Harsanyi rose to his feet. “Don't misunderstand me, Miss Kronborg. You interest me more than any pupil I have. I have been thinking for months about what you ought to do, since that night when you first sang for me.” He walked over to the window, turned, and came toward her again. “I believe that your voice is worth all that you can put into it. I have not come to this decision rashly. I have studied you, and I have become more and more convinced, against my own desires. I cannot make a singer of you, so it was my business to find a man who could. I have even consulted Theodore Thomas about it.”
“But suppose I don't want to be a singer? I want to study with you. What's the matter? Do you really think I've no talent? Can't I be a pianist?”
Harsanyi paced up and down the long rug in front of her. “My girl, you are very talented. You could be a pianist, a good one. But the early training of a pianist, such a pianist as you would want to be, must be something tremendous. He must have had no other life than music. At your age he must be the master of his instrument. Nothing can ever take the place of that first training. You know very well that your technique is good, but it is not remarkable. It will never overtake your intelligence. You have a fine power of work, but you are not by nature a student. You are not by nature, I think, a pianist. You would never find yourself. In the effort to do so, I'm afraid your playing would become warped, eccentric.” He threw back his head and looked at his pupil intently with that one eye which sometimes seemed to see deeper than any two eyes, as if its singleness gave it privileges. “Oh, I have watched you very carefully, Miss Kronborg. Because you had had so little and had yet done so much for yourself, I had a great wish to help you. I believe that the strongest need of your nature is to find yourself, to emerge AS yourself. Until I heard you sing I wondered how you were to do this, but it has grown clearer to me every day.”
Thea looked away toward the window with hard, narrow eyes. “You mean I can be a singer because I haven't brains enough to be a pianist.”
“You have brains enough and talent enough. But to do what you will want to do, it takes more than these—it takes vocation. Now, I think you have vocation, but for the voice, not for the piano. If you knew,”—he stopped and sighed,—“if you knew how fortunate I sometimes think you. With the voice the way is so much shorter, the rewards are more easily won. In your voice I think Nature herself did for you what it would take you many years to do at the piano. Perhaps you were not born in the wrong place after all. Let us talk frankly now. We have never done so before, and I have respected your reticence. What you want more than anything else in the world is to be an artist; is that true?”
She turned her face away from him and looked down at the keyboard. Her answer came in a thickened voice. “Yes, I suppose so.”
“When did you first feel that you wanted to be an artist?”
“I don't know. There was always—something.”
“Did you never think that you were going to sing?”
“Yes.”
“How long ago was that?”
“Always, until I came to you. It was you who made me want to play piano.” Her voice trembled. “Before, I tried to think I did, but I was pretending.”
Harsanyi reached out and caught the hand that was hanging at her side. He pressed it as if to give her something. “Can't you see, my dear girl, that was only because I happened to be the first artist you have ever known? If I had been a trombone player, it would have been the same; you would have wanted to play trombone. But all the while you have been working with such good-will, something has been struggling against me. See, here we were, you and I and this instrument,”—he tapped the piano,—“three good friends, working so hard. But all the while there was something fighting us: your gift, and the woman you were meant to be. When you find your way to that gift and to that woman, you will be at peace. In the beginning it was an artist that you wanted to be; well, you may be an artist, always.”
Thea drew a long breath. Her hands fell in her lap. “So I'm just where I began. No teacher, nothing done. No money.”
Harsanyi turned away. “Feel no apprehension about the money, Miss Kronborg. Come back in the fall and we shall manage that. I shall even go to Mr. Thomas if necessary. This year will not be lost. If you but knew what an advantage this winter's study, all your study of the piano, will give you over most singers. Perhaps things have come out better for you than if we had planned them knowingly.”
“You mean they have IF I can sing.”
Thea spoke with a heavy irony, so heavy, indeed, that it was coarse. It grated upon Harsanyi because he felt that it was not sincere, an awkward affectation.
He wheeled toward her. “Miss Kronborg, answer me this. YOU KNOW THAT YOU CAN SING, do you not? You have always known it. While we worked here together you sometimes said to yourself, 'I have something you know nothing about; I could surprise you.' Is that also true?”
Thea nodded and hung her head.
“Why were you not frank with me? Did I not deserve it?”
She shuddered. Her bent shoulders trembled. “I don't know,” she muttered. “I didn't mean to be like that. I couldn't. I can't. It's different.”
“You mean it is very personal?” he asked kindly.
She nodded. “Not at church or funerals, or with people like Mr. Larsen. But with you it was—personal. I'm not like you and Mrs. Harsanyi. I come of rough people. I'm rough. But I'm independent, too. It was—all I had. There is no use my talking, Mr. Harsanyi. I can't tell you.”
“You needn't tell me. I know. Every artist knows.” Harsanyi stood looking at his pupil's back, bent as if she were pushing something, at her lowered head. “You can sing for those people because with them you do not commit yourself. But the reality, one cannot uncover THAT until one is sure. One can fail one's self, but one must not live to see that fail; better never reveal it. Let me help you to make yourself sure of it. That I can do better than Bowers.”
Thea lifted her face and threw out her hands.
Harsanyi shook his head and smiled. “Oh, promise nothing! You will have much to do. There will not be voice only, but French, German, Italian. You will have work enough. But sometimes you will need to be understood; what you never show to any one will need companionship. And then you must come to me.” He peered into her face with that searching, intimate glance. “You know what I mean, the thing in you that has no business with what is little, that will have to do only with beauty and power.”
Thea threw out her hands fiercely, as if to push him away. She made a sound in her throat, but it was not articulate. Harsanyi took one of her hands and kissed it lightly upon the back. His salute was one of greeting, not of farewell, and it was for some one he had never seen.
When Mrs. Harsanyi came in at six o'clock, she found her husband sitting listlessly by the window. “Tired?” she asked.
“A little. I've just got through a difficulty. I've sent Miss Kronborg away; turned her over to Bowers, for voice.”
“Sent Miss Kronborg away? Andor, what is the matter with you?”
“It's nothing rash. I've known for a long while I ought to do it. She is made for a singer, not a pianist.”
Mrs. Harsanyi sat down on the piano chair. She spoke a little bitterly: “How can you be sure of that? She was, at least, the best you had. I thought you meant to have her play at your students' recital next fall. I am sure she would have made an impression. I could have dressed her so that she would have been very striking. She had so much individuality.”
Harsanyi bent forward, looking at the floor. “Yes, I know. I shall miss her, of course.”
Mrs. Harsanyi looked at her husband's fine head against the gray window. She had never felt deeper tenderness for him than she did at that moment. Her heart ached for him. “You will never get on, Andor,” she said mournfully.
Harsanyi sat motionless. “No, I shall never get on,” he repeated quietly. Suddenly he sprang up with that light movement she knew so well, and stood in the window, with folded arms. “But some day I shall be able to look her in the face and laugh because I did what I could for her. I believe in her. She will do nothing common. She is uncommon, in a common, common world. That is what I get out of it. It means more to me than if she played at my concert and brought me a dozen pupils. All this drudgery will kill me if once in a while I cannot hope something, for somebody! If I cannot sometimes see a bird fly and wave my hand to it.”
His tone was angry and injured. Mrs. Harsanyi understood that this was one of the times when his wife was a part of the drudgery, of the “common, common world.”
He had let something he cared for go, and he felt bitterly about whatever was left. The mood would pass, and he would be sorry. She knew him. It wounded her, of course, but that hurt was not new. It was as old as her love for him. She went out and left him alone.
VIII
ONE warm damp June night the Denver Express was speeding westward across the earthy-smelling plains of Iowa. The lights in the day-coach were turned low and the ventilators were open, admitting showers of soot and dust upon the occupants of the narrow green plush chairs which were tilted at various angles of discomfort. In each of these chairs some uncomfortable human being lay drawn up, or stretched out, or writhing from one position to another. There were tired men in rumpled shirts, their necks bare and their suspenders down; old women with their heads tied up in black handkerchiefs; bedraggled young women who went to sleep while they were nursing their babies and forgot to button up their dresses; dirty boys who added to the general discomfort by taking off their boots. The brakeman, when he came through at midnight, sniffed the heavy air disdainfully and looked up at the ventilators. As he glanced down the double rows of contorted figures, he saw one pair of eyes that were wide open and bright, a yellow head that was not overcome by the stupefying heat and smell in the car. “There's a girl for you,” he thought as he stopped by Thea's chair.
“Like to have the window up a little?” he asked.
Thea smiled up at him, not misunderstanding his friendliness. “The girl behind me is sick; she can't stand a draft. What time is it, please?”
He took out his open-faced watch and held it before her eyes with a knowing look. “In a hurry?” he asked. “I'll leave the end door open and air you out. Catch a wink; the time'll go faster.”
Thea nodded good-night to him and settled her head back on her pillow, looking up at the oil lamps. She was going back to Moonstone for her summer vacation, and she was sitting up all night in a day-coach because that seemed such an easy way to save money. At her age discomfort was a small matter, when one made five dollars a day by it. She had confidently expected to sleep after the car got quiet, but in the two chairs behind her were a sick girl and her mother, and the girl had been coughing steadily since ten o'clock. They had come from somewhere in Pennsylvania, and this was their second night on the road. The mother said they were going to Colorado “for her daughter's lungs.” The daughter was a little older than Thea, perhaps nineteen, with patient dark eyes and curly brown hair. She was pretty in spite of being so sooty and travel-stained. She had put on an ugly figured satine kimono over her loosened clothes. Thea, when she boarded the train in Chicago, happened to stop and plant her heavy telescope on this seat. She had not intended to remain there, but the sick girl had looked up at her with an eager smile and said, “Do sit there, miss. I'd so much rather not have a gentleman in front of me.”
After the girl began to cough there were no empty seats left, and if there had been Thea could scarcely have changed without hurting her feelings. The mother turned on her side and went to sleep; she was used to the cough. But the girl lay wide awake, her eyes fixed on the roof of the car, as Thea's were. The two girls must have seen very different things there.
Thea fell to going over her winter in Chicago. It was only under unusual or uncomfortable conditions like these that she could keep her mind fixed upon herself or her own affairs for any length of time. The rapid motion and the vibration of the wheels under her seemed to give her thoughts rapidity and clearness. She had taken twenty very expensive lessons from Madison Bowers, but she did not yet know what he thought of her or of her ability. He was different from any man with whom she had ever had to do. With her other teachers she had felt a personal relation; but with him she did not. Bowers was a cold, bitter, avaricious man, but he knew a great deal about voices. He worked with a voice as if he were in a laboratory, conducting a series of experiments. He was conscientious and industrious, even capable of a certain cold fury when he was working with an interesting voice, but Harsanyi declared that he had the soul of a shrimp, and could no more make an artist than a throat specialist could. Thea realized that he had taught her a great deal in twenty lessons.
Although she cared so much less for Bowers than for Harsanyi, Thea was, on the whole, happier since she had been studying with him than she had been before. She had always told herself that she studied piano to fit herself to be a music teacher. But she never asked herself why she was studying voice. Her voice, more than any other part of her, had to do with that confidence, that sense of wholeness and inner well-being that she had felt at moments ever since she could remember.
Of this feeling Thea had never spoken to any human being until that day when she told Harsanyi that “there had always been—something.” Hitherto she had felt but one obligation toward it—secrecy; to protect it even from herself. She had always believed that by doing all that was required of her by her family, her teachers, her pupils, she kept that part of herself from being caught up in the meshes of common things. She took it for granted that some day, when she was older, she would know a great deal more about it. It was as if she had an appointment to meet the rest of herself sometime, somewhere. It was moving to meet her and she was moving to meet it. That meeting awaited her, just as surely as, for the poor girl in the seat behind her, there awaited a hole in the earth, already dug.
For Thea, so much had begun with a hole in the earth. Yes, she reflected, this new part of her life had all begun that morning when she sat on the clay bank beside Ray Kennedy, under the flickering shade of the cottonwood tree. She remembered the way Ray had looked at her that morning. Why had he cared so much? And Wunsch, and Dr. Archie, and Spanish Johnny, why had they? It was something that had to do with her that made them care, but it was not she. It was something they believed in, but it was not she. Perhaps each of them concealed another person in himself, just as she did. Why was it that they seemed to feel and to hunt for a second person in her and not in each other? Thea frowned up at the dull lamp in the roof of the car. What if one's second self could somehow speak to all these second selves? What if one could bring them out, as whiskey did Spanish Johnny's? How deep they lay, these second persons, and how little one knew about them, except to guard them fiercely. It was to music, more than to anything else, that these hidden things in people responded. Her mother—even her mother had something of that sort which replied to music.
