“But I don't. That's only one thing. Anyhow, I couldn't if I did.” She pulled her dress lower at the neck as if she were suffocating. “I only want impossible things,” she said roughly. “The others don't interest me.”
Dr. Archie watched her contemplatively, as if she were a beaker full of chemicals working. A few years ago, when she used to sit there, the light from under his green lampshade used to fall full upon her broad face and yellow pigtails. Now her face was in the shadow and the line of light fell below her bare throat, directly across her bosom. The shrunken white organdie rose and fell as if she were struggling to be free and to break out of it altogether. He felt that her heart must be laboring heavily in there, but he was afraid to touch her; he was, indeed. He had never seen her like this before. Her hair, piled high on her head, gave her a commanding look, and her eyes, that used to be so inquisitive, were stormy.
“Thea,” he said slowly, “I won't say that you can have everything you want—that means having nothing, in reality. But if you decide what it is you want most, YOU CAN GET IT.” His eye caught hers for a moment. “Not everybody can, but you can. Only, if you want a big thing, you've got to have nerve enough to cut out all that's easy, everything that's to be had cheap.” Dr. Archie paused. He picked up a paper-cutter and, feeling the edge of it softly with his fingers, he added slowly, as if to himself:—
“He either fears his fate too much, Or his deserts are small, Who dares not put it to the touch To win...or lose it all.”
Thea's lips parted; she looked at him from under a frown, searching his face. “Do you mean to break loose, too, and—do something?” she asked in a low voice.
“I mean to get rich, if you call that doing anything. I've found what I can do without. You make such bargains in your mind, first.”
Thea sprang up and took the paper-cutter he had put down, twisting it in her hands. “A long while first, sometimes,” she said with a short laugh. “But suppose one can never get out what they've got in them? Suppose they make a mess of it in the end; then what?” She threw the paper-cutter on the desk and took a step toward the doctor, until her dress touched him. She stood looking down at him. “Oh, it's easy to fail!” She was breathing through her mouth and her throat was throbbing with excitement.
As he looked up at her, Dr. Archie's hands tightened on the arms of his chair. He had thought he knew Thea Kronborg pretty well, but he did not know the girl who was standing there. She was beautiful, as his little Swede had never been, but she frightened him. Her pale cheeks, her parted lips, her flashing eyes, seemed suddenly to mean one thing—he did not know what. A light seemed to break upon her from far away—or perhaps from far within. She seemed to grow taller, like a scarf drawn out long; looked as if she were pursued and fleeing, and—yes, she looked tormented. “It's easy to fail,” he heard her say again, “and if I fail, you'd better forget about me, for I'll be one of the worst women that ever lived. I'll be an awful woman!”
In the shadowy light above the lampshade he caught her glance again and held it for a moment. Wild as her eyes were, that yellow gleam at the back of them was as hard as a diamond drill-point. He rose with a nervous laugh and dropped his hand lightly on her shoulder. “No, you won't. You'll be a splendid one!”
She shook him off before he could say anything more, and went out of his door with a kind of bound. She left so quickly and so lightly that he could not even hear her footstep in the hallway outside. Archie dropped back into his chair and sat motionless for a long while.
So it went; one loved a quaint little girl, cheerful, industrious, always on the run and hustling through her tasks; and suddenly one lost her. He had thought he knew that child like the glove on his hand. But about this tall girl who threw up her head and glittered like that all over, he knew nothing. She was goaded by desires, ambitions, revulsions that were dark to him. One thing he knew: the old highroad of life, worn safe and easy, hugging the sunny slopes, would scarcely hold her again.
After that night Thea could have asked pretty much anything of him. He could have refused her nothing. Years ago a crafty little bunch of hair and smiles had shown him what she wanted, and he had promptly married her. To-night a very different sort of girl—driven wild by doubts and youth, by poverty and riches—had let him see the fierceness of her nature. She went out still distraught, not knowing or caring what she had shown him. But to Archie knowledge of that sort was obligation. Oh, he was the same old Howard Archie!
That Sunday in July was the turning-point; Thea's peace of mind did not come back. She found it hard even to practice at home. There was something in the air there that froze her throat. In the morning, she walked as far as she could walk. In the hot afternoons she lay on her bed in her nightgown, planning fiercely. She haunted the post-office. She must have worn a path in the sidewalk that led to the post-office, that summer. She was there the moment the mail-sacks came up from the depot, morning and evening, and while the letters were being sorted and distributed she paced up and down outside, under the cottonwood trees, listening to the thump, thump, thump of Mr. Thompson's stamp. She hung upon any sort of word from Chicago; a card from Bowers, a letter from Mrs. Harsanyi, from Mr. Larsen, from her landlady,—anything to reassure her that Chicago was still there. She began to feel the same restlessness that had tortured her the last spring when she was teaching in Moonstone. Suppose she never got away again, after all? Suppose one broke a leg and had to lie in bed at home for weeks, or had pneumonia and died there. The desert was so big and thirsty; if one's foot slipped, it could drink one up like a drop of water.
This time, when Thea left Moonstone to go back to Chicago, she went alone. As the train pulled out, she looked back at her mother and father and Thor. They were calm and cheerful; they did not know, they did not understand. Something pulled in her—and broke. She cried all the way to Denver, and that night, in her berth, she kept sobbing and waking herself. But when the sun rose in the morning, she was far away. It was all behind her, and she knew that she would never cry like that again. People live through such pain only once; pain comes again, but it finds a tougher surface. Thea remembered how she had gone away the first time, with what confidence in everything, and what pitiful ignorance. Such a silly! She felt resentful toward that stupid, good-natured child. How much older she was now, and how much harder! She was going away to fight, and she was going away forever.
PART III. STUPID FACES
I
So many grinning, stupid faces! Thea was sitting by the window in Bowers's studio, waiting for him to come back from lunch. On her knee was the latest number of an illustrated musical journal in which musicians great and little stridently advertised their wares. Every afternoon she played accompaniments for people who looked and smiled like these. She was getting tired of the human countenance.
Thea had been in Chicago for two months. She had a small church position which partly paid her living expenses, and she paid for her singing lessons by playing Bowers's accompaniments every afternoon from two until six. She had been compelled to leave her old friends Mrs. Lorch and Mrs. Andersen, because the long ride from North Chicago to Bowers's studio on Michigan Avenue took too much time—an hour in the morning, and at night, when the cars were crowded, an hour and a half. For the first month she had clung to her old room, but the bad air in the cars, at the end of a long day's work, fatigued her greatly and was bad for her voice. Since she left Mrs. Lorch, she had been staying at a students' club to which she was introduced by Miss Adler, Bowers's morning accompanist, an intelligent Jewish girl from Evanston.
Thea took her lesson from Bowers every day from eleven-thirty until twelve. Then she went out to lunch with an Italian grammar under her arm, and came back to the studio to begin her work at two. In the afternoon Bowers coached professionals and taught his advanced pupils. It was his theory that Thea ought to be able to learn a great deal by keeping her ears open while she played for him.
The concert-going public of Chicago still remembers the long, sallow, discontented face of Madison Bowers. He seldom missed an evening concert, and was usually to be seen lounging somewhere at the back of the concert hall, reading a newspaper or review, and conspicuously ignoring the efforts of the performers. At the end of a number he looked up from his paper long enough to sweep the applauding audience with a contemptuous eye. His face was intelligent, with a narrow lower jaw, a thin nose, faded gray eyes, and a close-cut brown mustache. His hair was iron-gray, thin and dead-looking. He went to concerts chiefly to satisfy himself as to how badly things were done and how gullible the public was. He hated the whole race of artists; the work they did, the wages they got, and the way they spent their money. His father, old Hiram Bowers, was still alive and at work, a genial old choirmaster in Boston, full of enthusiasm at seventy. But Madison was of the colder stuff of his grandfathers, a long line of New Hampshire farmers; hard workers, close traders, with good minds, mean natures, and flinty eyes. As a boy Madison had a fine barytone voice, and his father made great sacrifices for him, sending him to Germany at an early age and keeping him abroad at his studies for years. Madison worked under the best teachers, and afterward sang in England in oratorio. His cold nature and academic methods were against him. His audiences were always aware of the contempt he felt for them. A dozen poorer singers succeeded, but Bowers did not.
Bowers had all the qualities which go to make a good teacher—except generosity and warmth. His intelligence was of a high order, his taste never at fault. He seldom worked with a voice without improving it, and in teaching the delivery of oratorio he was without a rival. Singers came from far and near to study Bach and Handel with him. Even the fashionable sopranos and contraltos of Chicago, St. Paul, and St. Louis (they were usually ladies with very rich husbands, and Bowers called them the “pampered jades of Asia”) humbly endured his sardonic humor for the sake of what he could do for them. He was not at all above helping a very lame singer across, if her husband's check-book warranted it. He had a whole bag of tricks for stupid people, “life-preservers,” he called them. “Cheap repairs for a cheap 'un,” he used to say, but the husbands never found the repairs very cheap. Those were the days when lumbermen's daughters and brewers' wives contended in song; studied in Germany and then floated from SANGERFEST to SANGERFEST. Choral societies flourished in all the rich lake cities and river cities. The soloists came to Chicago to coach with Bowers, and he often took long journeys to hear and instruct a chorus. He was intensely avaricious, and from these semi-professionals he reaped a golden harvest. They fed his pockets and they fed his ever-hungry contempt, his scorn of himself and his accomplices. The more money he made, the more parsimonious he became. His wife was so shabby that she never went anywhere with him, which suited him exactly. Because his clients were luxurious and extravagant, he took a revengeful pleasure in having his shoes halfsoled a second time, and in getting the last wear out of a broken collar. He had first been interested in Thea Kronborg because of her bluntness, her country roughness, and her manifest carefulness about money. The mention of Harsanyi's name always made him pull a wry face. For the first time Thea had a friend who, in his own cool and guarded way, liked her for whatever was least admirable in her.
Thea was still looking at the musical paper, her grammar unopened on the window-sill, when Bowers sauntered in a little before two o'clock. He was smoking a cheap cigarette and wore the same soft felt hat he had worn all last winter. He never carried a cane or wore gloves.
Thea followed him from the reception-room into the studio. “I may cut my lesson out to-morrow, Mr. Bowers. I have to hunt a new boarding-place.”
Bowers looked up languidly from his desk where he had begun to go over a pile of letters. “What's the matter with the Studio Club? Been fighting with them again?”
“The Club's all right for people who like to live that way. I don't.”
Bowers lifted his eyebrows. “Why so tempery?” he asked as he drew a check from an envelope postmarked “Minneapolis.”
“I can't work with a lot of girls around. They're too familiar. I never could get along with girls of my own age. It's all too chummy. Gets on my nerves. I didn't come here to play kindergarten games.” Thea began energetically to arrange the scattered music on the piano.
Bowers grimaced good-humoredly at her over the three checks he was pinning together. He liked to play at a rough game of banter with her. He flattered himself that he had made her harsher than she was when she first came to him; that he had got off a little of the sugar-coating Harsanyi always put on his pupils.
“The art of making yourself agreeable never comes amiss, Miss Kronborg. I should say you rather need a little practice along that line. When you come to marketing your wares in the world, a little smoothness goes farther than a great deal of talent sometimes. If you happen to be cursed with a real talent, then you've got to be very smooth indeed, or you'll never get your money back.” Bowers snapped the elastic band around his bank-book.
Thea gave him a sharp, recognizing glance. “Well, that's the money I'll have to go without,” she replied.
“Just what do you mean?”
“I mean the money people have to grin for. I used to know a railroad man who said there was money in every profession that you couldn't take. He'd tried a good many jobs,” Thea added musingly; “perhaps he was too particular about the kind he could take, for he never picked up much. He was proud, but I liked him for that.”
Bowers rose and closed his desk. “Mrs. Priest is late again. By the way, Miss Kronborg, remember not to frown when you are playing for Mrs. Priest. You did not remember yesterday.”
“You mean when she hits a tone with her breath like that? Why do you let her? You wouldn't let me.”
“I certainly would not. But that is a mannerism of Mrs. Priest's. The public like it, and they pay a great deal of money for the pleasure of hearing her do it. There she is. Remember!”
Bowers opened the door of the reception-room and a tall, imposing woman rustled in, bringing with her a glow of animation which pervaded the room as if half a dozen persons, all talking gayly, had come in instead of one. She was large, handsome, expansive, uncontrolled; one felt this the moment she crossed the threshold. She shone with care and cleanliness, mature vigor, unchallenged authority, gracious good-humor, and absolute confidence in her person, her powers, her position, and her way of life; a glowing, overwhelming self-satisfaction, only to be found where human society is young and strong and without yesterdays. Her face had a kind of heavy, thoughtless beauty, like a pink peony just at the point of beginning to fade. Her brown hair was waved in front and done up behind in a great twist, held by a tortoiseshell comb with gold filigree. She wore a beautiful little green hat with three long green feathers sticking straight up in front, a little cape made of velvet and fur with a yellow satin rose on it. Her gloves, her shoes, her veil, somehow made themselves felt. She gave the impression of wearing a cargo of splendid merchandise.
