The Pioneer Women Trilogy: The Coast of Bohemia, Dr. Breen's Practice & Annie Kilburn. William Dean Howells

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СКАЧАТЬ said Cornelia, but as she looked something became apparent which she could not deny. She blushed violently and turned upon Charmian. "You ought to be ashamed," she began, and she tried to take hold of her; she did not know why.

      Charmian escaped, and fled to the other end of the room with a wild laugh, and stood there. Cornelia dropped into the chair before the picture, with her head fallen on her elbow. She seemed to be laughing, too, and Charmian went on:

      "What is there to be ashamed of? I think it's glorious. It's one of the most romantic things I ever heard of. He simply couldn't help it, and it proves everything I've said. Of course that was the reason he couldn't see me all along. Why, if such a thing had happened to me, I should go round shouting it from the house-tops. I don't suppose he knew what he was doing, or else he didn't care; perfectly desperate. What fun!"

      Cornelia kept laughing, but Charmian stopped and waited a moment and listened. "Why, Cornelia!" she said remorsefully, entreatingly, but she remained the length of the room away. Then she approached tentatively, and when Cornelia suddenly ceased to laugh she put her hand on her head, and tenderly lifted her face. It was dabbled with tears. "Cornelia!" she said again.

      Cornelia sprang to her feet with a fierceness that sent her flying some yards away. "Charmian Maybough! Will you ever speak of this to any living soul?"

      "No, no! Indeed I won't——" Charmian began.

      "Will you ever think of it!"

      "No——"

      "Because I don't choose to have you think I am such a fool as to—to——"

      "No, indeed, I don't."

      "Because there isn't anything of it, and it wouldn't mean anything, if there were."

      "No," said Charmian. "The only thing is to tear him out of your heart; and I will help you!" She made as if she were ready to begin then, and Cornelia broke into a genuine laugh.

      "Don't be ridiculous. I guess there isn't much to tear."

      "Then what are you going to do?"

      "Nothing! What can I! There isn't anything to do anything about. If it's there, he knows it, and he's left it there because he didn't care what we thought. He was just trying something. He's always treated me like a perfect—child. That's all there is of it, and you know it."

      "Yes," Charmian meekly assented. Then she plucked up a spirit in Cornelia's behalf. "The only thing is to keep going on the same as ever, and show him we haven't seen anything, and don't care if we have."

      "No," said Cornelia sadly, "I shall not come any more. Or, if I do, it will just be to—— I'm not certain yet what I shall do." She provisionally dried her eyes and repaired her looks at the little mirror which hung at one side of the mantel, and then came back to Charmian who stood looking at Cornelia's sketches, still in the order Ludlow had left them in. She stole her arm round Cornelia's waist. "Well, anyway, he can't say you've returned the compliment. They're perfectly magnificent, every one; and they're all me. Now we can both live for art."

XXVI

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      Wetmore came the next morning with Ludlow, and looked at Cornelia's studies. "Well, there's no doubt about her talent. I wonder why it was wasted on one of her sex! These gifted girls, poor things, there don't seem to be any real call for them." He turned from the sketches a moment to the arrangement of Charmian's studio. "I suppose this is the other girl's expression." He looked more closely at the keeping of the room, and said, with a smile of mixed compassion and amusement, "Why, this girl seems to be trying to do the Bohemian act!"

      "That is her pose," Ludlow admitted.

      "And does she get a great deal of satisfaction out of it?"

      "The usual amount I fancy." Ludlow began to tell of some of Charmian's attempts to realize her ideal.

      Wetmore listened with a pitying smile. "Poor thing! It isn't much like the genuine thing, as we used to see it in Paris, is it? We Americans are too innocent in our traditions and experiences; our Bohemia is a non-alcoholic, unfermented condition. When it is diluted down to the apprehension of an American girl it's no better, or no worse, than a kind of Arcadia. Miss Maybough ought to go round with a shepherdess's crook and a straw hat with daisies in it. That's what she wants to do, if she knew it. Is that a practicable pipe? I suppose those cigarettes are chocolates in disguise. Well!" He reverted to Cornelia's canvases. "Why, of course they're good. She's doomed. She will have to exhibit. You couldn't do less, Ludlow, than have her carry this one a little farther"—he picked out one of the canvases and set it apart—"and offer it to the Academy."

      "Do you really think so?" asked Ludlow, looking at it gravely.

      "I don't know. With the friends you've got on the Committee—— But you don't suppose I came up here to see these things alone, did you? Where's your picture?"

      "I haven't any," said Ludlow.

      "Ob, rubbish! Where's your theory of a picture, then? I don't care what you call it. My only anxiety, when you got a plain, simple, every-day conundrum like Miss Maybough to paint, was that you would try to paint the answer instead of the conundrum, and I dare say that's the trouble. You've been trying to give something more of her character than you found in her face; is that it? Well, you deserved to fail, then. You've been trying to interpret her; to come the prophet! I don't condemn the poetry in your nature, Ludlow," Wetmore went on, "and if I could manage it for you, I think I could keep it from doing mischief. That is why I am so plain-spoken with you."

      "Do you call it plain-speaking?" Ludlow said, putting his picture where it could be seen best. "I was going to accuse you of flattery."

      "Well, you had better ponder the weighty truths I have let fall. I don't go round dropping them on everybody's toes."

      "Probably there are not enough of them," Ludlow suggested.

      "Oh, yes, there are." Wetmore waited till Ludlow should say he was ready to have him look at his picture. "The fact is, I've been giving a good deal of attention to your case, lately. You're not simple enough, and you've had the wrong training. You would naturally like to paint the literature of a thing, and let it go at that. But you've studied in France, where they know better, and you can't bring yourself to do it. Your nature and your school are at odds. You ought to have studied in England. They don't know how to paint there, but they've brought fiction in color to the highest point, and they're not ashamed of it."

      "Perhaps you've boon theorizing, too," said Ludlow, stepping aside from his picture.

      "Not on canvas," Wetmore returned. He put himself in the place Ludlow had just left. "Hello!" he began, but after a glance at Ludlow he went on, with the effect of having checked himself, to speak carefully and guardedly of the work in detail. His specific criticism was as gentle and diffident as his general censure of Ludlow was blunt and outright. It was given mostly in questions, and in recognitions of intention.

      "Well, the sum of it is," said Ludlow at last, "you see it's a failure."

      Wetmore shrugged, as if this were something Ludlow ought not to have asked. He went back to Cornelia's sketches, and looked at them one after another. СКАЧАТЬ