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

Everett rose and stood hesitating. “I think I must go. You ought to be quiet, and I don’t think I can hear any more just now.”

She put out her hand and took his playfully. “You’ve put in three weeks at this sort of thing, haven’t you? Well, it may never be to your glory in this world, perhaps, but it’s been the mercy of heaven to me, and it ought to square accounts for a much worse life than yours will ever be.”

Everett knelt beside her, saying, brokenly: “I stayed because I wanted to be with you, that’s all. I have never cared about other women since I met you in New York when I was a lad. You are a part of my destiny, and I could not leave you if I would.”

She put her hands on his shoulders and shook her head. “No, no; don’t tell me that. I have seen enough of tragedy, God knows. Don’t show me any more just as the curtain is going down. No, no, it was only a boy’s fancy, and your divine pity and my utter pitiableness have recalled it for a moment. One does not love the dying, dear friend. If some fancy of that sort had been left over from boyhood, this would rid you of it, and that were well. Now go, and you will come again tomorrow, as long as there are tomorrows, will you not?” She took his hand with a smile that lifted the mask from her soul, that was both courage and despair, and full of infinite loyalty and tenderness, as she said softly:

For ever and for ever, farewell, Cassius; If we do meet again, why, we shall smile; If not, why then, this parting was well made.

The courage in her eyes was like the clear light of a star to him as he went out.

On the night of Adriance Hilgarde’s opening concert in Paris Everett sat by the bed in the ranch house in Wyoming, watching over the last battle that we have with the flesh before we are done with it and free of it forever. At times it seemed that the serene soul of her must have left already and found some refuge from the storm, and only the tenacious animal life were left to do battle with death. She labored under a delusion at once pitiful and merciful, thinking that she was in the Pullman on her way to New York, going back to her life and her work. When she aroused from her stupor it was only to ask the porter to waken her half an hour out of Jersey City, or to remonstrate with him about the delays and the roughness of the road. At midnight Everett and the nurse were left alone with her. Poor Charley Gaylord had lain down on a couch outside the door. Everett sat looking at the sputtering night lamp until it made his eyes ache. His head dropped forward on the foot of the bed, and he sank into a heavy, distressful slumber. He was dreaming of Adriance’s concert in Paris, and of Adriance, the troubadour, smiling and debonair, with his boyish face and the touch of silver gray in his hair. He heard the applause and he saw the roses going up over the footlights until they were stacked half as high as the piano, and the petals fell and scattered, making crimson splotches on the floor. Down this crimson pathway came Adriance with his youthful step, leading his prima donna by the hand; a dark woman this time, with Spanish eyes.

The nurse touched him on the shoulder; he started and awoke. She screened the lamp with her hand. Everett saw that Katharine was awake and conscious, and struggling a little. He lifted her gently on his arm and began to fan her. She laid her hands lightly on his hair and looked into his face with eyes that seemed never to have wept or doubted. “Ah, dear Adriance, dear, dear,” she whispered.

Everett went to call her brother, but when they came back the madness of art was over for Katharine.

Two days later Everett was pacing the station siding, waiting for the westbound train. Charley Gaylord walked beside him, but the two men had nothing to say to each other. Everett’s bags were piled on the truck, and his step was hurried and his eyes were full of impatience, as he gazed again and again up the track, watching for the train. Gaylord’s impatience was not less than his own; these two, who had grown so close, had now become painful and impossible to each other, and longed for the wrench of farewell.

As the train pulled in Everett wrung Gaylord’s hand among the crowd of alighting passengers. The people of a German opera company, en route to the coast, rushed by them in frantic haste to snatch their breakfast during the stop. Everett heard an exclamation in a broad German dialect, and a massive woman whose figure persistently escaped from her stays in the most improbable places rushed up to him, her blond hair disordered by the wind, and glowing with joyful surprise she caught his coat sleeve with her tightly gloved hands.

“<i>Herr Gott</i>, Adriance, <i>lieber Freund</i>,” she cried, emotionally.

Everett quickly withdrew his arm and lifted his hat, blushing. “Pardon me, madam, but I see that you have mistaken me for Adriance Hilgarde. I am his brother,” he said quietly, and turning from the crestfallen singer, he hurried into the car.

The Garden Lodge

When Caroline Noble’s friends learned that Raymond d’Esquerre was to spend a month at her place on the Sound before he sailed to fill his engagement for the London opera season, they considered it another striking instance of the perversity of things. That the month was May, and the most mild and florescent of all the blue-and-white Mays the middle coast had known in years, but added to their sense of wrong. D’Esquerre, they learned, was ensconced in the lodge in the apple orchard, just beyond Caroline’s glorious garden, and report went that at almost any hour the sound of the tenor’s voice and of Caroline’s crashing accompaniment could be heard floating through the open windows, out among the snowy apple boughs. The Sound, steel-blue and dotted with white sails, was splendidly seen from the windows of the lodge. The garden to the left and the orchard to the right had never been so riotous with spring, and had burst into impassioned bloom, as if to accommodate Caroline, though she was certainly the last woman to whom the witchery of Freya could be attributed; the last woman, as her friends affirmed, to at all adequately appreciate and make the most of such a setting for the great tenor.

Of course, they admitted, Caroline was musical—well, she ought to be!—but in that, as in everything, she was paramountly cool-headed, slow of impulse, and disgustingly practical; in that, as in everything else, she had herself so provokingly well in hand. Of course, it would be she, always mistress of herself in any situation, she, who would never be lifted one inch from the ground by it, and who would go on superintending her gardeners and workmen as usual—it would be she who got him. Perhaps some of them suspected that this was exactly why she did get him, and it but nettled them the more.

Caroline’s coolness, her capableness, her general success, especially exasperated people because they felt that, for the most part, she had made herself what she was; that she had cold-bloodedly set about complying with the demands of life and making her position comfortable and masterful. That was why, everyone said, she had married Howard Noble. Women who did not get through life so well as Caroline, who could not make such good terms either with fortune or their husbands, who did not find their health so unfailingly good, or hold their looks so well, or manage their children so easily, or give such distinction to all they did, were fond of stamping Caroline as a materialist, and called her hard.

The impression of cold calculation, of having a definite policy, which Caroline gave, was far from a false one; but there was this to be said for her—that there were extenuating circumstances which her friends could not know.

If Caroline held determinedly to the middle course, if she was apt to regard with distrust everything which inclined toward extravagance, it was not because she was unacquainted with other standards than her own, or had never seen another side of life. She had grown up in Brooklyn, in a shabby little house under the vacillating administration of her father, a music teacher who usually neglected his duties to write orchestral compositions for which the world seemed to have no especial need. His spirit was warped by bitter vindictiveness and puerile self-commiseration, and he spent his days in scorn of the labor that brought him bread and in pitiful devotion to the labor that brought him only disappointment, writing interminable scores which demanded of the orchestra everything under heaven except melody.

It was not a cheerful home for a girl to grow up in. The mother, who idolized her husband as the music lord of the future, was left to a lifelong battle with broom and dustpan, to neverending conciliatory overtures to the butcher and grocer, to the making of her own gowns and of Caroline’s, and to the delicate task of mollifying Auguste’s neglected pupils.

The son, Heinrich, a painter, Caroline’s only brother, had inherited all his father’s vindictive sensitiveness without his capacity for slavish application. His little studio on the third floor had been much frequented by young men as unsuccessful as himself, who met there to give themselves over to contemptuous derision of this or that artist whose industry and stupidity had won him recognition. Heinrich, when he worked at all, did newspaper sketches at twenty-five dollars a week. He was too indolent and vacillating to set himself seriously to his art, too irascible and poignantly self-conscious to make a living, too much addicted to lying late in bed, to the incontinent reading of poetry, and to the use of chloral to be anything very positive except painful. At twenty-six he shot himself in a frenzy, and the whole wretched affair had effectually shattered his mother’s health and brought on the decline of which she died. Caroline had been fond of him, but she felt a certain relief when he no longer wandered about the little house, commenting ironically upon its shabbiness, a Turkish cap on his head and a cigarette hanging from between his long, tremulous fingers.

After her mother’s death Caroline assumed the management of that bankrupt establishment. The funeral expenses were unpaid, and Auguste’s pupils had been frightened away by the shock of successive disasters and the general atmosphere of wretchedness that pervaded the house. Auguste himself was writing a symphonic poem, Icarus, dedicated to the memory of his son. Caroline was barely twenty when she was called upon to face this tangle of difficulties, but she reviewed the situation candidly. The house had served its time at the shrine of idealism; vague, distressing, unsatisfied yearnings had brought it low enough. Her mother, thirty years before, had eloped and left Germany with her music teacher, to give herself over to lifelong, drudging bondage at the kitchen range. Ever since Caroline could remember, the law in the house had been a sort of mystic worship of things distant, intangible and unattainable. The family had lived in successive ebullitions of generous enthusiasm, in talk of masters and masterpieces, only to