Chapter 7

The conversation spread to a less technical discussion as the group was joined by the professor of rhetoric, an ambitious young man with an insatiable craving for sophistication, who felt himself for once entirely in his element in the crowd of celebrities. "It's incredibly good luck that our little two-for-a-cent college should have so fine a thing," he said knowingly. "I've been wondering how such an old skinflint as Gridley ever got the money loose to have his portrait done by--"

A laugh went around the group at the idea. "It was Mackintosh, the sugar king, who put up for it. He's a great Gridleyite, and persuaded him to sit."

"_Persuade_ a man to sit to Fallères!" The rhetoric professor was outraged at the idea.

"Yes, so they say. The professor was dead against it from the first. Fallères himself had to beg him to sit. Fallères said he felt a real inspiration at the sight of the old fellow ... knew he could make a good thing out of him. He _was_ a good subject!"

The little group turned and stared appraisingly at the portrait hanging so close to them that it seemed another living being in their midst. The rhetoric professor was asked what kind of a man the philosopher had been personally, and answered briskly: "Oh, nobody knew him personally ... the silent old codger. He was a dry-as-dust, bloodless, secular monk--"

He was interrupted by a laugh from the art-critic, whose eyes were still on the portrait.

"Excuse me for my cynical mirth," he said, "but I must say he doesn't look it. I was prepared for any characterization but that. He looks like a powerful son of the Renaissance, who might have lived in that one little vacation of the soul after medievalism stopped hag-riding us, and before the modern conscience got its claws on us. And you say he was a blue-nosed Puritan!"

The professor of rhetoric looked an uneasy fear that he was being ridiculed. "I only repeated the village notion of him," he said airily. "He may have been anything. All I know is that he was as secretive as a clam, and about as interesting personally."

"Look at the picture," said the critic, still laughing; "you'll know all about him!"

The professor of rhetoric nodded. "You're right, he doesn't look much like my character of him. I never seem to have had a good, square look at him before. I've heard several people say the same thing, that they seemed to understand him better from the portrait than from his living face. There was something about his eyes that kept you from thinking of anything but what he was saying."

The critic agreed. "The eyes are wonderful ... ruthless in their power ... fires of hell." He laughed a deprecating apology for his overemphatic metaphor and suggested: "It's possible that there was more to the professorial life than met the eye. Had he a wife?"

"No; it was always a joke in the village that he would never look at a woman."

The critic glanced up at the smoldering eyes of the portrait and smiled. "I've heard of that kind of a man before," he said. "Never known to drink, either, I suppose?"

"Cold-water teetotaler," laughed the professor, catching the spirit of the occasion.

"Look at the color in that nose!" said the critic. "I fancy that the ascetic moralist--"

A very young man, an undergraduate who had been introduced as the junior usher, nodded his head. "Yep, a lot of us fellows always thought old Grid a little too good to be true."

An older man with the flexible mouth of a politician now ventured a contribution to a conversation no longer bafflingly esthetic: "His father, old Governor Gridley, wasn't he ... Well, I guess you're right about the son. No halos were handed down in _that_ family!"

The laugh which followed this speech was stopped by the approach of Fallères, his commanding presence dwarfing the president beside him. He was listening with a good-natured contempt to the apparently rather anxious murmurs of the latter.

"Of course I know, Mr. Fallères, it is a great deal to ask, but she is so insistent ... she won't go away and continues to make the most distressing spectacle of herself ... and several people, since she has said so much about it, are saying that the expression is not that of the late professor. Much against my will I promised to speak to you--"

His mortified uneasiness was so great that the artist gave him a rescuing hand. "Well, Mr. President, what can I do in the matter? The man is dead. I cannot paint him over again, and if I could I would only do again as I did this time, choose that aspect which my judgment told me would make the best portrait. If his habitual vacant expression was not so interesting as another not so permanent a habit of his face ... why, the poor artist must be allowed some choice. I did not know I was to please his grandmother, and not posterity."

"His aunt," corrected the president automatically.

The portrait-painter accepted the correction with his tolerant smile. "His aunt," he repeated. "The difference is considerable. May I ask what it was you promised her?"

The president summoned his courage. It was easy to gather from his infinitely reluctant insistence how painful and compelling had been the scene which forced him to action. "She wants you to change it ... to make the expression of the--"

For the first time the artist's equanimity was shaken. He took a step backward. "Change it!" he said, and although his voice was low the casual chat all over the room stopped short as though a pistol had been fired.

"It's not _my_ idea!" The president confounded himself in self-exoneration. "I merely promised, to pacify her, to ask you if you could not do some little thing that would--"

The critic assumed the role of conciliator. "My dear sir, I don't believe you quite understand what you are asking. It's as though you asked a priest to make just a little change in the church service and leave out the 'not' in the Commandments."

"I only wish to know Mr. Fallères's attitude," said the president stiffly, a little nettled by the other's note of condescension. "I presume he will be willing to take the responsibility of it himself and explain to the professor's aunt that _I_ have done--"

The artist had recovered from his lapse from Olympian to calm and now nodded, smiling: "Dear me, yes, Mr. President, I'm used to irate relatives."

The president hastened away and the knots of talkers in other parts of the room, who had been looking with expectant curiosity at the group before the portrait, resumed their loud-toned chatter. When their attention was next drawn in the same direction, it was by a shaky old treble, breaking, quavering with weakness. A small, shabby old woman, leaning on a crutch, stood looking up imploringly at the tall painter.

"My dear madam," he broke in on her with a kindly impatience, "all that you say about Professor Gridley is much to his credit, but what has it to do with me?"

"You painted his portrait," she said with a simplicity that was like stupidity. "And I am his aunt. You made a picture of a bad man. I know he was a good man."

"I painted what I saw," sighed the artist wearily. He looked furtively at his watch.

The old woman seemed dazed by the extremity of her emotion. She looked about her silently, keeping her eyes averted from the portrait that stood so vividly like a living man beside her. "I don't know what to do!" she murmured with a little moan. "I can't _bear_ it to have it stay here--people forget so. Everybody'll think that Gridley looked like _that_! And there isn't anybody but me. He never had anybody but me."

The critic tried to clear the air by a roundly declaratory statement of principles. "You'll pardon my bluntness, madam; but you must remember that none but the members of Professor Gridley's family are concerned in the exact details of his appearance. Fifty years from now nobody will remember how he looked, one way or the other. The world is only concerned with portraits as works of art."

She followed his reasoning with a strained and docile attention and now spoke eagerly as though struck by an unexpected hope: "If that's all, why put his name to it? Just hang it up, and call it anything."

She shrank together timidly and her eyes reddened at the laughter which greeted this naïve suggestion.

Fallères looked annoyed and called his defender off. "Oh, never mind explaining me," he said, snapping his watch shut. "You'll never get the rights of it through anybody's head who hasn't himself sweat blood over a composition only to be told that the other side of the sitter's profile is usually considered the prettier. After all, we have the last word, since the sitter dies and the portrait lives."

The old woman started and looked at him attentively.

"Yes," said the critic, laughing, "immortality's not a bad balm for pin-pricks."

The old woman turned very pale and for the first time looked again at the portrait. An electric thrill seemed to pass through her as her eyes encountered the bold, evil ones fixed on her. She stood erect with a rigid face, and "Immortality!" she said, under her breath.

Fallères moved away to make his adieux to the president, and the little group of his satellites straggled after him to the other end of the room. For a moment there no one near the old woman to see the crutch furiously upraised, hammer-like, or to stop her sudden passionate rush upon the picture.

At the sound of cracking cloth, they turned back, horrified. They saw her, with an insane violence, thrust her hands into the gaping hole that had been the portrait's face and, tearing the canvas from end to end, fall upon the shreds with teeth and talon.

All but Fallères flung themselves toward her, dragging her away. With a movement as instinctive he rushed for the picture, and it was to him, as he stood aghast before the ruined canvas, that the old woman's shrill treble was directed, above the loud shocked voices of those about her: "There ain't anything immortal but souls!" she cried.

FLINT AND FIRE

My husband's cousin had come up from the city, slightly more fagged and sardonic than usual, and as he stretched himself out in the big porch-chair he was even more caustic than was his wont about the bareness and emotional sterility of the lives of our country people.

"Perhaps they had, a couple of centuries ago, when the Puritan hallucination was still strong, a certain fierce savor of religious intolerance; but now that that has died out, and no material prosperity has come to let them share in the larger life of their century, there is a flatness, a mean absence of warmth or color, a deadness to all emotions but the pettiest sorts--"

I pushed the pitcher nearer him, clinking the ice invitingly, and directed his attention to our iris-bed as a more cheerful object of contemplation than the degeneracy of the inhabitants of Vermont. The flowers burned on their tall stalks like yellow tongues of flame. The strong, sword-like green leaves thrust themselves boldly up into the spring air like a challenge. The plants vibrated with vigorous life.

In the field beyond them, as vigorous as they, strode Adoniram Purdon behind his team, the reins tied together behind his muscular neck, his hands grasping the plow with the masterful sureness of the successful practitioner of an art. The hot, sweet spring sunshine shone down on 'Niram's head with its thick crest of brown hair, the ineffable odor of newly turned earth steamed up about him like incense, the mountain stream beyond him leaped and shouted. His powerful body answered every call made on it with the precision of a splendid machine. But there was no elation in the grimly set face as 'Niram wrenched the plow around a big stone, or as, in a more favorable furrow, the gleaming share sped steadily along before the plowman, turning over a long, unbroken brown ribbon of earth.

My cousin-in-law waved a nervous hand toward the sternly silent figure as it stepped doggedly behind the straining team, the head bent forward, the eyes fixed on the horses' heels.

"There!" he said. "There is an example of what I mean. Is there another race on earth which could produce a man in such a situation who would not on such a day sing, or whistle, or at least hold up his head and look at all the earthly glories about him?"

I was silent, but not for lack of material for speech. 'Niram's reasons for austere self-control were not such as I cared to discuss with a man of my cousin's mental attitude. As we sat looking at him the noon whistle from the village blew and the wise old horses stopped in the middle of a furrow. 'Niram unharnessed them, led them to the shade of a tree, and put on their nose-bags. Then he turned and came toward the house.

"Don't I seem to remember," murmured my cousin under his breath, "that, even though he is a New-Eng-lander, he has been known to make up errands to your kitchen to see your pretty Ev'leen Ann?"

I looked at him hard; but he was only gazing down, rather cross-eyed, on his grizzled mustache, with an obvious petulant interest in the increase of white hairs in it. Evidently his had been but a chance shot. 'Niram stepped up on the grass at the edge of the porch. He was so tall that he overtopped the railing easily, and, reaching a long arm over to where I sat, he handed me a small package done up in yellowish tissue-paper. Without hat-raisings, or good-mornings, or any other of the greetings usual in a more effusive civilization, he explained briefly:

"My stepmother wanted I should give you this. She said to thank you for the grape-juice." As he spoke he looked at me gravely out of deep-set blue eyes, and when he had delivered his message he held his peace.

I expressed myself with the babbling volubility of one whose manners have been corrupted by occasional sojourns in the city. "Oh, 'Niram!" I cried protestingly, as I opened the package and took out an exquisitely wrought old-fashioned collar. "Oh, 'Niram! How _could_ your stepmother give such a thing away? Why, it must be one of her precious old relics. I don't _want_ her to give me something every time I do some little thing for her. Can't a neighbor send her in a few bottles of grape-juice without her thinking she must pay it back somehow? It's not kind of her. She has never yet let me do the least thing for her without repaying me with something that is worth ever so much more than my trifling services."

When I had finished my prattling, 'Niram repeated, with an accent of finality, "She wanted I should give it to you."

The older man stirred in his chair. Without looking at him I knew that his gaze on the young rustic was quizzical and that he was recording on the tablets of his merciless memory the ungraceful abruptness of the other's action and manner.

"How is your stepmother feeling to-day, 'Niram?" I asked.

"Worse."

'Niram came to a full stop with the word. My cousin covered his satirical mouth with his hand.

"Can't the doctor do anything to relieve her?" I asked.

'Niram moved at last from his Indian-like immobility. He looked up under the brim of his felt hat at the skyline of the mountain, shimmering iridescent above us. "He says maybe 'lectricity would help her some. I'm goin' to git her the batteries and things soon's I git the rubber bandages paid for."

There was a long silence. My cousin stood up, yawning, and sauntered away toward the door. "Shall I send Ev'leen Ann out to get the pitcher and glasses?" he asked in an accent which he evidently thought very humorously significant.

The strong face under the felt hat turned white, the jaw muscles set hard, but for all this show of strength there was an instant when the man's eyes looked out with the sick, helpless revelation of pain they might have had when 'Niram was a little boy of ten, a third of his present age, and less than half his present stature. Occasionally it is horrifying to see how a chance shot rings the bell.

"No, no! Never mind!" I said hastily. "I'll take the tray in when I go."

Without salutation or farewell 'Niram Purdon turned and went back to his work.

The porch was an enchanted place, walled around with starlit darkness, visited by wisps of breezes shaking down from their wings the breath of lilac and syringa, flowering wild grapes, and plowed fields. Down at the foot of our sloping lawn the little river, still swollen by the melted snow from the mountains, plunged between its stony banks and shouted its brave song to the stars.

We three middle-aged people--Paul, his cousin, and I--had disposed our uncomely, useful, middle-aged bodies in the big wicker chairs and left them there while our young souls wandered abroad in the sweet, dark glory of the night. At least Paul and I were doing this, as we sat, hand in hand, thinking of a May night twenty years before. One never knows what Horace is thinking of, but apparently he was not in his usual captious vein, for after a long pause he remarked, "It is a night almost indecorously inviting to the making of love."

My answer seemed grotesquely out of key with this, but its sequence was clear in my mind. I got up, saying: "Oh, that reminds me--I must go and see Ev'leen Ann. I'd forgotten to plan to-morrow's dinner."

"Oh, everlastingly Ev'leen Ann!" mocked Horace from his corner. "Can't you think of anything but Ev'leen Ann and her affairs?"

I felt my way through the darkness of the house, toward the kitchen, both doors of which were tightly closed. When I stepped into the hot, close room, smelling of food and fire, I saw Ev'leen Ann sitting on the straight kitchen chair, the yellow light of the bracket-lamp beating down on her heavy braids and bringing out the exquisitely subtle modeling of her smooth young face. Her hands were folded in her lap. She was staring at the blank wall, and the expression of her eyes so startle and shocked me that I stopped short and would have retreated if it had not been too late. She had seen me, roused herself, and said quietly, as though continuing conversation interrupted the moment before:

"I had been thinking that there was enough left of the roast to make hash-balls for dinner"--"hash-balls" is Ev'leen Ann's decent Anglo-Saxon name for croquette--"and maybe you'd like a rhubarb pie."

I knew well enough she had been thinking of no such thing, but I could as easily have slapped a reigning sovereign on the back as broken in on the regal reserve of Ev'leen Ann in her clean gingham.

"Well, yes, Ev'leen Ann," I answered in her own tone of reasonable consideration of the matter; "that would be nice, and your pie-crust is so flaky that even Mr. Horace will have to be pleased."

"Mr. Horace" is our title for the sardonic cousin whose carping ways are half a joke, and half a menace in our family.

Ev'leen Ann could not manage the smile which should have greeted this sally. She looked down soberly at the white-pine top of the kitchen table and said, "I guess there is enough sparrow-grass up in the garden for a mess, too, if you'd like that."

"That would taste very good," I agreed, my heart aching for her.

"And creamed potatoes," she finished bravely, thrusting my unspoken pity from her.

"You know I like creamed potatoes better than any other kind," I concurred.

There was a silence. It seemed inhuman to go and leave the stricken young thing to fight her trouble alone in the ugly prison, her work-place, though I thought I could guess why Ev'leen Ann had shut the doors so tightly. I hung near her, searching my head for something to say, but she helped me by no casual remark. Niram is not the only one of our people who possesses so the full the supreme gift of silence. Finally I mentioned the report of a case of measles in the village, and Ev'leen Ann responded in kind with the news that her Aunt Emma had bought a potato-planter. Ev'leen Ann is an orphan, brought up by a well-to-do spinster aunt, who is strong-minded and runs her own farm. After a time we glided by way of similar transitions to the mention of his name.

"'Niram Purdon tells me his stepmother is no better," I said. "Isn't it too bad?" I thought it well for Ev'leen Ann to be dragged out of her black cave of silence once in a while, even if it could be done only by force. As she made no answer, I went on. "Everybody who knows Niram thinks it splendid of him to do so much for his stepmother."

Ev'leen Ann responded with a detached air, as though speaking of a matter in China: "Well, it ain't any more than what he should. She was awful good to him when he was little and his father got so sick. I guess 'Niram wouldn't ha' had much to eat if she hadn't ha' gone out sewing to earn it for him and Mr. Purdon." She added firmly, after a moment's pause, "No, ma'am, I don't guess it's any more than what 'Niram had ought to do."

"But it's very hard on a young man to feel that he's not able to marry," I continued. Once in a great while we came so near the matter as this. Ev'leen Ann made no answer. Her face took on a pinched look of sickness. She set her lips as though she would never speak again. But I knew that a criticism of 'Niram would always rouse her, and said: "And really, I think 'Niram makes a great mistake to act as he does. A wife would be a help to him. She could take care of Mrs. Purdon and keep the house."

Ev'leen Ann rose to the bait, speaking quickly with some heat: "I guess 'Niram knows what's right for him to do! He can't afford to marry when he can't even keep up with the doctor's bills and all. He keeps the house himself, nights and mornings, and Mrs. Purdon is awful handy about taking care of herself, for all she's bedridden. That's her way, you know. She can't bear to have folks do for her. She'd die before she'd let anybody do anything for her that she could anyways do for herself!"

I sighed acquiescingly. Mrs. Purdon's fierce independence was a rock on which every attempt at sympathy or help shattered itself to atoms. There seemed to be no other emotion left in her poor old work-worn shell of a body. As I looked at Ev'leen Ann it seemed rather a hateful characteristic, and I remarked, "It seems to me it's asking a good deal of 'Niram to spoil his life in order that his stepmother can go on pretending she's independent."

Ev'leen Ann explained hastily: "Oh, 'Niram doesn't tell her anything about--She doesn't know he would like to--he don't want she should be worried--and, anyhow, as 'tis, he can't earn enough to keep ahead of all the: doctors cost."

"But the right kind of a wife--a good, competent girl--could help out by earning something, too."

Ev'leen Ann looked at me forlornly, with no surprise. The idea was evidently not new to her. "Yes, ma'am, he could. But 'Niram says he ain't the kind of man to let his wife go out working." Even while she drooped under the killing verdict of his pride she was loyal to his standards and uttered no complaint. She went on, 'Niram wants Aunt Em'line to have things the way she wants 'em, as near as he can give 'em to her--and it's right she should."

"Aunt Emeline?" I repeated, surprised at her absence of mind. "You mean Mrs. Purdon, don't you?"

Ev'leen Ann looked vexed at her slip, but she scorned to attempt any concealment. She explained dryly, with the shy, stiff embarrassment our country people have in speaking of private affairs: "Well, she _is_ my Aunt Em'line, Mrs. Purdon is, though I don't hardly ever call her that. You see, Aunt Emma brought me up, and she and Aunt Em'line don't have anything to do with each other. They were twins, and when they were girls they got edgeways over 'Niram's father, when 'Niram was a baby and his father was a young widower and come courting. Then Aunt Em'line married him, and Aunt Emma never spoke to her afterward."

Occasionally, in walking unsuspectingly along one of our leafy lanes, some such fiery geyser of ancient heat uprears itself in a boiling column. I never get used to it, and started back now.

"Why, I never heard of that before, and I've known your Aunt Emma and Mrs. Purdon for years!"