NO. XI. UNSATISFIED.

(_Miss Armstrong wills to drift_.)

... Come to Sorrento....

NO. XII. THE ILLUSION.

(_Eastlake resumes some weeks later. He has put into Bar Harbor on a yachting trip. He sits writing late at night by the light of the binnacle lamp_.)

Sweet lady, a few hours ago we slipped in here past the dark sh.o.r.e of your village, in almost dead calm, just parting the heavy waters with our prow. It was the golden set of the summer afternoon: a thrush or two were already whistling clear vespers in he woods; all else was fruitfully calm.

And then, in the stillness of the ebb, we floated together, you and I, round that little lighthouse into the sheltering gloom of the woods.

Then we drifted beyond it all, in serene solution of this world's fret!

To-morrows you may keep for another.

This night was richly mine. You brought your simple self, undisturbed by the people who expect of you, without your little airs of experience. I brought incense, words, devotion, and love. And I treasure now a few pure tones, some simple motions of your arm with the dripping paddle, a few pure feelings written on your face. That is all, but it is much. We got beyond necessity and the impertinent commonplace of Chicago. We had ourselves, and that was enough.

And to-night, as I lie here under the cool, complete heavens, with only a twinkling cottage light here and there in the bay to remind me of unrest, I see life afresh in the old, simple, eternal lines. These are _our_ days of full consciousness.

Do you remember that clearing in the woods where the long weeds and gra.s.s were spotted with white stones--burial-place it was--their bright faces turned ever to the sunshine and the stars? They spoke of other lives than yours and mine. Forgotten little units in our disdainful world, we pa.s.s them scornfully by. Other lives, and perhaps better, do you think? For them the struggle never came which holds us in a fist of bra.s.s, and thrashes us up and down the pavement of life. Perhaps--can you not, at one great leap, fancy it?--two sincere souls could escape from this bra.s.s master, and live, unmindful of strife, for a little grave on a hillside in the end? They must be strong souls to renounce that cherished hope of triumph, to be content with the simple, antique things, just living and loving--the eternal and brave things; for, after all, what you and I burn for so restlessly is a makeshift ambition. We wish to go far, "to make the best of ourselves." Why not, once for all, rely upon G.o.d to make? Why not live and rejoice?

And the little graves are not bad: to lie long years within sound of this great-hearted ocean, with the peaceful, upturned stones bearing this full legend, "This one loved and lived...." Forgive me for making you sad. Perhaps you merely laugh at the intoxication your clear air has brought about. Well, dearest lady, the ships are striking their eight bells for midnight, the gayest cottages are going out, light by light, and somewhere in the still harbor I can hear a fisherman laboriously sweeping his boat away to the ocean. Away!--that is the word for us: I, in this boat southward, and ever away, searching in grim fashion for an accounting with Fate; you, in your intrepid loveliness, to other lives. And if I return some weeks hence, when I have satisfied the importunate business claims, what then? Shall we slip the cables and drift quietly out "to the land east of the sun and west of the moon"?

NO. XIII. SANITY.

(_Eastlake refuses Miss Armstrong's last invitation, continues, and concludes_.)

Last night was given to me for insight. You were brilliantly your best, and set in the meshes of gold and precious stones that the G.o.ds willed for you. There was not a false note, not an attribute wanting. Over your head were mellow, clear, electric lights that showed forth coldly your faultless suitability. From the exquisitely fit pearls about your neck to the scents of the wine and the flowers, all was as it should be. I watched your face warm with multifold impressions, your nostrils dilate with sensuousness, appreciation, your pagan head above the perfect bosom; about you the languid eyes of your well-fed neighbors.

The dusky recesses of the rooms, heavy with opulent comfort, stretched away from our long feast. There you could rest, effectually sheltered from the harsh noises of the world. And I rejoiced. Each minute I saw more clearly things as they are. I saw you giving the nicest dinners in Chicago, and scurrying through Europe, buying a dozen pictures here and there, building a great house, or perhaps, tired of Chicago, trying your luck in New York; but always pressing on, seizing this exasperating life, and tenaciously sucking out the rich enjoyments thereof! For the gold has entered your heart.

What splendid folly we played at Sorrento! If you had deceived yourself with a sentiment, how long would you have maintained the illusion? When would the morning have come for your restless eyes to stare out at the world in longing and the unuttered sorrow of regret? Ah, I touch you but with words! The cadence of a phrase warms your heart, and you fancy your emotion is supreme, inevitable. Nevertheless, you are a practical G.o.ddess: you can rise beyond the waves toward the glorious ether, but at night you sink back. 'Tis alluring, but--eternal?

Few of us can risk being romantic. The penalty is too dreadful. To be successful, we must maintain the key of our loveliest enthusiasm without stimulants. You need the stimulants. You imagined that you were tired, that rest could come in a lover's arms. Better the furs that are soft about your neck, for they never grow cold. Perchance the lover will come, also, as a prince with his princedom. It will be comfortable to have your cake and the frosting, too. If not, take the frosting; go glittering on with your pulses full of the joys, until you are old and f.a.gged and the stupid world refuses to revolve. Remember my sure word that you were meant for dinners, for power and pleasure and excitement.

Trust no will-o'-the-wisp that would lead you into the stony paths of romance.

Some days in the years to come I shall enter at your feasts and watch you in admiration and love. (For I shall always love you.) Then will stir in your heart a mislaid feeling of some joy untasted. But you will smile wisely, and marvel at my exact judgment. You will think of another world where words and emotions alone are alive, where it is always high tide, and you will be glad that you did not force the gates. For life is not always lyric. Farewell.

NO. XIV. THAT OTHER WORLD.

(_Miss Armstrong writes with a calm heart_.)

I have but a minute before I must go down to meet _him_. Then it will be settled. I can hear his voice now and mother's. I must be quick.

So you tested me and found me wanting in "inevitableness." I was too much clay, it seems, and "pagan." What a strange word that is! You mean I love to enjoy; and, perhaps you are right, that I need my little world. Who knows? One cannot read the whole story--even you, dear master--until we are dead. We can never tell whether I am only frivolous and sensuous, or merely a woman who takes the best subst.i.tute at hand for life. I do not protest, and I think I never shall. I, too, am very sure--_now_. You have pointed out the path and I shall follow it to the end.

But one must have other moments, not of regret, but of wonder. Did you have too little faith? Am I so cheap and weak? Before you read this it will all be over.... Now and then it seems I want only a dress for my back, a bit of food, rest, and your smile. But you have judged otherwise, and perhaps you are right. At any rate, I will think so.

Only I know that the hours will come when I shall wish that I might lie among those little white gravestones above the beach.

CHICAGO, November, 1893.

A QUESTION OF ART

I

John Clayton had pretty nearly run the gamut of the fine arts. As a boy at college he had taken a dilettante interest in music, and having shown some power of sketching the summer girl he had determined to become an artist. His numerous friends had hoped such great things for him that he had been encouraged to spend the rest of his little patrimony in educating himself abroad. It took him nearly two years to find out what being an artist meant, and the next three in thinking what he wanted to do. In Paris and Munich and Rome, the wealth of the possible had dazzled him and confused his aims; he was so skilful and adaptable that in turn he had wooed almost all the arts, and had accomplished enough trivial things to raise very pretty expectations of his future powers. He had enjoyed an uncertain glory among the crowd of American amateurs. When his purse had become empty he returned to America to realize on his prospects.

On his arrival he had elaborately equipped a studio in Boston, but as he found the atmosphere "too provincial" he removed to New York. There he was much courted at a certain cla.s.s of afternoon teas. He was in full bloom of the "might do," but he had his suspicions that a fatally limited term of years would translate the tense into "might have done."

He argued, however, that he had not yet found the right _milieu_; he was fond of that word--conveniently comprehensive of all things that might stimulate his will. He doubted if America ever could furnish him a suitable _milieu_ for the expression of his artistic instincts. But in the meantime necessity for effort was becoming more urgent; he could not live at afternoon teas.

Clayton was related widely to interesting and even influential people.

One woman, a distant cousin, had taken upon herself his affairs.

"I will give you another chance," she said, in a business-like tone, after he had been languidly detailing his condition to her and indicating politely that he was coming to extremities. "Visit me this summer at Bar Harbor. You shall have the little lodge at the Point for a studio, and you can take your meals at the hotel near by. In that way you will be independent. Now, there are three ways, any one of which will lead you out of your difficulties, and if you don't find one that suits you before October, I shall leave you to your fate."

The young man appeared interested.

"You can model something--that's your line, isn't it?"

Clayton nodded meekly. He had resolved to become a sculptor during his last six months in Italy.

"And so put you on your feet, professionally." Clayton sighed. "Or you can find some rich patron or patroness who will send you over for a couple of years more until your _chef d' oeuvre_ makes its appearance."

Her pupil turned red, and began to murmur, but she kept on unperturbed.

"Or, best of all, you can marry a girl with some money and then do what you like." At this Clayton rose abruptly.

"I haven't come to that," he growled.

"Don't be silly," she pursued. "You are really charming; good character; exquisite manners; pleasant habits; success with women. You needn't feel flattered, for this is your stock in trade. You are decidedly interesting, and lots of those girls who are brought there every year to get them in would be glad to make such an exchange. You know everybody, and you could give any girl a good standing in Boston or New York. Besides, there is your genius, which may develop. That will be thrown in to boot; it may bear interest."

Clayton, who had begun by feeling how disagreeable his situation was when it exposed him to this kind of hauling over, ended by bursting into a cordial laugh at the frank materialism with which his cousin presented his case. "Well," he exclaimed, "it's no go to talk to you about the claims and ideals of art, Cousin Della, but I will accept your offer, if only for the sake of modelling a bust of 'The Energetic Matron (American).'"

"Of course, I don't make much of ideals in art and all that," replied his cousin, "but I will put this through for you, as Harry says. You must promise me only one thing: no flirting with Harriet and Mary.

Henry has been foolish and lost money, as you know, and I cannot have another beggar on my hands!"

II

By the end of July Clayton had found out two things definitely; he was standing in his little workshop, pulling at his mustache and looking sometimes at a half-completed sketch, and sometimes at the blue stretch of water below the cliff. The conclusions were that he certainly should not become interested in Harriet and Mary, and, secondly, that Mount Desert made him paint rather than model.