Chapter 6

“I have just been,” Celia wrote in one of her letters, when she was an active club woman, “out West to a convention of the Federation of Women's Clubs. Such a striking collection of noble, independent women! Handsome, lots of them, and dressed--oh, my friend, dress is still a part of it! So different from a man's convention! Cranks? Yes, a few left over. It was a fine, inspiring meeting. But, honestly, I could not exactly make out what they were federating about, and what they were going to do when they got federated. It sort of came over me, I am such a weak sister, that there is such a lot of work done in this world with no object except the doing of it.”

A more recent letter:--“Do you remember Aunt Hepsy, who used to keep the little thread-and-needle and candy shop in Rivervale? Such a dear, sweet, contented old soul! Always a smile and a good word for every customer. I can see her now, picking out the biggest piece of candy in the dish that she could afford to give for a little fellow's cent. It never came over me until lately how much good that old woman did in the world. I remember what a comfort it was to go and talk with her. Well, I am getting into a frame of mind to want to be an Aunt Hepsy. There is so much sawdust in everything--No, I'm not low-spirited. I'm just philosophical--I've a mind to write a life of Aunt Hepsy, and let the world see what a real useful life is.”

And here is a passage from the latest:--“What an interesting story your friend--I hope he isn't you friend, for I don't half like him--has made out of that Mavick girl! If I were the girl's mother I should want to roast him over the coals. Is there any truth in it?

“Of course I read it, as everybody did and read the crawl out, and looked for more. So it is partly our fault, but what a shame it is, the invasion of family life! Do tell me, if you happen to see her--the girl--driving in the Park or anywhere--of course you never will--what she looks like. I should like to see an unsophisticated millionaire-ess! But it is an awfully interesting problem, invented or not I'm pretty deep in psychology these days, and I'd give anything to come in contact with that girl. You would just see a woman, and you wouldn't know. I'd see a soul. Dear me, if I'd only had the chance of that Scotch woman! Don't you see, if we could only get to really know one mind and soul, we should know it all. I mean scientifically. I know what you are thinking, that all women have that chance. What you think is impertinent--to the subject.”

Indeed, the story of Evelyn interested everybody. It was taken up seriously in the country regions. It absorbed New York gossip for two days, and then another topic took possession of the mercurial city; but it was the sort of event to take possession of the country mind. New York millionaires get more than their share of attention in the country press at all times, but this romance became the subject of household talk and church and sewing-circle gossip, and all the women were eager for more details, and speculated endlessly about the possible character and career of the girl.

Alice wrote Philip from Rivervale that her aunt Patience was very much excited by it. “'The poor thing,' she said, 'always to have somebody poking round, seeing every blessed thing you do or don't do; it would drive me crazy. There is that comfort in not having anything much--you have yourself. You tell Philip that I hope he doesn't go there often. I've no objection to his being kind to the poor thing when they meet, and doing neighborly things, but I do hope he won't get mixed up with that set.' It is very amusing,” Alice continued, “to hear Patience soliloquize about it and construct the whole drama.

“But you cannot say, Philip, that you are not warned (!) and you know that Patience is almost a prophet in the way she has of putting things together. Celia was here recently looking after the little house that has been rented ever since the death of her mother. I never saw her look so well and handsome, and yet there was a sort of air about her as if she had been in public a good deal and was quite capable of taking care of herself. But she was that way when she was little.

“I think she is a good friend of yours. Well, Phil, if you do ever happen to see that Evelyn in the opera, or anywhere, tell me how she looks and what she has on--if you can.”

The story had not specially interested Philip, except as it was connected with Brad's newspaper prospects, but letters, like those referred to, received from time to time, began to arouse a personal interest. Of course merely a psychological interest, though the talk here and there at dinner-tables stimulated his desire, at least, to see the subject of them. But in this respect he was to be gratified, in the usual way things desired happen in life--that is, by taking pains to bring them about.

When Mr. Brad came back from his vacation his manner had somewhat changed. He had the air of a person who stands on firm ground. He felt that he was a personage. He betrayed this in a certain deliberation of speech, as if any remark from him now might be important. In a way he felt himself related to public affairs.

In short, he had exchanged the curiosity of the reporter for the omniscience of the editor. And for a time Philip was restrained from intruding the subject of the Mavick sensation. However, one day after dinner he ventured:

“I see, Mr. Brad, that your hit still attracts attention.” Mr. Brad looked inquiringly blank.

“I mean about the millionaire heiress. It has excited a wide interest.”

“Ah, that! Yes, it gave me a chance,” replied Brad, who was thinking only of himself.

“I've had several letters about it from the country.”

“Yes? Well, I suppose,” said Brad, modestly, “that a little country notoriety doesn't hurt a person.”

Philip did not tell his interlocutor that, so far as he knew, nobody in the country had ever heard the name of Olin Brad, or knew there was such a person in existence. But he went on:

“Certainly. And, besides, there is a great curiosity to know about the girl. Did you ever see her?”

“Only in public. I don't know Mavick personally, and for reasons,” and Mr. Brad laughed in a superior manner. “It's easy enough to see her.”

“How?”

“Watch out for a Wagner night, and go to the opera. You'll see where Mavick's box is in the bill. She is pretty sure to be there, and her mother. There is nothing special about her; but her mother is still a very fascinating woman, I can tell you. You'll find her sure on a 'Carmen' night, but not so sure of the girl.”

On this suggestion Philip promptly acted. The extra expense of an orchestra seat he put down to his duty to keep his family informed of anything that interested them in the city. It was a “Siegfried” night, and a full house. To describe it all would be very interesting to Alice. The Mavick box was empty until the overture was half through. Then appeared a gentleman who looked as if he were performing a public duty, a lady who looked as if she were receiving a public welcome, and seated between them a dark, slender girl, who looked as if she did not see the public at all, but only the orchestra.

Behind them, in the shadow, a middle-aged woman in plainer attire. It must be the Scotch governess. Mrs. Mavick had her eyes everywhere about the house, and was graciously bowing to her friends. Mr. Mavick coolly and unsympathetically regarded the house, quite conscious of it, but as if he were a little bored. You could not see him without being aware that he was thinking of other things, probably of far-reaching schemes. People always used to say of Mavick, when he was young and a clerk in a Washington bureau, that he looked omniscient. At least the imagination of spectators invested him with a golden hue, and regarded him through the roseate atmosphere that surrounds a many-millioned man. The girl had her eyes always on the orchestra, and was waiting for the opening of the world that lay behind the drop-curtain. Philip noticed that all the evening Mrs. Mavick paid very little attention to the stage, except when the rest of the house was so dark that she could distinguish little in it.

Fortunately for Philip, in his character of country reporter, the Mavick box was near the stage, and he could very well see what was going on in it, without wholly distracting his attention from Wagner's sometimes very dimly illuminated creation.

There are faces and figures that compel universal attention and admiration. Commonly there is one woman in a theatre at whom all glances are leveled. It is a mystery why one face makes only an individual appeal, and an appeal much stronger than that of one universally admired. The house certainly concerned itself very little about the shy and dark heiress in the Mavick box, having with regard to her only a moment's curiosity. But the face instantly took hold of Philip. He found it more interesting to read the play in her face than on the stage. He seemed instantly to have established a chain of personal sympathy with her. So intense was his regard that it seemed as if she must, if there is anything in the telepathic theory of the interchange of feeling, have been conscious of it. That she was, however, unconscious of any influence reaching her except from the stage was perfectly evident. She was absorbed in the drama, even when the drama was almost lost in darkness, and only an occasional grunting ejaculation gave evidence that there was at least animal life responsive to the continual pleading, suggesting, inspiring strains of the orchestra. In the semi-gloom and groping of the under-world, it would seem that the girl felt that mystery of life which the instruments were trying to interpret.

At any rate, Philip could see that she was rapt away into that other world of the past, to a practical unconsciousness of her immediate surroundings. Was it the music or the poetic idea that held her? Perhaps only the latter, for it is Wagner's gift to reach by his creations those who have little technical knowledge of music. At any rate, she was absorbed, and so perfectly was the progress of the drama repeated in her face that Philip, always with the help of the orchestra, could trace it there.

But presently something more was evident to this sympathetic student of her face. She was not merely discovering the poet's world, she was finding out herself. As the drama unfolded, Philip was more interested in this phase than in the observation of her enjoyment and appreciation. To see her eyes sparkle and her cheeks glow with enthusiasm during the sword-song was one thing, but it was quite another when Siegfried began his idyl, that nature and bird song of the awakening of the whole being to the passion of love. Then it was that Evelyn's face had a look of surprise, of pain, of profound disturbance; it was suffused with blushes, coming and going in passionate emotion; the eyes no longer blazed, but were softened in a melting tenderness of sympathy, and her whole person seemed to be carried into the stream of the great life passion. When it ceased she sank back in her seat, and blushed still more, as if in fear that some one had discovered her secret.

Afterwards, when Philip had an opportunity of knowing Evelyn Mavick, and knowing her very well, and to some extent having her confidence, he used to say to himself that he had little to learn--the soul of the woman was perfectly revealed to him that night of “Siegfried.”

As the curtain went down, Mrs. Mavick, whose attention had not been specially given to the artists before, was clapping her hands in a great state of excitement.

“Why don't you applaud, child?”

“Oh, mother,” was all the girl could say, with heaving breast and downcast eyes.

X

All winter long that face seemed to get between Philip and his work. It was an inspiration to his pen when it ran in the way of literature, but a distinct damage to progress in his profession. He had seen Evelyn again, more than once, at the opera, and twice been excited by a passing glimpse of her on a crisp, sunny afternoon in the Mavick carriage in the Park-always the same bright, eager face. So vividly personal was the influence upon him that it seemed impossible that she should not be aware of it--impossible that she could not know there was such a person in the world as Philip Burnett.

Fortunately youth can create its own world. Between the secluded daughter of millions and the law clerk was a great gulf, but this did not prevent Evelyn's face, and, in moments of vanity, Evelyn herself, from belonging to Philip's world. He would have denied--we have a habit of lying to ourselves quite as much as to others--that he ever dreamed of possessing her, but nevertheless she entered into his thoughts and his future in a very curious way. If he saw himself a successful lawyer, her image appeared beside him. If his story should gain the public attention, and his occasional essays come to be talked of, it was Evelyn's interest and approval that he caught himself thinking about. And he had a conviction that she was one to be much more interested in him as a man of letters than as a lawyer. This might be true. In Philip's story, which was very slowly maturing, the heroine fell in love with a young man simply for himself, and regardless of the fact that he was poor and had his career to make. But he knew that if his novel ever got published the critics would call it a romance, and not a transcript of real life. Had not women ceased to be romantic and ceased to indulge in vagaries of affection?

Was it that Philip was too irresolute to cut either law or literature, and go in, single-minded, for a fortune of some kind, and a place? Or was it merely that he had confidence in the winning character of his own qualities and was biding his time? If it was a question of making himself acceptable to a woman--say a woman like Evelyn--was it not belittling to his own nature to plan to win her by what he could make rather than by what he was?

Probably the vision he had of Evelyn counted for very little in his halting decision. “Why don't you put her into a novel?” asked Mr. Brad one evening. The suggestion was a shock. Philip conveyed the idea pretty plainly that he hadn't got so low as that yet. “Ah, you fellows think you must make your own material. You are higher-toned than old Dante.” The fact was that Philip was not really halting. Every day he was less and less in love with the law as it was practiced, and, courting reputation, he would much rather be a great author than a great lawyer. But he kept such thoughts to himself. He had inherited a very good stock of common-sense. Apparently he devoted himself to his office work, and about the occupation of his leisure hours no one was in his confidence except Celia, and now and then, when he got something into print, Alice. Professedly Celia was his critic, but really she was the necessary appreciator, for probably most writers would come to a standstill if there was no sympathetic soul to whom they could communicate, while they were fresh, the teeming fancies of their brains.

The winter wore along without any incident worth recording, but still fruitful for the future, as Philip fondly hoped. And one day chance threw in his way another sensation. Late in the afternoon of a spring day he was sent from the office to Mavick's house with a bundle of papers to be examined and signed.

“You will be pretty sure to find him,” said Mr. Sharp, “at home about six. Wait till you do see him. The papers must be signed and go to Washington by the night mail.”

Mr. Mavick was in his study, and received Philip very civilly, as the messenger of his lawyers, and was soon busy in examining the documents, flinging now and then a short question to Philip, who sat at the table near him.

Suddenly there was a tap at the door, and, not waiting for a summons, a young girl entered, and stopped after a couple of steps.

“Oh, I didn't know--”

“What is it, dear?” said Mr. Mavick, looking up a moment, and then down at the papers.

“Why, about the coachman's baby. I thought perhaps--” She had a paper in her hand, and advanced towards the table, and then stopped, seeing that her father was not alone.

Philip rose involuntarily. Mr. Mavick looked up quickly. “Yes, presently. I've just now got a little business with Mr. Burnett.”

It was not an introduction. But for an instant the eyes of the young people met. It seemed to Philip that it was a recognition. Certainly the full, sweet eyes were bent on him for the second she stood there, before turning away and leaving the room. And she looked just as true and sweet as Philip dreamed she would look at home. He sat in a kind of maze for the quarter of an hour while Mavick was affixing his signature and giving some directions. He heard all the directions, and carried away the papers, but he also carried away something else unknown to the broker. After all, he found himself reflecting, as he walked down the avenue, the practice of the law has its good moments!

What was there in this trivial incident that so magnified it in Philip's mind, day after day? Was it that he began to feel that he had established a personal relation with Evelyn because she had seen him? Nothing had really happened. Perhaps she had not heard his name, perhaps she did not carry the faintest image of him out of the room with her. Philip had read in romances of love at first sight, and he had personal experience of it. Commonly, in romances, the woman gives no sign of it, does not admit it to herself, denies it in her words and in her conduct, and never owns it until the final surrender. “When was the first moment you began to love me, dear?” “Why, the first moment, that day; didn't you know it then?” This we are led to believe is common experience with the shy and secretive sex. It is enough, in a thousand reported cases, that he passed her window on horseback, and happened to look her way. But with such a look! The mischief was done. But this foundation was too slight for Philip to build such a hope on.

Looking back, we like to trace great results to insignificant, momentary incidents--a glance, a word, that turned the current of a life. There was a definite moment when the thought came to Alexander that he would conquer the world! Probably there was no such moment. The great Alexander was restless, and at no initial instant did he conceive his scheme of conquest. Nor was it one event that set him in motion. We confound events with causes. It happened on such a day. Yes, but it might have happened on another. But if Philip had not been sent on that errand to Mavick probably Evelyn would never have met him. What nonsense this is, and what an unheroic character it makes Philip! Is it supposable that, with such a romance as he had developed about the girl, he would not some time have come near her, even if she had been locked up with all the bars and bolts of a safety deposit?

The incident of this momentary meeting was, however, of great consequence. There is no such feeder of love as the imagination. And fortunate it was for Philip that his romance was left to grow in the wonder-working process of his own mind. At first there had been merely a curiosity in regard to a person whose history and education had been peculiar. Then the sight of her had raised a strange tumult in his breast, and his fancy began to play about her image, seen only at a distance and not many times, until his imagination built up a being of surpassing loveliness, and endowed with all the attractions that the poets in all ages have given to the sex that inspires them. But this sort of creation in the mind becomes vague, and related to literature only, unless it is sustained by some reality. Even Petrarch must occasionally see Laura at the church door, and dwell upon the veiled dreamer that passed and perhaps paused a moment to regard him with sad eyes. Philip, no doubt, nursed a genuine passion, which grew into an exquisite ideal in the brooding of a poetic mind, but it might in time have evaporated into thin air, remaining only as an emotional and educational experience. But this moment in Mr. Mavick's library had given a solid body to his imaginations, and a more definite turn to his thought of her.

If, in some ordinary social chance, Philip had encountered the heiress, without this previous wonderworking of his imagination in regard to her, the probability is that he would have seen nothing especially to distinguish her from the other girls of her age and newness in social experience. Certainly the thought that she was the possessor of uncounted millions would have been, on his side, an insuperable barrier to any advance. But the imagination works wonders truly, and Philip saw the woman and not the heiress. She had become now a distinct personality; to be desired above all things on earth, and that he should see her again he had no doubt.

This thought filled his mind, and even when he was not conscious of it gave a sort of color to life, refined his perceptions, and gave him almost sensuous delight in the masterpieces of poetry which had formerly appealed only to his intellectual appreciation of beauty.

He had not yet come to a desire to share his secret with any confidant, but preferred to be much alone and muse on it, creating a world which was without evil, without doubt, undisturbed by criticism. In this so real dream it was the daily office work that seemed unreal, and the company and gossip of his club a kind of vain show. He began to frequent the picture-galleries, where there was at least an attempt to express sentiment, and to take long walks to the confines of the city-confines fringed with all the tender suggestions of the opening spring. Even the monotonous streets which he walked were illumined in his eyes, glorified by the fullness of life and achievement. “Yes,” he said again and again, as he stood on the Heights, in view of the river, the green wall of Jersey and the great metropolis spread away to the ocean gate, “it is a beautiful city! And the critics say it is commonplace and vulgar.” Dear dreamer, it is a beautiful city, and for one reason and another a million of people who have homes there think so. But take out of it one person, and it would have for you no more interest than any other huge assembly of ugly houses. How, in a lover's eyes, the woman can transfigure a city, a landscape, a country!

Celia had come up to town for the spring exhibitions, and was lodging at the Woman's Club. Naturally Philip saw much of her, indeed gave her all his time that the office did not demand. Her company was always for him a keen delight, an excitement, and in its way a rest. For though she always criticised, she did not nag, and just because she made no demands, nor laid any claims on him, nor ever reproached him for want of devotion, her society was delightful and never dull. They dined together at the Woman's Club, they experimented on the theatres, they visited the galleries and the picture-shops, they took little excursions into the suburbs and came back impressed with the general cheapness and shabbiness, and they talked--talked about all they saw, all they had read, and something of what they thought. What was wanting to make this charming camaraderie perfect? Only one thing.

It may have occurred to Philip that Celia had not sufficient respect for his opinions; she regarded them simply as opinions, not as his.

One afternoon, in the Metropolitan Picture-Gallery, Philip had been expressing enthusiasm for some paintings that Celia thought more sentimental than artistic, and this reminded her that he was getting into a general way of admiring everything.

“You didn't use, Philip, to care so much for pictures.”

“Oh, I've been seeing more.”

“But you don't say you like that? Look at the drawing.”

“Well, it tells the story.”