The Troll Garden and Selected Stories by Willa Cather (children's ebooks online .txt) 📕

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 <i>artists</i>? 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 <i>are</i> 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 memory-evoking 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 <i>Woman</i>. 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