The Project Gutenberg EBook of Phases of an Inferior Planet, by Ellen Glasgow This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Phases of an Inferior Planet Author: Ellen Glasgow Release Date: November 22, 2010 [EBook #34402] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK PHASES OF AN INFERIOR PLANET *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images at The Internet Archive) image of book's cover P h a s e s o f a n I n f e r i o r P l a n e t By ELLEN GLASGOW Author of "The Descendant" HARPER & BROTHERS PUBLISHERS NEW YORK AND LONDON 1898 BY THE SAME AUTHOR. —— THE DESCENDANT. A Novel. Post 8vo, Cloth, Ornamental, $1 25. The writer has a sure touch, a firm and philosophically consistent hold upon his theme, much delicacy of perception, and a sane sense of humor. The style, if not of the fastidiously fine school, is fluent and often brilliant. ... The character drawing is vivid and realistic.—Boston Transcript. The characters here are skilfully drawn, and the drama in which they take part is unusually novel and impressive. ... The work of an author who has not written at random, but who has woven into a strong story some of the cardinal truths of modern science.—N. Y. Herald. —— NEW YORK AND LONDON: HARPER & BROTHERS, PUBLISHERS. Copyright, 1898, by HARPER & BROTHERS. —— All rights reserved. Phase First: Chapter I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII, XIX, XX, Phase Second: Chapter I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV TO CARY McC. "I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all." Phase First "Some turned to folly and the sweet works of the flesh." —Hymn to Zeus. CHAPTER I Along Broadway at six o'clock a throng of pedestrians was stepping northward. A grayish day was settling into a gray evening, and a negative lack of color and elasticity had matured into a positive condition of atmospheric flatness. The air exhaled a limp and insipid moisture, like that given forth by a sponge newly steeped in an anæsthetic. Upon the sombre fretwork of leafless trees, bare against red-brick buildings, drops of water hung trembling, though as yet there had been no rainfall, and the straggling tufts of grass in the city parks drooped earthward like the damp and uncurled fringe of a woman's hair. Spanning the remote west as a rainbow stretched an unfulfilled pledge of better things, for beyond the smoke-begrimed battalion of tenement chimney-pots a faint streak of mauve defined the line of the horizon—an ineffectual and transparent sheet of rose-tinted vapor, through which the indomitable neutrality of background was revealed. The city swam in a sea of mist, and the electric lights, coming slowly into being, must have seemed to a far-off observer a galaxy of wandering stars that had burst the woof of heaven and fallen from their allotted spheres to be caught like blossoms in the white obscurity of fog. Above them their deserted habitation frowned blackly down with closed doors and impenetrable walls. The effect of the immortal transformation of day into night was singularly elusive. It had come so stealthily that the fleet-footed hours seemed to have tripped one another in the fever of the race, the monotonous grayness of their garments shrouding, as they fluttered past, the form of each sprightly elf. Along Broadway the throng moved hurriedly. At a distance indescribably homogeneous, as it passed the lighted windows of shops it was seen to be composed of individual atoms, and their outlines were relieved against the garish interiors like a panorama of automatic silhouettes. Then, as they neared a crossing, a flood of radiant electricity, revealing minute details of face and figure, the atoms were revivified from automatic into animal existence. With an inhuman disregard of caste and custom, the aberrant shadows of the passers-by met and mingled one into another. A phantasmagoric procession took place upon the sidewalk. The ethereal accompaniment of the physical substance of a Wall Street plutocrat glided sedately after that of a bedizened daughter of the people, whose way, beginning in the glare of the workhouse, was ending in the dusk of the river; a lady of quality, whose very shadow seemed pregnant with the odor of spice and sables, melted before the encroaching presence of a boot-black fresh from the Bowery; a gentleman of fashion gave place to the dull phantom of a woman with burning brows and fingers purple with the stain of many stitches. It was as if each material substance, warm with the lust of the flesh and reeking with a burnt-offering of vanity, was pursued by the inevitable presence of a tragic destiny. At the corner of Seventeenth Street, a girl in a last season's coat left the crowd and paused before a photographer's window. As she passed from shadow into light the play of her limbs was suggested by the close folds of her shabby skirt. She had the light and steadfast gait of one to whom exercise is as essential as food, and more easily attained. A man coming from Union Square turned to look at her as she passed. "That girl is a danseuse," he said to his companion, "or she ought to be. She walks to music." "Your induction is false," retorted the other. "She happens to be—" And they passed on. As the girl paused before the lighted window the outlines of head and shoulders were accentuated, while the rest of her body remained in obscurity. Her head was shapely and well poised. Beneath the small toque of black velvet, an aureole of dry brown hair framed her sensitive profile like a setting of old mahogany. Even in the half-light silhouette it could be noticed that eyes, hair, and complexion differed in tone rather than in color. Her sallow skin blended in peculiar harmony with the gray-green of her eyes and the brown of her hair. Her face was long, with irregular features and straight brows. The bones of cheek and chin were rendered sharper by extreme thinness. A new photograph of Alvary was displayed, and a small group had assembled about the window. The girl looked at it for a moment; then, as some one in the crowd jostled against her, she turned with an exclamation of annoyance and entered the shop. Hesitating an instant, she drew a worn purse from her pocket, looked into it, gave a decisive little shrug, and approached the counter. The shop-girl came up, and, recognizing her, nodded. "Music?" she inquired, glancing at the leather roll which the other carried. The girl shook her head slowly. "No," she replied, "I want a photograph of Alvary—as Lohengrin. Oh, the Swan Song—" A man who was sorting a pile of music in the rear of the shop came forward smiling. He was small and dark and foreign. "Ah, mademoiselle," he said, "it ees a plaisir for w'ich I live, ees ze Elsa of your." The girl smiled in return. In the clear light the glint of green in her eyes deepened. "No," she replied, "this is Elsa." She pointed to a photograph in the case. "This is the only Elsa. I should not dare." He bowed deprecatingly. "Zat ees ontil you come," he said. "I live for ze day w'en we sing togezzer, you an' I. I live to sing wiss you in ze grand opera." "Ah, monsieur," lamented the girl, regretfully, "one cannot live forever. The Lord has allotted a term." She took her change, nodded gayly, and departed. In the street she passed unheeded. She was as ignored by the crowd around her as the colorless shadow at her side. Upon a massive woman in a feather boa a dozen men gazed with evident desire, and after the sables enveloping the lady of quality the eyes of the boot-black yearned. But the girl moved among them unnoticed—she was insignificant and easily overlooked. A violet falling upon the pavement from the breast of a woman in front of her, the girl lifted her skirt, and, to avoid crushing it, made a slight divergence from her path. Then impulsively she turned to rescue it from the cold sidewalk, but in so doing she stumbled against a man whose heel had been its Juggernaut. A tiny blot of purple marked the scene of its destruction. Over the girl's face a shadow fell; she glanced up and caught the courteous smile of an acquaintance, and the shadow was lifted. But before her upward glance tended earthward it rested upon an overdriven horse standing in the gutter, and the shadow that returned had gathered to itself the force of a rain-cloud. An impressionable and emotional temperament cast its light and darkness upon her features, as the shifting clouds cast their varying shades upon an evening landscape. With such a face, her moods must be as evanescent as the colors of a kaleidoscope. As she neared an electric light she slipped the photograph she carried from its envelope, and surveyed it with warming eyes. She spoke in a soft whisper— "I shall never sing Elsa—never—never! Lehmann is Elsa. But what does it matter? By the time I reach grand opera I shall have dinners—real dinners—with napkins the size of a sheet and vegetables of curious kinds. Then I'll grow fat and become famous. I may even sing Isolde." She broke into a regretful little sigh. "And Alvary will be too old to be my Tristan." At the corner of Twenty-third Street she took a cross-town car. It was crowded, and, with half-suppressed disgust, she rested the tips of her fingers upon a leather strap. The gloves covering the fingers were worn and badly mended, but the touch was delicate. Something graceful and feminine and fragile in her unsteady figure caused half a dozen men to rise hastily, and she accepted a proffered seat with the merest inclination of her head. With an involuntary coquetry she perceived that, as the newest feminine arrival, she was being stealthily regarded from behind the wall of newspapers skirting the opposite seat. She raised her hand to her loosened hair, half frowned, and glanced at the floor with demure indifference. Beside her sat an Irishwoman with a heavy basket and a black bruise upon her temple. The girl looked at the woman and the bruise with an expression of repugnance. The repugnance was succeeded by a tidal wave of self-commiseration. She pitied herself that she was forced to make use of public means of conveyance. The onions in the Irishwoman's basket offended her nostrils. Her gaze returned to her lap. As daintily as she had withdrawn her person from contact with the woman beside her, she withdrew her finely strung senses from contact with the odor of onions and the closeness of the humanity hemming her in. She sat in disdainful self-absorption. Her sensitive features became impassive, her head drooped, the green in her eyes faded into gray, and the lashes obscured them. The shadow of her heavy hair rested like a veil upon her face. When the car reached Ninth Avenue she got out, walked to Thirtieth Street, and crossed westward. Facing her stood the immense and unpicturesque apartment-house known as "The Gotham"—a monument of human Philistinism and brownstone-finished effrontery. She entered and passed through the unventilated hall to the restaurant at the rear. As she crossed the threshold, a man seated at one of the larger tables looked up. "My dear girl," he said, reproachfully, "lateness for dinner at The Gotham entails serious consequences. We were just planning a search- party." His right-hand neighbor spoke warningly. "Don't believe him, Miss Musin; he refused to get uneasy until he had finished his dinner." "When one is empty," retorted the first, "one can't get even uneasy. Anxiety can't be produced from a void." The girl nodded good-evening, took her seat, and unfolded her napkin. The first gentleman passed her the butter, the second the water- bottle. The first was named Nevins. He was fair and pallid, with a long face that would have been round had nature supplied gratification as well as instinct. His shoulders were high and narrow, suggesting the perpetual shrug with which he met his fate. He was starving upon an artistic career. The second gentleman—Mr. Sellars—was sleek and middle-aged. Providence had intended him for a poet; life had made of him a philosopher—and a plumber. He was still a man of sentiment. At the head of the table sat Mr. Paul—an apostle of pessimism, whose general flavor marked the pessimist rather than the apostle. The peculiarity of his face was its construction—the features which should have gone up coming down, and the features which should have come down going up. Perhaps had Mr. Paul himself moralized upon the fact, which is not likely, he would have concluded that it was merely a physical expression of his mental attitude towards the universe. He had long since arrived at the belief that whatever came in life was the thing of all others which should have kept away, and its coming was sufficient proof of its inappropriateness. He had become a pessimist, not from passion, but from principle. He had chosen his view of the eternal condition of things as deliberately as he would have selected the glasses with which to survey a given landscape. Having made his choice, he stood to it. No surreptitious favors at the hands of Providence were able to modify his honest conviction of its general unpleasantness. The remaining persons at this particular table were of less importance. There was Miss Ramsey, the journalist, who was pretty and faded and harassed, and who ate her cold dinner, to which she usually arrived an hour late, in exhausted silence. Miss Ramsey was one whom, her friends said, adversity had softened; but Miss Ramsey herself knew that the softness of adversity is the softness of decay. There was Mr. Ardly, a handsome young fellow, who did the dramatic column of a large daily, and who regarded life as a gigantic jag, facing failure with facetiousness and gout with inconsequence. There was Mr. Morris, who was thin, and Mr. Mason, who was fat, and Mr. Hogarth, who was neither. The restaurant consisted of a long and queerly shaped room. It had originally been divided into two apartments, but when the house had passed into the present management the partition had been torn down, and two long and narrow tables marked the line where the division had been. The walls were dingy and unpapered. Where the plaster was of an unusual degree of smokiness, several cheap chromos, in cheaper frames, had been hung, like brilliant patches laid upon a dingy background. Above the chromos lingered small bunches of evergreen—faded and dried remnants of the last holiday season—and from the tarnished and fly-specked chandelier hung a withered spray of mistletoe. The room was crowded. There was not so much as a vacant seat at the tables. The hum of voices passed through the doors and into the rumble of the street without. In a far corner a lady in a blouse of geranium pink was engaged in catching reckless flies for the sustenance of the chameleon upon her breast; nearer at hand a gentleman was polishing his plate and knife with his napkin. It was warm and oppressive, and the voices sounded shrilly through the glare. The girl whom they had called "Miss Musin" looked up with absent-minded abruptness. "I had as soon wear wooden shoes as eat with a pewter fork!" she remarked, irritably. Mr. Nevins shook his flaxen head and laid down his spoon. "So long as it remains a question of forks," he observed, "let us give thanks. Who knows when it may become one of food?" Then he sighed. "If it is only a sacrifice of decency, I'm equal to it, but I refuse to live without food." "The audacity of youth!" commented Mr. Sellars, the philosopher. "I said the same at your age. But for taking the conceit out of one, commend me to experience." "From a profound study of the subject," broke in Mr. Paul, grimly, "I have been able to calculate to a nicety that each one of these potatoes, taken internally, lessens an hour of one's existence. As a method of self-destruction"—and he proceeded to help himself—"there is none more efficacious than an exclusive diet of Gotham potatoes. Allow me to pass them." He looked at Miss Musin, but Mr. Nevins rose to the occasion. "After such an analysis, my gallantry forbids," and he intercepted the dish. The girl glanced up at him. "Extinction long drawn out is boring," she said. "And is food the only factor of human life? It may be the most important, I admit, but important things should not always be talked of." "I declare it quite staggers me," interrupted a cheerful individual, who was Mr. Morris, "to think of the number of things that should not be talked of—some amazingly interesting things, too! Do you know, sometimes I wonder if social intercourse will not finally be reduced to a number of persons assembling to sit in silent meditation upon the subjects which are not to be spoken of? One so soon exhausts the absolutely correct topics." "We are a nation of prudes," declared Mr. Paul, with emphasis, "and there is no vice that rots a people to the core so rapidly as the vice of prudery. All our good red blood has passed into a limbo of social ostracism along with ladies' legs." "I was just thinking," commented Mr. Hogarth, who aspired to the rakish and achieved the asinine, "that the last-named subject had been particularly in evidence of late. What with the ballet and the bicycle—" He blushed and glanced at Miss Musin. She was smiling. "Oh, I don't object," she said, "so long as they are well shaped." Mr. Nevins upheld her from an artistic stand-point. "I hold," he said, authoritatively, "that indecency can only exist where beauty is wanting. All beauty is moral. I have noticed in regard to my models—" "On the contrary," interrupted Mr. Paul, "there is no such thing as beauty. It is merely the creation of a diseased imagination pursuing novelty. We call nature beautiful, but it is only a term we employ to express a chimera of the senses. Nature is not beautiful. Its colors are glaringly defective. It is ugly. The universe is ugly. Civilization is ugly. We are ugly—" "Oh, Mr. Paul!" said Miss Musin, reproachfully. "Our one consolation," continued Mr. Paul, in an unmoved voice, "is the knowledge that if we could possibly have been uglier we should have been so created. Providence would have seen to it." "When Providence provided ugliness," put in Mr. Morris, good-naturedly, "it provided ignorance along with it." Mr. Ardly, who was eating his dinner with a copy of the Evening Post spread out upon his knees, looked up languidly. "We are becoming unpleasantly personal," he remarked. "Personalities in conversation should be avoided as sedulously as onions in soup. They are stimulating, but vulgar." Mr. Paul seized the bait of the unconscious thrower with avidity. "Vulgarity," he announced, with ringing emphasis, "is the most prominent factor in the universe. It is as essential to our existence as the original slime from which we and it emanated. If there is one thing more vulgar than nature, it is civilization. Whatever remnant of innocence nature left in the mind of man civilization has wiped out. It has debased the human intellect—" "And deformed the human figure," interpolated Mr. Nevins, with a sigh. "Oh, for the days of Praxiteles!" The emotionless tones of Mr. Paul flowed smoothly on. "And if there is one thing more vulgar than civilization, it is art." Mr. Nevins retorted in a voice of storm. "Sir," he cried, "art is my divinity!" "A vulgar superstition," commented Mr. Paul, calmly; and he pointed to a poster beside Mr. Nevins's plate. "You call that art, I suppose?" Mr. Nevins colored, but met him valiantly. "No," he returned; "I call that bread and meat." As the girl next him rose from her chair she bestowed upon him an approving smile, which he returned with sentimental interest. "You haven't finished," he remonstrated, in an aside. "My posters aren't only bread and meat; they are pie—principally pie." The girl laughed and shook her head. "And principally pumpkin," she returned. "No, thank you!" She left the dining-room and mounted the stairs to the fourth landing. Her room was in the front of the house, and the way to it lay through a long and dimly lighted corridor, the floor of which was covered with figured oil-cloth. As she slipped the key into the lock the door swung back, and a blast of damp air from the open window blew into her face. She crossed the room and stood for a moment with her hand upon the sash, looking down into the street. A train upon the elevated road was passing, and she saw the profiles of the passengers dark against the lighted interior. Clouds of white smoke, blown rearward by the engine's breath, hovered about the track, too light to fall. Then, as the wind chased westward, the clouds were torn asunder, and stray wreaths, deepening into gray, drifted along the cross street leading to the river. The girl reached out and drew in a can of condensed milk from the fire-escape. Then she lowered the window and turned on the steam- heater in the corner, which set up a hissing monotone. The room was small and square. There was a half-worn carpet upon the floor, and the walls were covered with cheap paper, the conspicuous feature of which was a sprawling design in green and yellow cornucopias. In one corner stood a small iron bedstead, partially concealed by a Japanese screen, which extended nominal protection to the wash-stand as well. On the wall above the screen an iron hook was visible, from which hung a couple of bath-towels and a scrubbing-brush suspended by a string. Nearer the window there was an upright piano, with a scarf of terra-cotta flung across it and a row of photographs of great singers arranged along the ledge. Here and there on the furniture vivid bits of drapery were pinned over barren places. But with the proof of a sensuous craving for color a latent untidiness was discernible. Her slippers lay upon the hearth-rug where she had tossed them when dressing for the street; a box of hair-pins had been upset upon the bureau, and a half-open drawer revealed a tangled mass of net veiling. Throwing her hat and coat upon the bed, the girl turned up the lights, selected a score of "Lucia" from a portfolio under the piano, and, seating herself at the music-stool, struck the key-board with sudden fervor. The light soprano notes rang out, filling the small room with a frail yet penetrating sweetness. It was a clear and brilliant voice, but it was a voice in miniature, of which the first freshness was marred—and it was not the voice for Lucia. With quick dismay the girl realized it, and rising impatiently, tossed the score upon the carpet and left the piano. Standing before the long mirror on the wall, she slipped off her walking-gown, letting it fall in a black heap to her feet. Then stepping over it, she kicked it aside and stood with gleaming arms and breast in the flickering gas-light. She loosened her heavy hair, drawing the pins from it one by one, until it fell in a brown mane upon her shoulders. Doffing her conventional dress, she doffed conventionality as well. She was transformed into something seductive and subtle—something in woman's flesh as ethereal as sea-foam and as vivid as flame. She smiled suddenly. Then to a humming accompaniment she twirled upon her toes, her steps growing faster and faster until her figure was obscured in the blur of action and her hair flew about her face like the hair of a painted witch. The words of the air she hummed came with a dash of bravado from between her lips: "—Ange ou diable, Écume de la mer?" Still smiling, she sank in an exhausted heap upon the floor. Then she went to bed and fell asleep, lamenting that her head rested upon a cotton pillow-slip. CHAPTER II In time long past, when the Huguenots were better known, if less esteemed, an impecunious gentleman of France left his native land for the sake of faith and fortune. Lured by that blatant boast of liberty which swelled the throats of the Western colonies, even while their hands were employed in meting out the reward of witchcraft and in forging the chains of slavery, he directed his way towards American soil. His mission failed, and, in search of theological freedom, he only succeeded in weaving matrimonial fetters. Amid an unassorted medley of creeds and customs he came upon the red-cheeked daughter of a Swiss adventurer—an ambitious pioneer who lived upon the theory that the New World having been created for the service of its foreign invaders, the might of the sword was the right of possession. The gentleman of France, deciding to found a farm and family in the land of his adoption, awoke suddenly to the knowledge that, to insure the success of such an enterprise, feminine intervention is a necessary evil. Accordingly, he set about his preparations with an economic industry. Casting his eye upon a tract of land upon a Southern river, he acquired it for certain services rendered in an unguarded moment to the Swiss adventurer, who had acquired it in a manner that concerned himself alone. The next step of the French gentleman was to build beside the Southern river a family mansion, whose door he promptly closed upon the Swiss adventurer, since virtue consists not so much in refusing to benefit by vice as in refusing to acknowledge the benefit. Not without a sense of nervous perturbation, he then proceeded to cast his gaze upon the most promising feminine pledges of progeny. From among a dozen or so of his fair neighbors he selected, with the experienced eye of a woman-fancier, the blooming specimen of Swiss buxomness, and, the adventurer coming to terms, the marriage had been celebrated without the retarding curtain-raiser of a romantic prelude. The gentleman's name was Marcel Musin de Biencourt; the lady's has no place in the following history. For a period matters progressed in natural sequence. The land was tilled, the cotton picked, and the lady installed in the best bedroom of the newly erected mansion. Had she played the part for which nature and her lord intended her, there is reason to suppose that she would have become a serviceable instrument in the preservation of the species. But the gentleman had reckoned without Providence. With the ending of the year of her bridehood the roses in the lady's cheeks grew waxen, and she turned with a sigh of relief from the labor of travail to the rest of the little church-yard upon the hill. The aspens shivered above her, the river purled between level fields far down below, and from the uprooted furrows around the dutiful corn put forth tender sprouts; but the lady had shirked her mission in its first fulfilment, and with the birth-time of the year she neither rose nor stirred. In the best bedroom the dust thickened upon the chintz curtains, and a weak and sickly hostage to fortune yelled his new throat hoarse with premonition of the inhospitality of the planet upon which he had been precipitated. Disappointed in his estimate of woman's nature, the gentleman of France decided to economize in material, and to rear a race from the unpromising specimen in his possession. Faithfully he strove to fulfil his part, and when the boy reached manhood, he laid himself down beside his wife upon the hill. From this time on the family record is biblically concise. Marcel begot Marcel, and again Marcel begot Marcel, and yet again. While the root Musin languished, De Biencourt, the lofty family tree, withered and died, to be forgotten. Neither in history nor in tradition, nor in the paths of private virtue, was a Musin known to have distinguished himself. If he took up arms in the American Revolution, he took them up in a manner unworthy of record; if he favored the Declaration of Independence, he did not commit his preference to paper; if he excelled in any way, it was in the way of mediocrity—which is perhaps the safest way of all. But extinction was not to be the end of the venturesome blood of the French gentleman. His spirit animated one of his name to confide to the care of his ex-slaves the mansion crumbling above his head, and to become a wanderer in the States which had been so nearly disunited. Like the minstrels of old, he strung his harp from his shoulder, and journeyed from South to North and from East to West. His Norman blood still ran blue in his veins, and his faith was the faith of his fathers. In his travels he played his passage into the vivacious affections of an Irish maiden, who wore a rosary about her neck and a cross upon her sleeve. But these conspicuous badges of Popery failed to chill the passion of Marcel. And, in truth, if the maiden's heart was as black as the arch-fiend, her eyes (which is more to the point) were not less blue than heaven. With an improvidence sufficient to bleach the ghost of his colonial progenitor, he tossed forebodings into the capacious lap of the future, and stormed the yielding heart of young Ireland. Love was lord, and their marriage-bonds were double-locked and barred by Protestant and Catholic clergy. But there is a power which laughs at religious locksmiths. Within six months the illusions with which each had draped the other melted before the fire and brimstone of ecclesiastical dispute. Between the kisses of their lips each offered petitions to a patient Omnipotence for the salvation of the other's soul. As the kisses grew colder the prayers grew warmer. There is a tendency in man, when he has fallen out with the human brother whom he has seen, to wax more zealous in his attentions to the Divine Father whom he has not. To be courteous to one's neighbor is so much more difficult than to be cringing to one's God. And then a child was given. In the large family Bible upon the father's desk the event is recorded in two different hands, and the child was christened with two different names. The first reads: "MARIE MUSIN, born April 24, 1868." And the second: "MARY ANN MUSIN, born April 24, 1868." After fifteen years the matter was settled, as were most family matters, by the child herself. "I will be both," she said, decisively. "I will be Mariana." And Mariana she became. In the same high-handed fashion the theological disputes of the parents were reduced to trifles as light as air. "I will be a Presbyterian one Sunday and a Catholic the next," she concluded, with amiable acquiescence; "only on fast-days and lecture- nights I'll be a heathen." For a time these regulations were observed with uncompromising impartiality, but, upon moving to a smaller town, she foresaw a diplomatic stroke. "I think it better," she announced, sweetly, "for one of us to become an Episcopalian. I have noticed that most of the society people here are Episcopalians—and in that way the family will be so evenly distributed. I see that it will be easier for me to make the sacrifice than for either of you. Of course, I should love to go with you, mamma, but incense makes me sneeze; and you know, papa, I can't stand congregational singing. It grates upon my nerves. And I must be something, for I have so much religious feeling. I will be an Episcopalian." She cast herself into the arms of the Church with all the zeal of a convert. From an artistic stand-point she repudiated insincerity, and, though cultivated, her professions were as fertile as the most natural product. Even to herself she scorned to admit that her alliance with a particular creed was the result of aught but a moral tendency in that direction. And the burden of the truth was with her. She was as changeable as wind and as impressionable as wax, and the swelling tide of sentiment had taken an ecclesiastical turn. She dressed in sober grays, and attended service with the regularity of the sexton; she decorated her walls with Madonnas; and she undertook, by way of the Sunday-school room, to lead a class of eight small boys into the path of righteousness. She read Christina Rossetti and George Herbert, and she placed tiny silver crosses, suspended from purple ribbons, in her school-books. At the age of sixteen she attached herself to a society whose mission it was to cultivate, by frequent calls, the religious poor, and she neglected social observances to retard by her presence the domestic duties of the indigent members of the community. She descended in a special detachment upon a series of beer saloons, enforcing the pledge upon a number of helpless gentlemen, and thereby multiplying the sin of intemperance by that of perjury. While her mother mended the rents in her garments, Mariana promoted a circle of stocking-darners for the inhabitants of the almshouse. At that period her expression was in perfect harmony with the tenor of her mind. The dramatic effect was always good. In the daily school, which she attended when the fancy seized her, she ruled as a popular fetish. Between the younger children, whom she terrorized, and the elder, whom she mesmerized, there was an intermediate class with whom she was in high favor. As a tiny child she had caught the street songs quicker than any other, and had sung them better; and to the accompaniment of a hand-organ she could render a marvellous ballet. During her tenth year she fell into a passionate friendship for one of the scholars—a stately girl with phlegmatic eyes of gray. For six months she paid her lover-like attentions in surreptitious ways, and expended her pocket-money in nosegays, with which to adorn the desk of her divinity. She wore a photograph of the gray-eyed girl above her heart, and lingered for an hour to walk home with her upon Fridays. The friendship was sundered at last by visits exchanged between them, and Mariana's emotions became theological. But this passed also. Vague amatory impulses of old racial meaning were born. At sixteen she was precipitated into a sentiment for the photograph, printed by the daily press, of a young fellow who was at that time in the custody of the State, preparatory to responding to a charge of highway-robbery. The photograph was romantic, the crime was also. It was a nineteenth-century attempt at a revival of the part of Claude Duval. Mariana attended missions less and meditated more. She divided her time between her journal and the piano, showing a preference for songs of riotous sentiment. Without apparent trouble to herself, she grew wan and mysteriously poetic. She wore picturesque gowns with romantic draperies. Her hair possessed a charming disorder, the expression of her face passed from the placid into the intense. The dramatic effect was as good as ever. Her journal of that year contains a declaration of undying constancy. The object of this avowal is nominally the young highwayman—in reality the creation of an over-fertile brain craving the intoxicant of a great passion. The highwayman was but a picturesque nucleus round which her dreams clustered and from which they gathered color. She existed in a maze of the imagination, feasting upon the unsubstantial food of idealism. Her longings for fame and for love were so closely interwoven that even in her own mind it was impossible to disassociate them. If she bedewed her pillow with tears of anguish for the sake of a man whom she had never seen, and whom, seeing, she would have passed with averted eyes, the tears were often dried by ecstatic visions of artistic aspirations. And yet this romance of straw was not the less intense because it was the creation of overwrought susceptibilities; perhaps the more so. If real troubles were the only troubles, how many tortured hearts would be uplifted to the hills. And Mariana's mystical romance was a daemon that lured her in a dozen different disguises towards the quicksands of life. But this passed also and was done with. Her mother died, and her father married an early love. Mariana, who had been first, declined to become last. Dissensions followed swiftly, and the domestic atmosphere only cleared when Mariana departed from the paternal dwelling-place. From the small Southern village, under the protection of an elderly female relation, she had flown to New York in search of theatrical employment. Failing in her object, she turned desperately to the culture of her voice, living meanwhile upon a meagre allowance donated by her father. The elderly female relation had remained with her for a time, but finding Mariana intractable in minor ways, and foreseeing a future in which she would serve as cat's-paw for the girl's vagaries, she had blessed her young relative and departed. "One must either worship or detest you, my dear," she remarked as a parting shaft. "And to worship you means to wait upon you, which is wearing. Your personality is as absorbent as cotton. It absorbs the individual comfort of those around you. It is very pleasant to be absorbed, and you do it charmingly; but there is so much to see in the world, and I'm getting old fast enough." So she went, leaving Mariana alone in a fourth-story front room of The Gotham apartment-house. CHAPTER III Mr. Nevins once said to Mariana: "You are as elusive as thistle-down whipped up with snow." Mariana smiled that radiating, indescribable smile which dawned gradually from within, deepening until it burst into pervasive wealth of charm. "Why snow?" was her query. Mr. Paul, who apparently had been engrossed in his dinner, glanced up grimly. "The only possible reason for a metaphor," he observed, "is lack of reason." Mr. Nevins dismissed him with a shrug and looked in sentimental perplexity at Mariana. "Merely because it is impossible to whip up ice with anything," he replied. "I should have supposed," interrupted Mr. Paul, in unabashed disapproval, "that the same objection would apply to thistle-down. It would certainly apply to a woman." Miss Ramsey, who sat opposite, turned her tired eyes upon him. "Life is not of your opinion, Mr. Paul," she said. "It whips us up with all kinds of ingredients, and it never seems to realize when we have been reduced to the proper consistency." She looked worn and harassed, and had come in to dinner later than usual. It was the first remark she had made, and, after making it, she relapsed into silence. Her small red hands trembled as she lifted her fork, the rebellious lines between her brows grew deeper, and she ate her dinner with that complete exhaustion which so often passes for resignation in the eyes of our neighbors. Nervous prostration has produced more saints than all the sermons since Moses. Mariana watched her sympathetically. She wondered why the gravy upon Miss Ramsey's plate congealed sooner than it did upon any one else's, while the sobbiest potatoes invariably fell to her share. "A false metaphor!" commented Mr. Paul. "Most metaphors are false. I don't trust Shakespeare himself when he gets to metaphor. I always skip them." "Oh, they have their uses," broke in the cheery tones of the optimist. "I'm not much on Shakespeare, but I've no doubt he has his uses also. As for metaphor, it is a convenient way of saying more than you mean." "So is lying," retorted Mr. Paul, crossly, and the conversation languished. Mariana ate her dinner and looked at the table-cloth. Mr. Nevins ate his dinner and looked at Mariana. He regarded her as an artistic possibility. Her appearance was a source of constant interest to him, and he felt, were he in the position of nature, with the palette and brush of an omnipotent colorist, he might blend the harmonious lines of Mariana's person to better advantage. He resented the fact that her nose was irregular and her chin too long. He wondered how such a subject could have been wilfully neglected. As for himself, he honestly felt that he had wasted no opportunities. Upon their first acquaintance he had made a poster of Mariana which undeniably surpassed the original. It represented her in a limp and scantily made gown of green, with strange reptiles sprawling over it, relieved against the ardor of a purple sunset. The hair was a marvel of the imagination. Mariana had liked it, with the single exception of the reptilian figures. "They have such an unpleasant suggestion," was her critical comment. "I feel quite like Medusa. Couldn't you change them into nice little butterflies and things?" Mr. Nevins was afraid he could not. The poster satisfied him as it was. Miss Musin could not deny, he protested, that he had remodelled her nose and chin in an eminently successful job, and if the hair and eyes and complexion in the poster bore close resemblance in color, so did the hair and eyes and complexion in the original. He had done his best. Mariana accepted his explanation and went complacently on her way, as enigmatical as a Chinese puzzle. She was full of swift surprises and tremulous changes, varying color with her environment; gay one moment, and sad before the gayety had left her lips—cruel and calm, passionate and tender—always and ever herself. Twice a week she went to Signor Morani's for a vocal lesson. Signor Morani was small and romantic and severe. In his youth he had travelled as Jenny Lind's barytone, and he had fallen a slave to her voice. He had worshipped a voice as other men worship a woman. Unlike other men, he had been faithful for a lifetime—to a voice. When Mariana had gone to him, an emotional and aspiring soprano of nineteen, he had listened to her quietly and advised patience. "You must wait," he said. "All art is waiting." "I will not wait," said Mariana. "Waiting is starvation." He looked at her critically. "More of us starve than the world suspects," he answered. "It is the privilege of genius. This is a planet, my dear child, where mediocrity is exalted and genius brought low. It is a living fulfilment of the scriptural prophecy, 'The first shall be last and the last shall be first.'" Then he added: "Sing again." Mariana stood up and sang. His words had depressed her, and her voice trembled. She looked at him wistfully, her hands hanging at her sides, her head thrown back. It was an aria from "Faust." He shook his head slowly. "You will never be great," he said. "I can give you technique, but not volume. Your voice will never be great." With a half-defiant gesture Mariana broke forth again. This time it was a popular song, with a quick refrain running through it. As she sang she acted the accompaniment half unconsciously. Signor Morani frowned as she commenced, and then watched her attentively. In the fragile little girl, with the changeable eyes of green and the aureole of shadowless hair, he scented possibilities. "Your voice will never be great," he repeated; "but you may make men believe so." "And you will take me?" pleaded Mariana. She stretched out her beautiful hands. Her eyes prayed. Her flexible tones drooped. Signor Morani took her hands in his with kindly reassurance. "Yes," he said—"yes; it will keep you out of mischief, at least." And it had kept her out of mischief. It had opened a channel for her emotions. Like a tide, the romanticism of her nature veered towards art. She became the most fanatical of devotees. She breathed it and lived it. In her heart it transplanted all other religions, and the æstheticism of its expression gained a marvellous hold upon her faith. Above the little mosaic altar at her bedside she enshrined a bust of Wagner, and she worshipped it as some more orthodox believer had once worshipped an enshrined Madonna. At midnight she held devotional services all alone, sitting before the piano, bending to the uses of a litany the intellectual rhapsodies of Beethoven or the sensuous repinings of Chopin, while the little red flame sent up praise and incense from dried rose leaves and cinnamon to the memories of dead musicians. She introduced a rare, sensuous beauty into this new worship, as she had introduced it into the old. She typified the Church when, in its fresh young passion, and suffused with the dying splendors of paganism, it turned from the primitive exercises of its founders and revived the worship of the gracious Madonna of Old Egypt in the worship of the Madonna of Nazareth, and the flower-scented feasts of Venus in the Purification of the Virgin. There existed in the girl an unsatisfied restlessness of self, resulting in the desire for complete submergence of soul in idea. Her nature veered constantly from extreme to extreme; there was no semblance of a saner medium, and as a system must have exponents, the high priests and priestesses of art became her lesser divinities. She began to haunt the Metropolitan Opera-house. From the fifth gallery she looked down every evening upon an Italian or German landscape. She herself trembled like a harp swept by invisible fingers; she grew pale with Marguerite, wept over the dead Juliet, and went mad with the madness of Lucia. When the voice of that fair Bride of Lammermoor who sang for us that season was borne to her on the notes of a flute which flagged beneath the exceeding sweetness of the human notes they carried, Mariana grasped the railing with her quivering hands and bowed her head in an ecstasy of appreciation. It was the ecstasy with which a monk in mediæval days must have thrilled when he faced in a dim cathedral some beautiful and earthly Virgin of the great Raphael. It was the purest form of sensuous self-abnegation. Then, as the curtain fell, she would rise and step gropingly towards the door, cast into sudden darkness. Wrapped in that mental state as in a mantle, she would descend the stairs and pass out into the street. At such times she was as far removed from the existence to which she was returning as was the poor mad Lucia herself. And then in the night she would awake and sing softly to herself in the stillness, lying with seraphic eyes and hands clasped upon her breast, until the morning sun flashed into her face and the day began. There was also a tragic side to her emotions. Her past inheritance of ages of image-worshippers laid hold upon her. From being merely symbols of art the singers became divinities in their own right. She haunted their hotels for fleeting glimpses of them. She bought their photographs with the money which should have gone for a winter hat. She would gladly have kissed the dust upon which they trod. After her first hearing of "Tristan and Isolde," she placed the prima donna's photograph beneath the bust of Wagner, and worshipped her for weeks as a bright particular star. In the evening she attended the opera alone. Returning when it was over, she crossed Broadway, boarded a car, and, reaching The Gotham, toiled up to the fourth landing. She was innocent of prudery, and she went unharmed. Perhaps her complete absorption in something beyond herself was her safeguard. At all events, she brushed men by, glanced at them with unseeing eyes, and passed placidly on her way. Mariana was famished for romance, but not for the romance of the street. She had an instinctive aversion to things common and of vulgar intent. Her unsatisfied desire was but the craving of a young and impressionable heart for untried emotion. It was the poetry of living she thirsted for—poetry in æsthetic proportions, with a careful adjustment of light and shade. She desired harmonious effects and exquisite schemes of color, all as appropriate settings to a romance which she could arrange and blend in treatment as an artist arranges models of still life. So, for a time, she expended herself upon great singers. A new tenor appeared as Edgardo. Upon the stage he was dark and fierce and impassioned. He made an adorable lover. He sang to Lucia, not to the audience, and he threw half his arias into his eyes. Mariana was enraptured. She fell desperately in love. During the day she went about in meditative abstraction; during the night she turned upon her little cotton pillow-slip, and wept to think how far below him she must ever remain. She even wished herself a chorus girl, that she might intercept his glances. She grew frantically jealous of the prima donna, whom, also, she adored. She imagined innumerable romances in which he enacted upon the stage of life the part of Edgardo. Then, through the kindness of Signor Morani, she was introduced to the object of her regard, and the awakening was abrupt. He was fat and commonplace. He proved to be the faithful husband of a red-faced little German wife, and the devoted father of a number of red-faced German children. He possessed no qualities for romantic development, and Mariana recovered. For a period her susceptibilities abated. The wave of activity spent its violence. Life flowed for her like a meadow stream, sensitive to faint impressions from a passing breeze, but calm when the breeze was afar. Upon a night of "Carmen" she saw from the fifth gallery a velvet rose fall from the prima donna's bosom to the stage. When the curtain fell she rushed madly down and begged it of an usher. She carried it home, and hung it upon the wall above her bed. At night, before falling asleep, she would draw the curtains aside, and, in the electric light that flooded the room, cast her eyes upon the vivid bit of color. In the early morning she would awake, and, raising herself upon her elbow, touch it reverently with her hand. It was homage rendered to her own ambition. At The Gotham, her bare little chamber, with its garish wall-paper, was a source of acute discomfort to her. Once...