"I think I shall keep it as a hostage, so that I may be sure you will come again. Now I want you to play for me. Whatever you like; but if there is anything new in the world, in mercy let me hear it. For nine months I have heard nothing but 'The Baggage Coach Ahead' and 'She Is My Baby's Mother.'"

He sat down at the piano, and Katharine sat near him, absorbed in his remarkable physical likeness to his brother and trying to discover in just what it consisted. She told herself that it was very much as though a sculptor's finished work had been rudely copied in wood. He was of a larger build than Adriance, and his shoulders were broad and heavy, while those of his brother were slender and rather girlish. His face was of the same oval mold, but it was gray and darkened about the mouth by continual shaving. His eyes were of the same inconstant April color, but they were reflective and rather dull; while Adriance's were always points of highlight, and always meaning another thing than the thing they meant yesterday. But it was hard to see why this earnest man should so continually suggest that lyric, youthful face that was as gay as his was grave. For Adriance, though he was ten years the elder, and though his hair was streaked with silver, had the face of a boy of twenty, so mobile that it told his thoughts before he could put them into words. A contralto, famous for the extravagance of her vocal methods and of her affections, had once said to him that the shepherd boys who sang in the Vale of Tempe must certainly have looked like young Hilgarde; and the comparison had been appropriated by a hundred shyer women who preferred to quote.

As Everett sat smoking on the veranda of the Inter-Ocean House that night, he was a victim to random recollections. His infatuation for Katharine g.a.y.l.o.r.d, visionary as it was, had been the most serious of his boyish love affairs, and had long disturbed his bachelor dreams. He was painfully timid in everything relating to the emotions, and his hurt had withdrawn him from the society of women. The fact that it was all so done and dead and far behind him, and that the woman had lived her life out since then, gave him an oppressive sense of age and loss. He bethought himself of something he had read about "sitting by the hearth and remembering the faces of women without desire," and felt himself an octogenarian.

He remembered how bitter and morose he had grown during his stay at his brother's studio when Katharine g.a.y.l.o.r.d was working there, and how he had wounded Adriance on the night of his last concert in New York. He had sat there in the box while his brother and Katharine were called back again and again after the last number, watching the roses go up over the footlights until they were stacked half as high as the piano, brooding, in his sullen boy's heart, upon the pride those two felt in each other's work--spurring each other to their best and beautifully contending in song. The footlights had seemed a hard, glittering line drawn sharply between their life and his; a circle of flame set about those splendid children of genius. He walked back to his hotel alone and sat in his window staring out on Madison Square until long after midnight, resolving to beat no more at doors that he could never enter and realizing more keenly than ever before how far this glorious world of beautiful creations lay from the paths of men like himself. He told himself that he had in common with this woman only the baser uses of life.

Everett's week in Cheyenne stretched to three, and he saw no prospect of release except through the thing he dreaded. The bright, windy days of the Wyoming autumn pa.s.sed swiftly. Letters and telegrams came urging him to hasten his trip to the coast, but he resolutely postponed his business engagements. The mornings he spent on one of Charley g.a.y.l.o.r.d's ponies, or fishing in the mountains, and in the evenings he sat in his room writing letters or reading. In the afternoon he was usually at his post of duty. Destiny, he reflected, seems to have very positive notions about the sort of parts we are fitted to play. The scene changes and the compensation varies, but in the end we usually find that we have played the same cla.s.s of business from first to last. Everett had been a stopgap all his life. He remembered going through a looking gla.s.s labyrinth when he was a boy and trying gallery after gallery, only at every turn to b.u.mp his nose against his own face--which, indeed, was not his own, but his brother's. No matter what his mission, east or west, by land or sea, he was sure to find himself employed in his brother's business, one of the tributary lives which helped to swell the shining current of Adriance Hilgarde's. It was not the first time that his duty had been to comfort, as best he could, one of the broken things his brother's imperious speed had cast aside and forgotten. He made no attempt to a.n.a.lyze the situation or to state it in exact terms; but he felt Katharine g.a.y.l.o.r.d's need for him, and he accepted it as a commission from his brother to help this woman to die. Day by day he felt her demands on him grow more imperious, her need for him grow more acute and positive; and day by day he felt that in his peculiar relation to her his own individuality played a smaller and smaller part. His power to minister to her comfort, he saw, lay solely in his link with his brother's life. He understood all that his physical resemblance meant to her. He knew that she sat by him always watching for some common trick of gesture, some familiar play of expression, some illusion of light and shadow, in which he should seem wholly Adriance. He knew that she lived upon this and that her disease fed upon it; that it sent shudders of remembrance through her and that in the exhaustion which followed this turmoil of her dying senses, she slept deep and sweet and dreamed of youth and art and days in a certain old Florentine garden, and not of bitterness and death.

The question which most perplexed him was, "How much shall I know? How much does she wish me to know?" A few days after his first meeting with Katharine g.a.y.l.o.r.d, he had cabled his brother to write her. He had merely said that she was mortally ill; he could depend on Adriance to say the right thing--that was a part of his gift. Adriance always said not only the right thing, but the opportune, graceful, exquisite thing. His phrases took the color of the moment and the then-present condition, so that they never savored of perfunctory compliment or frequent usage. He always caught the lyric essence of the moment, the poetic suggestion of every situation. Moreover, he usually did the right thing, the opportune, graceful, exquisite thing--except, when he did very cruel things--bent upon making people happy when their existence touched his, just as he insisted that his material environment should be beautiful; lavishing upon those near him all the warmth and radiance of his rich nature, all the homage of the poet and troubadour, and, when they were no longer near, forgetting--for that also was a part of Adriance's gift.

Three weeks after Everett had sent his cable, when he made his daily call at the gaily painted ranch house, he found Katharine laughing like a schoolgirl. "Have you ever thought," she said, as he entered the music room, "how much these seances of ours are like Heine's 'Florentine Nights,' except that I don't give you an opportunity to monopolize the conversation as Heine did?" She held his hand longer than usual, as she greeted him, and looked searchingly up into his face. "You are the kindest man living; the kindest," she added, softly.

Everett's gray face colored faintly as he drew his hand away, for he felt that this time she was looking at him and not at a whimsical caricature of his brother. "Why, what have I done now?" he asked, lamely. "I can't remember having sent you any stale candy or champagne since yesterday."

She drew a letter with a foreign postmark from between the leaves of a book and held it out, smiling. "You got him to write it. Don't say you didn't, for it came direct, you see, and the last address I gave him was a place in Florida. This deed shall be remembered of you when I am with the just in Paradise. But one thing you did not ask him to do, for you didn't know about it. He has sent me his latest work, the new sonata, the most ambitious thing he has ever done, and you are to play it for me directly, though it looks horribly intricate. But first for the letter; I think you would better read it aloud to me."

Everett sat down in a low chair facing the window seat in which she reclined with a barricade of pillows behind her. He opened the letter, his lashes half-veiling his kind eyes, and saw to his satisfaction that it was a long one--wonderfully tactful and tender, even for Adriance, who was tender with his valet and his stable boy, with his old gondolier and the beggar-women who prayed to the saints for him.

The letter was from Granada, written in the Alhambra, as he sat by the fountain of the Patio di Lindaraxa. The air was heavy, with the warm fragrance of the South and full of the sound of splashing, running water, as it had been in a certain old garden in Florence, long ago.

The sky was one great turquoise, heated until it glowed. The wonderful Moorish arches threw graceful blue shadows all about him. He had sketched an outline of them on the margin of his notepaper. The subtleties of Arabic decoration had cast an unholy spell over him, and the brutal exaggerations of Gothic art were a bad dream, easily forgotten. The Alhambra itself had, from the first, seemed perfectly familiar to him, and he knew that he must have trod that court, sleek and brown and obsequious, centuries before Ferdinand rode into Andalusia. The letter was full of confidences about his work, and delicate allusions to their old happy days of study and comradeship, and of her own work, still so warmly remembered and appreciatively discussed everywhere he went.

As Everett folded the letter he felt that Adriance had divined the thing needed and had risen to it in his own wonderful way. The letter was consistently egotistical and seemed to him even a trifle patronizing, yet it was just what she had wanted. A strong realization of his brother's charm and intensity and power came over him; he felt the breath of that whirlwind of flame in which Adriance pa.s.sed, consuming all in his path, and himself even more resolutely than he consumed others. Then he looked down at this white, burnt-out brand that lay before him. "Like him, isn't it?" she said, quietly.

"I think I can scarcely answer his letter, but when you see him next you can do that for me. I want you to tell him many things for me, yet they can all be summed up in this: I want him to grow wholly into his best and greatest self, even at the cost of the dear boyishness that is half his charm to you and me. Do you understand me?"

"I know perfectly well what you mean," answered Everett, thoughtfully.

"I have often felt so about him myself. And yet it's difficult to prescribe for those fellows; so little makes, so little mars."

Katharine raised herself upon her elbow, and her face flushed with feverish earnestness. "Ah, but it is the waste of himself that I mean; his lashing himself out on stupid and uncomprehending people until they take him at their own estimate. He can kindle marble, strike fire from putty, but is it worth what it costs him?"

"Come, come," expostulated Everett, alarmed at her excitement. "Where is the new sonata? Let him speak for himself."

He sat down at the piano and began playing the first movement, which was indeed the voice of Adriance, his proper speech. The sonata was the most ambitious work he had done up to that time and marked the transition from his purely lyric vein to a deeper and n.o.bler style. Everett played intelligently and with that sympathetic comprehension which seems peculiar to a certain lovable cla.s.s of men who never accomplish anything in particular. When he had finished he turned to Katharine.

"How he has grown!" she cried. "What the three last years have done for him! He used to write only the tragedies of pa.s.sion; but this is the tragedy of the soul, the shadow coexistent with the soul. This is the tragedy of effort and failure, the thing Keats called h.e.l.l. This is my tragedy, as I lie here spent by the racecourse, listening to the feet of the runners as they pa.s.s me. Ah, G.o.d! The swift feet of the runners!"

She turned her face away and covered it with her straining hands.

Everett crossed over to her quickly and knelt beside her. In all the days he had known her she had never before, beyond an occasional ironical jest, given voice to the bitterness of her own defeat. Her courage had become a point of pride with him, and to see it going sickened him.

"Don't do it," he gasped. "I can't stand it, I really can't, I feel it too much. We mustn't speak of that; it's too tragic and too vast."

When she turned her face back to him there was a ghost of the old, brave, cynical smile on it, more bitter than the tears she could not shed. "No, I won't be so ungenerous; I will save that for the watches of the night when I have no better company. Now you may mix me another drink of some sort. Formerly, when it was not _if_ I should ever sing Brunnhilde, but quite simply when I _should_ sing Brunnhilde, I was always starving myself and thinking what I might drink and what I might not. But broken music boxes may drink whatsoever they list, and no one cares whether they lose their figure. Run over that theme at the beginning again. That, at least, is not new. It was running in his head when we were in Venice years ago, and he used to drum it on his gla.s.s at the dinner table. He had just begun to work it out when the late autumn came on, and the paleness of the Adriatic oppressed him, and he decided to go to Florence for the winter, and lost touch with the theme during his illness. Do you remember those frightful days? All the people who have loved him are not strong enough to save him from himself! When I got word from Florence that he had been ill I was in Nice filling a concert engagement. His wife was hurrying to him from Paris, but I reached him first. I arrived at dusk, in a terrific storm. They had taken an old palace there for the winter, and I found him in the library--a long, dark room full of old Latin books and heavy furniture and bronzes. He was sitting by a wood fire at one end of the room, looking, oh, so worn and pale!--as he always does when he is ill, you know. Ah, it is so good that you _do_ know! Even his red smoking jacket lent no color to his face. His first words were not to tell me how ill he had been, but that that morning he had been well enough to put the last strokes to the score of his _Souvenirs d'Automne_. He was as I most like to remember him: so calm and happy and tired; not gay, as he usually is, but just contented and tired with that heavenly tiredness that comes after a good work done at last. Outside, the rain poured down in torrents, and the wind moaned for the pain of all the world and sobbed in the branches of the shivering olives and about the walls of that desolated old palace. How that night comes back to me! There were no lights in the room, only the wood fire which glowed upon the hard features of the bronze Dante, like the reflection of purgatorial flames, and threw long black shadows about us; beyond us it scarcely penetrated the gloom at all, Adriance sat staring at the fire with the weariness of all his life in his eyes, and of all the other lives that must aspire and suffer to make up one such life as his. Somehow the wind with all its world-pain had got into the room, and the cold rain was in our eyes, and the wave came up in both of us at once--that awful, vague, universal pain, that cold fear of life and death and G.o.d and hope--and we were like two clinging together on a spar in midocean after the shipwreck of everything. Then we heard the front door open with a great gust of wind that shook even the walls, and the servants came running with lights, announcing that Madam had returned, _'and in the book we read no more that night.'_"

She gave the old line with a certain bitter humor, and with the hard, bright smile in which of old she had wrapped her weakness as in a glittering garment. That ironical smile, worn like a mask through so many years, had gradually changed even the lines of her face completely, and when she looked in the mirror she saw not herself, but the scathing critic, the amused observer and satirist of herself. Everett dropped his head upon his hand and sat looking at the rug. "How much you have cared!" he said.

"Ah, yes, I cared," she replied, closing her eyes with a long-drawn sigh of relief; and lying perfectly still, she went on: "You can't imagine what a comfort it is to have you know how I cared, what a relief it is to be able to tell it to someone. I used to want to shriek it out to the world in the long nights when I could not sleep. It seemed to me that I could not die with it. It demanded some sort of expression. And now that you know, you would scarcely believe how much less sharp the anguish of it is."

Everett continued to look helplessly at the floor. "I was not sure how much you wanted me to know," he said.

"Oh, I intended you should know from the first time I looked into your face, when you came that day with Charley. I flatter myself that I have been able to conceal it when I chose, though I suppose women always think that. The more observing ones may have seen, but discerning people are usually discreet and often kind, for we usually bleed a little before we begin to discern. But I wanted you to know; you are so like him that it is almost like telling him himself. At least, I feel now that he will know some day, and then I will be quite sacred from his compa.s.sion, for we none of us dare pity the dead. Since it was what my life has chiefly meant, I should like him to know. On the whole I am not ashamed of it. I have fought a good fight."

"And has he never known at all?" asked Everett, in a thick voice.

"Oh! Never at all in the way that you mean. Of course, he is accustomed to looking into the eyes of women and finding love there; when he doesn't find it there he thinks he must have been guilty of some discourtesy and is miserable about it. He has a genuine fondness for everyone who is not stupid or gloomy, or old or preternaturally ugly.

Granted youth and cheerfulness, and a moderate amount of wit and some tact, and Adriance will always be glad to see you coming around the corner. I shared with the rest; shared the smiles and the gallantries and the droll little sermons. It was quite like a Sunday-school picnic; we wore our best clothes and a smile and took our turns. It was his kindness that was hardest. I have pretty well used my life up at standing punishment."

"Don't; you'll make me hate him," groaned Everett.

Katharine laughed and began to play nervously with her fan. "It wasn't in the slightest degree his fault; that is the most grotesque part of it. Why, it had really begun before I ever met him. I fought my way to him, and I drank my doom greedily enough."

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, G.o.d 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, Ca.s.sius; 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 g.a.y.l.o.r.d 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 g.a.y.l.o.r.d 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. g.a.y.l.o.r.d'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 g.a.y.l.o.r.d's hand among the crowd of alighting pa.s.sengers. The people of a German opera company, en route to the coast, rushed by them in frantic haste to s.n.a.t.c.h their breakfast during the stop. Everett heard an exclamation in a broad German dialect, and a ma.s.sive 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.

"_Herr Gott_, Adriance, _lieber Freund_," 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 n.o.ble'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 impa.s.sioned 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.