomprehensible for their banality--at her feats of this sort Miss Broadwood was wont to sit breathless with admiration.

"Madam, while the intellect was undeniably present in the performances of those women, it was only the stick of the rocket. Although this woman has eluded me I have studied her conditions and perturbances as astronomers conjecture the orbits of planets they have never seen. if she exists, she is probably neither an artist nor a woman with a mission, but an obscure personage, with imperative intellectual needs, who absorbs rather than produces."

Flavia, still nodding nervously, fixed a strained glance of interrogation upon M. Roux. "Then you think she would be a woman whose first necessity would be to know, whose instincts would be satisfied only with the best, who could draw from others; appreciative, merely?"

The novelist lifted his dull eyes to his interlocutress with an untranslatable smile and a slight inclination of his shoulders. "Exactly so; you are really remarkable, madam," he added, in a tone of cold astonishment.
After dinner the guests took their coffee in the music room, where Schemetzkin sat down at the piano to drum ragtime, and give his celebrated imitation of the boardingschool girl's execution of Chopin. He flatly refused to play anything more serious, and would practice only in the morning, when he had the music room to himself. Hamilton and M. Roux repaired to the smoking room to discuss the necessity of extending the tax on manufactured articles in France--one of those conversations which particularly exasperated Flavia.

After Schemetzkin had grimaced and tortured the keyboard with malicious vulgarities for half an hour, Signor Donati, to put an end to his torture, consented to sing, and Flavia and Imogen went to fetch Arthur to play his accompaniments. Hamilton rose with an annoyed look and placed his cigarette on the mantel. "Why yes, Flavia, I'll accompany him, provided he sings something with a melody, Italian arias or ballads, and provided the recital is not interminable."

"You will join us, M. Roux?"

 

"Thank you, but I have some letters to write," replied the novelist, bowing.

As Flavia had remarked to Imogen, "Arthur really played accompaniments remarkably well." To hear him recalled vividly the days of her childhood, when he always used to spend his business vacations at her mother's home in Maine. He had possessed for her that almost hypnotic influence which young men sometimes exert upon little girls. It was a sort of phantom love affair, subjective and fanciful, a precocity of instinct, like that tender and maternal concern which some little girls feel for their dolls. Yet this childish infatuation is capable of all the depressions and exaltations of love itself, it has its bitter jealousies, cruel disappointments, its exacting caprices.

Summer after summer she had awaited his coming and wept at his departure, indifferent to the gayer young men who had called her their sweetheart and laughed at everything she said. Although Hamilton never said so, she had been always quite sure that he was fond of her. When he pulled her up the river to hunt for fairy knolls shut about by low, hanging willows, he was often silent for an hour at a time, yet she never felt he was bored or was neglecting her. He would lie in the sand smoking, his eyes half-closed, watching her play, and she was always conscious that she was entertaining him. Sometimes he would take a copy of "Alice in Wonderland" in his pocket, and no one could read it as he could, laughing at her with his dark eyes, when anything amused him. No one else could laugh so, with just their eyes, and without moving a muscle of their face. Though he usually smiled at passages that seemed not at all funny to the child, she always laughed gleefully, because he was so seldom moved to mirth that any such demonstration delighted her and she took the credit of it entirely to herself Her own inclination had been for serious stories, with sad endings, like the Little Mermaid, which he had once told her in an unguarded moment when she had a cold, and was put to bed early on her birthday night and cried because she could not have her party. But he highly disapproved of this preference, and had called it a morbid taste, and always shook his finger at her when she asked for the story. When she had been particularly good, or particularly neglected by other people, then he would sometimes melt and tell her the story, and never laugh at her if she enjoyed the "sad ending" even to tears. When Flavia had taken him away and he came no more, she wept inconsolably for the space of two weeks, and refused to learn her lessons. Then she found the story of the Little Mermaid herself, and forgot him.

Imogen had discovered at dinner that he could still smile at one secretly, out of his eyes, and that he had the old manner of outwardly seeming bored, but letting you know that he was not. She was intensely curious about his exact state of feeling toward his wife, and more curious still to catch a sense of his final adjustment to the conditions of life in general. This, she could not help feeling, she might get again--if she could have him alone for an hour, in some place where there was a little river and a sandy cove bordered by drooping willows, and a blue sky seen through white sycamore boughs.

That evening, before retiring, Flavia entered her husband's room, where be sat in his smoking jacket, in one of his favorite low chairs.

"I suppose it's a grave responsibility to bring an ardent, serious young thing like Imogen here among all these fascinating personages," she remarked reflectively. "But, after all, one can never tell. These grave, silent girls have their own charm, even for facile people."

"Oh, so that is your plan?" queried her husband dryly. "I was wondering why you got her up here. She doesn't seem to mix well with the faciles. At least, so it struck me."

 

Flavia paid no heed to this jeering remark, but repeated, "No, after all, it may not be a bad thing."

 

"Then do consign her to that shaken reed, the tenor," said her husband yawning. "I remember she used to have a taste for the pathetic."

 

"And then," remarked Flavia coquettishly, "after all, I owe her mother a return in kind. She was not afraid to trifle with destiny."

 

But Hamilton was asleep in his chair.

 

Next morning Imogen found only Miss Broadwood in the breakfast room.

 

"Good morning, my dear girl, whatever are you doing up so early? They never breakfast before eleven. Most of them take their coffee in their room. Take this place by me."

Miss Broadwood looked particularly fresh and encouraging in her blue serge walking skirt, her open jacket displaying an expanse of stiff, white shirt bosom, dotted with some almost imperceptible figure, and a dark blue-and-white necktie, neatly knotted under her wide, rolling collar. She wore a white rosebud in the lapel of her coat, and decidedly she seemed more than ever like a nice, clean boy on his holiday. Imogen was just hoping that they would breakfast alone when Miss Broadwood exclaimed, "Ah, there comes Arthur with the children. That's the reward of early rising in this house; you never get to see the youngsters at any other time."

Hamilton entered, followed by two dark, handsome little boys. The girl, who was very tiny, blonde like her mother, and exceedingly frail, he carried in his arms. The boys came up and said good morning with an ease and cheerfulness uncommon, even in well-bred children, but the little girl hid her face on her father's shoulder.

"She's a shy little lady," he explained as he put her gently down in her chair. "I'm afraid she's like her father; she can't seem to get used to meeting people. And you, Miss Willard, did you dream of the White Rabbit or the Little Mermaid?"

"Oh, I dreamed of them all! All the personages of that buried civilization," cried Imogen, delighted that his estranged manner of the night before had entirely vanished and feeling that, somehow, the old confidential relations had been restored during the night.

"Come, William," said Miss Broadwood, turning to the younger of the two boys, "and what did you dream about?"

"We dreamed," said William gravely--he was the more assertive of the two and always spoke for both--"we dreamed that there were fireworks hidden in the basement of the carriage house; lots and lots of fireworks."

His elder brother looked up at him with apprehensive astonishment, while Miss Broadwood hastily put her napkin to her lips and Hamilton dropped his eyes. "If little boys dream things, they are so apt not to come true," he reflected sadly. This shook even the redoubtable William, and he glanced nervously at his brother. "But do things vanish just because they have been dreamed?" he objected.

"Generally that is the very best reason for their vanishing," said Arthur gravely.

 

"But, Father, people can't help what they dream," remonstrated Edward gently.

 

"Oh, come! You're making these children talk like a Maeterlinck dialogue," laughed Miss Broadwood.

Flavia presently entered, a book in her hand, and bade them all good morning. "Come, little people, which story shall it be this morning?" she asked winningly. Greatly excited, the children followed her into the garden. "She does then, sometimes," murmured Imogen as they left the breakfast room.

"Oh, yes, to be sure," said Miss Broadwood cheerfully. "She reads a story to them every morning in the most picturesque part of the garden. The mother of the Gracchi, you know. She does so long, she says, for the time when they will be intellectual companions for her. What do you say to a walk over the hills?"
As they left the house they met Frau Lichtenfeld and the bushy Herr Schotte--the professor cut an astonishing figure in golf stockings--returning from a walk and engaged in an animated conversation on the tendencies of German fiction.

"Aren't they the most attractive little children," exclaimed Imogen as they wound down the road toward the river.

"Yes, and you must not fail to tell Flavia that you think so. She will look at you in a sort of startled way and say, 'Yes, aren't they?' and maybe she will go off and hunt them up and have tea with them, to fully appreciate them. She is awfully afraid of missing anything good, is Flavia. The way those youngsters manage to conceal their guilty presence in the House of Song is a wonder."

"But don't any of the artist-folk fancy children?" asked Imogen.

"Yes, they just fancy them and no more. The chemist remarked the other day that children are like certain salts which need not be actualized because the formulae are quite sufficient for practical purposes. I don't see how even Flavia can endure to have that man about."

"I have always been rather curious to know what Arthur thinks of it all," remarked Imogen cautiously.

"Thinks of it!" ejaculated Miss Broadwood. "Why, my dear, what would any man think of having his house turned into an hotel, habited by freaks who discharge his servants, borrow his money, and insult his neighbors? This place is shunned like a lazaretto!"

Well, then, why does he--why does he--" persisted Imogen.

 

"Bah!" interrupted Miss Broadwood impatiently, "why did he in the first place? That's the question."

 

"Marry her, you mean?" said Imogen coloring.

 

"Exactly so," said Miss Broadwood sharply, as she snapped the lid of her matchbox.

"I suppose that is a question rather beyond us, and certainly one which we cannot discuss," said Imogen. "But his toleration on this one point puzzles me, quite apart from other complications."

"Toleration? Why this point, as you call it, simply is Flavia. Who could conceive of her without it? I don't know where it's all going to end, I'm sure, and I'm equally sure that, if it were not for Arthur, I shouldn't care," declared Miss Broadwood, drawing her shoulders together.

"But will it end at all, now?" "Such an absurd state of things can't go on indefinitely. A man isn't going to see his wife make a guy of herself forever, is he? Chaos has already begun in the servants' quarters. There are six different languages spoken there now. You see, it's all on an entirely false basis. Flavia hasn't the slightest notion of what these people are really like, their good and their bad alike escape her. They, on the other hand, can't imagine what she is driving at. Now, Arthur is worse off than either faction; he is not in the fairy story in that he sees these people exactly as they are, but he is utterly unable to see Flavia as they see her. There you have the situation. Why can't he see her as we do? My dear, that has kept me awake o' nights. This man who has thought so much and lived so much, who is naturally a critic, really takes Flavia at very nearly her own estimate. But now I am entering upon a wilderness. From a brief acquaintance with her you can know nothing of the icy fastnesses of Flavia's self- esteem. It's like St. Peter's; you can't realize its magnitude at once. You have to grow into a sense of it by living under its shadow. It has perplexed even Emile Roux, that merciless dissector of egoism. She has puzzled him the more because be saw at a glance what some of them do not perceive at once, and what will be mercifully concealed from Arthur until the trump sounds; namely, that all Flavia's artists have done or ever will do means exactly as much to her as a symphony means to an oyster; that there is no bridge by which the significance of any work of art could be conveyed to her."

"Then, in the name of goodness, why does she bother?" gasped Imogen. "She is pretty, wealthy, well-established; why should she bother?"

"That's what M. Roux has kept asking himself. I can't pretend to analyze it. She reads papers on the Literary Landmarks of Paris, the Loves of the Poets, and that sort of thing, to clubs out in Chicago. To Flavia it is more necessary to be called clever than to breathe. I would give a good deal to know that glum Frenchman's diagnosis. He has been watching her out of those fishy eyes of his as a biologist watches a hemisphereless frog."

For several days after M. Roux's departure Flavia gave an embarrassing share of her attention to Imogen. Embarrassing, because Imogen had the feeling of being energetically and futilely explored, she knew not for what. She felt herself under the globe of an air pump, expected to yield up something. When she confined the conversation to matters of general interest Flavia conveyed to her with some pique that her one endeavor in life had been to fit herself to converse with her friends upon those things which vitally interested them. "One has no right to accept their best from people unless one gives, isn't it so? I want to be able to give--!" she declared vaguely. Yet whenever Imogen strove to pay her tithes and plunged bravely into her plans for study next winter, Flavia grew absentminded and interrupted her by amazing generalizations or by such embarrassing questions as, "And these grim studies really have charm for you; you are quite buried in them; they make other things seem light and ephemeral?"

"I rather feel as though I had got in here under false pretenses," Imogen confided to Miss

Broadwood. "I'm sure I don't know what it is that she wants of me."
"Ah," chuckled Jemima, "you are not equal to these heart to heart talks with Flavia. You utterly fail to communicate to her the atmosphere of that untroubled joy in which you dwell. You must remember that she gets no feeling out of things herself, and she demands that you impart yours to her by some process of psychic transmission. I once met a blind girl, blind from birth, who could discuss the peculiarities of the Barbizon school with just Flavia's glibness and enthusiasm. Ordinarily Flavia knows how to get what she wants from people, and her memory is wonderful. One evening I heard her giving Frau Lichtenfeld some random impressions about Hedda Gabler which she extracted from me five years ago; giving them with an impassioned conviction of which I was never guilty. But I have known other people who could appropriate your stories and opinions; Flavia is infinitely more subtle than that; she can soak up the very thrash and drift of your daydreams, and take the very thrills off your back, as it were."

After some days of unsuccessful effort, Flavia withdrew herself, and Imogen found Hamilton ready to catch her when she was tossed afield. He seemed only to have been awaiting this crisis, and at once their old intimacy reestablished itself as a thing inevitable and beautifully prepared for. She convinced herself that she had not been mistaken in him, despite all the doubts that had come up in later years, and this renewal of faith set more than one question thumping in her brain. "How did he, how can he?" she kept repeating with a tinge of her childish resentment, "what right had he to waste anything so fine?"

When Imogen and Arthur were returning from a walk before luncheon one morning about a week after M. Roux's departure, they noticed an absorbed group before one of the hall windows. Herr Schotte and Restzhoff sat on the window seat with a newspaper between them, while Wellington, Schemetzkin, and Will Maidenwood looked over their shoulders. They seemed intensely interested, Herr Schotte occasionally pounding his knees with his fists in ebullitions of barbaric glee. When imogen entered the hall, however, the men were all sauntering toward the breakfast room and the paper was lying innocently on the divan. During luncheon the personnel of that window group were unwontedly animated and agreeable all save Schemetzkin, whose stare was blanker than ever, as though Roux's mantle of insulting indifference had fallen upon him, in addition to his own oblivious self- absorption. Will Maidenwood seemed embarrassed and annoyed; the chemist employed himself with making polite speeches to Hamilton. Flavia did not come down to lunch--and there was a malicious gleam under Herr Schotte's eyebrows. Frank Wellington announced nervously that an imperative letter from his protecting syndicate summoned him to the city.

After luncheon the men went to the golf links, and Imogen, at the first opportunity, possessed herself of the newspaper which had been left on the divan. One of the first things that caught her eye was an article headed "Roux on Tuft Hunters; The Advanced American Woman as He Sees Her; Aggressive, Superficial, and Insincere." The entire interview was nothing more nor less than a satiric characterization of Flavia, aquiver with irritation and vitriolic malice. No one could mistake it; it was done with all his deftness of portraiture. Imogen had not finished the article when she heard a footstep, and clutching the paper she started precipitately toward the stairway as Arthur entered. He put out his hand, looking critically at her distressed face.

"Wait a moment, Miss Willard," he said peremptorily, "I want to see whether we can find what it was that so interested our friends this morning. Give me the paper, please."

Imogen grew quite white as he opened the journal. She reached forward and crumpled it with her hands. "Please don't, please don't," she pleaded; "it's something I don't want you to see. Oh, why will you? it's just something low and despicable that you can't notice."

Arthur had gently loosed her hands, and he pointed her to a chair. He lit a cigar and read the article through without comment. When he had finished it he walked to the fireplace, struck a match, and tossed the flaming journal between the brass andirons.

"You are right," he remarked as he came back, dusting his hands with his handkerchief. "It's quite impossible to comment. There are extremes of blackguardism for which we have no name. The only thing necessary is to see that Flavia gets no wind of this. This seems to be my cue to act; poor girl."

Imogen looked at him tearfully; she could only murmur, "Oh, why did you read it!"

Hamilton laughed spiritlessly. "Come, don't you worry about it. You always took other people's troubles too seriously. When you were little and all the world was gay and everybody happy, you must needs get the Little Mermaid's troubles to grieve over. Come with me into the music room. You remember the musical setting I once made you for the Lay of the Jabberwock? I was trying it over the other night, long after you were in bed, and I decided it was quite as fine as the Erl-King music. How I wish I could give you some of the cake that Alice ate and make you a little girl again. Then, when you had got through the glass door into the little garden, you could call to me, perhaps, and tell me all the fine things that were going on there. What a pity it is that you ever grew up!" he added, laughing; and Imogen, too, was thinking just that.

At dinner that evening, Flavia, with fatal persistence, insisted upon turning the conversation to M. Roux. She had been reading one of his novels and had remembered anew that Paris set its watches by his clock. Imogen surmised that she was tortured by a feeling that she had not sufficiently appreciated him while she had had him. When she first mentioned his name she was answered only by the pall of silence that fell over the company. Then everyone began to talk at once, as though to correct a false position. They spoke of him with a fervid, defiant admiration, with the sort of hot praise that covers a double purpose. Imogen fancied she could see that they felt a kind of relief at what the man had done, even those who despised him for doing it; that they felt a spiteful hate against Flavia, as though she had tricked them, and a certain contempt for themselves that they had been beguiled. She was reminded of the fury of the crowd in the fairy tale, when once the child had called out that the king was in his night clothes. Surely these people knew no more about Flavia than they had known before, but the mere fact that the thing had been said altered the situation. Flavia, meanwhile, sat chattering amiably, pathetically unconscious of her nakedness.

Hamilton lounged, fingering the stem of his wineglass, gazing down the table at one face after another and studying the various degrees of self-consciousness they exhibited. Imogen's eyes followed his, fearfully. When a lull came in the spasmodic flow of conversation, Arthur, leaning back in his chair, remarked deliberately, "As for M. Roux, his very profession places him in that class of men whom society has never been able to accept unconditionally because it has never been able to assume that they have any ordered notion of taste. He and his ilk remain, with the mountebanks and snake charmers, people indispensable to our civilization, but wholly unreclaimed by it; people whom we receive, but whose invitations we do not accept."

Fortunately for Flavia, this mine was not exploded until just before the coffee was brought. Her laughter was pitiful to hear; it echoed through the silent room as in a vault, while she made some tremulously light remark about her husband's drollery, grim as a jest from the dying. No one responded and she sat nodding her head like a mechanical toy and smiling her white, set smile through her teeth, until Alcee Buisson and Frau Lichtenfeld came to her support.

After dinner the guests retired immediately to their rooms, and Imogen went upstairs on tiptoe, feeling the echo of breakage and the dust of crumbling in the air. She wondered whether Flavia's habitual note of uneasiness were not, in a manner, prophetic, and a sort of unconscious premonition, after all. She sat down to write a letter, but she found herself so nervous, her head so hot and her hands so cold, that she soon abandoned the effort. just as she was about to seek Miss Broadwood, Flavia entered and embraced her hysterically.

"My dearest girl," she began, "was there ever such an unfortunate and incomprehensible speech made before? Of course it is scarcely necessary to explain to you poor Arthur's lack of tact, and that he meant nothing. But they! Can they be expected to understand? He will feel wretchedly about it when he realizes what he has done, but in the meantime? And M. Roux, of all men! When we were so fortunate as to get him, and he made himself so unreservedly agreeable, and I fancied that, in his way, Arthur quite admired him. My dear, you have no idea what that speech has done. Schemetzkin and Herr Schotte have already sent me word that they must leave us tomorrow. Such a thing from a host!" Flavia paused, choked by tears of vexation and despair.

Imogen was thoroughly disconcerted; this was the first time she had ever seen Flavia betray any personal emotion which was indubitably genuine. She replied with what consolation she could. "Need they take it personally at all? It was a mere observation upon a class of people--"

"Which he knows nothing whatever about, and with whom he has no sympathy," interrupted Flavia. "Ah, my dear, you could not be expected to understand. You can't realize, knowing Arthur as you do, his entire lack of any aesthetic sense whatever. He is absolutely nil, stone deaf and stark blind, on that side. He doesn't mean to be brutal, it is just the brutality of utter ignorance. They always feel it--they are so sensitive to unsympathetic influences, you know; they know it the moment they come into the house. I have spent my life apologizing for him and struggling to conceal it; but in spite of me, he wounds them; his very attitude, even in silence, offends them. Heavens! Do I not know? Is it not perpetually and forever wounding me? But there has never been anything so dreadful as this--never! If I could conceive of any possible motive, even!"

"But, surely, Mrs. Hamilton, it was, after all, a mere expression of opinion, such as we are any of us likely to venture upon any subject whatever. It was neither more personal nor more extravagant than many of M. Roux's remarks."

"But, Imogen, certainly M. Roux has the right. It is a part of his art, and that is altogether another matter. Oh, this is not the only instance!" continued Flavia passionately, "I've always had that narrow, bigoted prejudice to contend with. It has always held me back. But this--!"

"I think you mistake his attitude," replied Imogen, feeling a flush that made her ears tingle. "That is, I fancy he is more appreciative than he seems. A man can't be very demonstrative about those things--not if he is a real man. I should not think you would care much about saving the feelings of people who are too narrow to admit of any other point of view than their own." She stopped, finding herself in the impossible position of attempting to explain Hamilton to his wife; a task which, if once begun, would necessitate an entire course of enlightenment which she doubted Flavia's ability to receive, and which she could offer only with very poor grace.

"That's just where it stings most"--here Flavia began pacing the floor--"it is just because they have all shown such tolerance and have treated Arthur with such unfailing consideration that I can find no reasonable pretext for his rancor. How can he fail to see the value of such friendships on the children's account, if for nothing else! What an advantage for them to grow up among such associations! Even though he cares nothing about these things himself he might realize that. Is there nothing I could say by way of explanation? To them, I mean? If someone were to explain to them how unfortunately limited he is in these things--"

"I'm afraid I cannot advise you," said Imogen decidedly, "but that, at least, seems to me impossible."

Flavia took her hand and glanced at her affectionately, nodding nervously. "Of course, dear girl, I can't ask you to be quite frank with me. Poor child, you are trembling and your hands are icy. Poor Arthur! But you must not judge him by this altogether; think how much he misses in life. What a cruel shock you've had. I'll send you some sherry, Good night, my dear."

When Flavia shut the door Imogen burst into a fit of nervous weeping. Next morning she awoke after a troubled and restless night. At eight o'clock Miss Broadwood entered in a red and white striped bathrobe.

"Up, up, and see the great doom's image!" she cried, her eyes sparkling with excitement. "The hall is full of trunks, they are packing. What bolt has fallen? It's you, ma cherie, you've brought Ulysses home again and the slaughter has begun!" she blew a cloud of smoke triumphantly from her lips and threw herself into a chair beside the bed.

Imogen, rising on her elbow, plunged excitedly into the story of the Roux interview, which Miss Broadwood heard with the keenest interest, frequently interrupting her with exclamations of delight. When Imogen reached the dramatic scene which terminated in the destruction of the newspaper, Miss Broadwood rose and took a turn about the room, violently switching the tasselled cords of her bathrobe.

"Stop a moment," she cried, "you mean to tell me that he had such a heaven-sent means to bring her to her senses and didn't use it--that he held such a weapon and threw it away?"

"Use it?" cried Imogen unsteadily. "Of course he didn't! He bared his back to the tormentor, signed himself over to punishment in that speech he made at dinner, which everyone understands but Flavia. She was here for an hour last night and disregarded every limit of taste in her maledictions."

"My dear!" cried Miss Broadwood, catching her hand in inordinate delight at the situation, "do you see what he has done? There'll be no end to it. Why he has sacrificed himself to spare the very vanity that devours him, put rancors in the vessels of his peace, and his eternal jewel given to the common enemy of man, to make them kings, the seed of Banquo kings! He is magnificent!"

"Isn't he always that?" cried Imogen hotly. "He's like a pillar of sanity and law in this house of shams and swollen vanities, where people stalk about with a sort of madhouse dignity, each one fancying himself a king or a pope. If you could have heard that woman talk of him! Why, she thinks him stupid, bigoted, blinded by middleclass prejudices. She talked about his having no aesthetic sense and insisted that her artists had always shown him tolerance. I don't know why it should get on my nerves so, I'm sure, but her stupidity and assurance are enough to drive one to the brink of collapse."

"Yes, as opposed to his singular fineness, they are calculated to do just that," said Miss Broadwood gravely, wisely ignoring Imogen's tears. "But what has been is nothing to what will be. Just wait until Flavia's black swans have flown! You ought not to try to stick it out; that would only make it harder for everyone. Suppose you let me telephone your mother to wire you to come home by the evening train?"

"Anything, rather than have her come at me like that again. It puts me in a perfectly impossible position, and he is so fine!"
"Of course it does," said Miss Broadwood sympathetically, "and there is no good to be got from facing it. I will stay because such things interest me, and Frau Lichtenfeld will stay because she has no money to get away, and Buisson will stay because he feels somewhat responsible. These complications are interesting enough to cold-blooded folk like myself who have an eye for the dramatic element, but they are distracting and demoralizing to young people with any serious purpose in life."

Miss Broadwood's counsel was all the more generous seeing that, for her, the most interesting element of this denouement would be eliminated by Imogen's departure. "If she goes now, she'll get over it," soliloquized Miss Broadwood. "If she stays, she'll be wrung for him and the hurt may go deep enough to last. I haven't the heart to see her spoiling things for herself." She telephoned Mrs. Willard and helped Imogen to pack. She even took it upon herself to break the news of Imogen's going to Arthur, who remarked, as he rolled a cigarette in his nerveless fingers:

"Right enough, too. What should she do here with old cynics like you and me, Jimmy? Seeing that she is brim full of dates and formulae and other positivisms, and is so girt about with illusions that she still casts a shadow in the sun. You've been very tender of her, haven't you? I've watched you. And to think it may all be gone when we see her next. 'The common fate of all things rare,' you know. What a good fellow you are, anyway, Jimmy," he added, putting his hands affectionately on her shoulders.

Arthur went with them to the station. Flavia was so prostrated by the concerted action of her guests that she was able to see Imogen only for a moment in her darkened sleeping chamber, where she kissed her hysterically, without lifting her head, bandaged in aromatic vinegar. On the way to the station both Arthur and Imogen threw the burden of keeping up appearances entirely upon Miss Broadwood, who blithely rose to the occasion. When Hamilton carried Imogen's bag into the car, Miss Broadwood detained her for a moment, whispering as she gave her a large, warm handclasp, "I'll come to see you when I get back to town; and, in the meantime, if you meet any of our artists, tell them you have left Caius Marius among the ruins of Carthage."