Delphi Complete Works of William Dean Howells

by William Dean Howells

  Whitwell seemed to have come to an end of his celebration of Jeff’s success, and Westover asked:

  “And what do you make now, of planchette’s brokenshaft business? Or don’t you believe in planchette any more?”

  Whitwell’s beaming face clouded. “Well, sir, that’s a thing that’s always puzzled me. If it wa’n’t that it was Jackson workin’ plantchette that night, I shouldn’t placed much dependence on what she said; but Jackson could get the truth out of her, if anybody could. Sence I b’en up there I b’en figurin’ it out like this: the broken shaft is the old Jeff that he’s left off bein’—”

  Whitwell stopped midway in his suggestion, with an inquiring eye on the painter, who asked: “You think he’s left off being the old Jeff?”

  “Well, sir, you got me there,” the philosopher confessed. “I didn’t see anything to the contrary, but come to think of it—”

  “Why couldn’t the broken shaft be his unfulfilled destiny on the old lines? What reason is there to believe he isn’t what he’s always been?”

  “Well, come to think of it—”

  “People don’t change in a day, or a year,” Westover went on, “or two or three years, even. Sometimes I doubt if they ever change.”

  “Well, all that I thought,” Whitwell urged, faintly, against the hard scepticism of a man ordinarily so yielding, “is ‘t there must be a moral government of the universe somewheres, and if a bad feller is to get along and prosper hand over hand, that way, don’t it look kind of as if—”

  “There wasn’t any moral government of the universe? Not the way I see it,” said Westover. “A tree brings forth of its kind. As a man sows he reaps. It’s dead sure, pitilessly sure. Jeff Durgin sowed success, in a certain way, and he’s reaping it. He once said to me, when I tried to waken his conscience, that he should get where he was trying to go if he was strong enough, and being good had nothing to do with it. I believe now he was right. But he was wrong too, as such a man always is. That kind of tree bears Dead Sea apples, after all. He sowed evil, and he must reap evil. He may never know it, but he will reap what he has sown. The dreadful thing is that others must share in his harvest. What do you think?”

  Whitwell scratched his head. “Well, sir, there’s something in what you say, I guess. But here! What’s the use of thinkin’ a man can’t change? Wa’n’t there ever anything in that old idee of a change of heart? What do you s’pose made Jeff let up on that feller that Jombateeste see him have down, that day, in my Clearin’? What Jeff would natch’ly done would b’en to shake the life out of him; but he didn’t; he let him up, and he let him go. What’s the reason that wa’n’t the beginnin’ of a new life for him?”

  “We don’t know all the ins and outs of that business,” said Westover, after a moment. “I’ve puzzled over it a good deal. The man was the brother of that girl that Jeff had jilted in Boston. I’ve found out that much. I don’t know just the size and shape of the trouble between them, but Jeff may have felt that he had got even with his enemy before that day. Or he may have felt that if he was going in for full satisfaction, there was Jombateeste looking on.”

  “That’s true,” said Whitwell, greatly daunted. After a while he took refuge in the reflection, “Well, he’s a comical devil.”

  Westover said, in a sort of absence: “Perhaps we’re all broken shafts, here. Perhaps that old hypothesis of another life, a world where there is room enough and time enough for all the beginnings of this to complete themselves—”

  “Well, now you’re shoutin’,” said Whitwell. “And if plantchette—” Westover rose. “Why, a’n’t you goin’ to wait and see Cynthy? I’m expectin’ her along every minute now; she’s just gone down to Harvard Square. She’ll be awfully put out when she knows you’ve be’n here.”

  “I’ll come out again soon,” said Westover. “Tell her—”

  “Well, you must see your picture, anyway. We’ve got it in the parlor. I don’t know what she’ll say to me, keepin’ you here in the settin’-room all the time.”

  Whitwell led him into the little dark front hall, and into the parlor, less dim than it should have been because the afternoon sun was burning full upon its shutters. The portrait hung over the mantel, in a bad light, but the painter could feel everything in it that he could not see.

  “Yes, it had that look in it.”

  “Well, she ha’n’t took wing yet, I’m thankful to think,” said Whitwell, and he spoke from his own large mind to the sympathy of an old friend who he felt could almost share his feelings as a father.

  LV

  When Westover turned out of the baking little street where the Whitwells lived into an elm-shaded stretch of North Avenue, he took off his hat and strolled bareheaded along in the cooler air. He was disappointed not to have seen Cynthia, and yet he found himself hurrying away after his failure, with a sense of escape, or at least of respite.

  What he had come to say, to do, was the effect of long experience and much meditation. The time had arrived when he could no longer feign to himself that his feelings toward the girl were not those of a lover, but he had his modest fears that she could never imagine him in that character, and that if he should ask her to do so he should shock and grieve her, and inflict upon himself an incurable wound.

  During this last absence of his he had let his fancy dwell constantly upon her, until life seemed worth having only if she would share it with him. He was an artist, and he had always been a bohemian, but at heart he was philistine and bourgeois. His ideal was a settlement, a fixed habitation, a stated existence, a home where he could work constantly in an air of affection, and unselfishly do his part to make his home happy. It was a very simple-hearted ambition, and I do not quite know how to keep it from appearing commonplace and almost sordid; but such as it was, I must confess that it was his. He had not married his model, because he was mainly a landscapist, perhaps; and he had not married any of his pupils, because he had not been in love with them, charming and good and lovely as he had thought some of them; and of late he had realized more and more why his fancy had not turned in their direction. He perceived that it was already fixed, and possibly had long been fixed.

  He did not blink the fact that there were many disparities, and that there would be certain disadvantages which could never be quite overcome. The fact had been brought rather strenuously home to him by his interview with Cynthia’s father. He perceived, as indeed he had always known, that with a certain imaginative lift in his thinking and feeling, Whitwell was irreparably rustic, that he was and always must be practically Yankee. Westover was not a Yankee, and he did not love or honor the type, though its struggles against itself touched and amused him. It made him a little sick to hear how Whitwell had profited by Durgin’s necessity, and had taken advantage of him with conscientious and self-applausive rapacity, while he admired his prosperity, and tried to account for it by doubt of its injustice. For a moment this seemed to him worse than Durgin’s conscientious toughness, which was the antithesis of Whitwell’s remorseless self-interest. For the moment this claimed Cynthia of its kind, and Westover beheld her rustic and Yankee of her father’s type. If she was not that now, she would grow into that through the lapse from the personal to the ancestral which we all undergo in the process of the years.

  The sight of her face as he had pictured it, and of the soul which he had imagined for it, restored him to a better sense of her, but he felt the need of escaping from the suggestion of her father’s presence, and taking further thought. Perhaps he should never again reach the point that he was aware of deflecting from now; he filled his lungs with long breaths, which he exhaled in sighs of relief. It might have been a mistake on the spiritual as well as the worldly side; it would certainly not have promoted his career; it might have impeded it. These misgivings flitted over the surface of thought that more profoundly was occupied with a question of other things. In the time since he had seen her last it might very well be that a young and pretty girl had met some one who had take
n her fancy; and he could not be sure that her fancy had ever been his, even if this had not happened. He had no proof at all that she had ever cared or could care for him except gratefully, respectfully, almost reverentially, with that mingling of filial and maternal anxiety which had hitherto been the warmest expression of her regard. He tried to reason it out, and could not. He suddenly found himself bitterly disappointed that he had missed seeing her, for if they had met, he would have known by this time what to think, what to hope. He felt old — he felt fully thirty-six years old — as he passed his hand over his crown, whose gossamer growth opposed so little resistance to his touch. He had begun to lose his hair early, but till then he had not much regretted his baldness. He entered into a little question of their comparative ages, which led him to the conclusion that Cynthia must now be about twenty-five.

  Almost at the same moment he saw her coming up the walk toward him from far down the avenue. For a reason, or rather a motive, of his own he pretended to himself that it was not she, but he knew instantly that it was, and he put on his hat. He could see that she did not know him, and it was a pretty thing to witness the recognition dawn on her. When it had its full effect, he was aware of a flutter, a pause in her whole figure before she came on toward him, and he hurried his steps for the charm of her beautiful blushing face.

  It was the spiritual effect of figure and face that he had carried in his thought ever since he had arrived at that one-sided intimacy through his study of her for the picture he had just seen. He had often had to ask himself whether he had really perceived or only imagined the character he had translated into it; but here, for the moment at least, was what he had seen. He hurried forward and joyfully took the hand she gave him. He thought he should speak of that at once, but it was not possible, of course. There had to come first the unheeded questions and answers about each other’s health, and many other commonplaces. He turned and walked home with her, and at the gate of the little ugly house she asked him if he would not come in and take tea with them.

  Her father talked with him while she got the tea, and when it was ready her brother came in from his walk home out of Old Cambridge and helped her put it on the table. He had grown much taller than Westover, and he was very ecclesiastical in his manner; more so than he would be, probably, if he ever became a bishop, Westover decided. Jombateeste, in an interval of suspended work at the brick yard, was paying a visit to his people in Canada, and Westover did not see him.

  All the time while they sat at table and talked together Westover realized more and more that for him, at least, the separation of the last two years had put that space between them which alone made it possible for them to approach each other on new ground. A kind of horror, of repulsion, for her engagement to Jeff Durgin had ceased from his sense of her; it was as if she had been unhappily married, and the man, who had been unworthy and unkind, was like a ghost who could never come to trouble his joy. He was more her contemporary, he found, than formerly; she had grown a great deal in the past two years, and a certain affliction which her father’s fixity had given him concerning her passed in the assurance of change which she herself gave him.

  She had changed her world, and grown to it, but her nature had not changed. Even her look had not changed, and he told her how he had seen his picture in her at the moment of their meeting in the street. They all went in to verify his impression from the painting. “Yes, that is the way you looked.”

  “It seems to me that is the way I felt,” she asserted.

  Frank went about the house-work, and left her to their guest. When Whitwell came back from the post-office, where he said he would only be gone a minute, he did not rejoin Westover and Cynthia in the parlor.

  The parlor door was shut; he had risked his fate, and they were talking it over. Cynthia was not sure; she was sure of nothing but that there was no one in the world she cared for so much; but she was not sure that was enough. She did not pretend that she was surprised; she owned that she had sometimes expected it; she blamed herself for not expecting it then.

  Westover said that he did not blame her for not knowing her mind; he had been fifteen years learning his own fully. He asked her to take all the time she wished. If she could not make sure after all, he should always be sure that she was wise and good. She told him everything there was to tell of her breaking with Jeff, and he thought the last episode a supreme proof of her wisdom and goodness.

  After a certain time they went for a walk in the warm summer moonlight under the elms, where they had met on the avenue.

  “I suppose,” she said, as they drew near her door again, “that people don’t often talk it over as we’ve done.”

  “We only know from the novels,” he answered. “Perhaps people do, oftener than is ever known. I don’t see why they shouldn’t.”

  “No.”

  “I’ve never wished to be sure of you so much as since you’ve wished to be sure of yourself.”

  “And I’ve never been so sure as since you were willing to let me,” said Cynthia.

  “I am glad of that. Try to think of me, if that will help my cause, as some one you might have always known in this way. We don’t really know each other yet. I’m a great deal older than you, but still I’m not so very old.”

  “Oh, I don’t care for that. All I want to be certain of is that the feeling I have is really — the feeling.”

  “I know, dear,” said Westover, and his heart surged toward her in his tenderness for her simple conscience, her wise question. “Take time. Don’t hurry. Forget what I’ve said — or no; that’s absurd! Think of it; but don’t let anything but the truth persuade you. Now, good-night, Cynthia.”

  “Good-night — Mr. Westover.”

  “Mr. Westover!” he reproached her.

  She stood thinking, as if the question were crucial. Then she said, firmly, “I should always have to call you Mr. Westover.”

  “Oh, well,” he returned, “if that’s all!”

  THE STORY OF A PLAY

  CONTENTS

  I.

  II.

  III.

  IV.

  V.

  VI.

  VII.

  VIII.

  IX.

  X.

  XI.

  XII.

  XIII.

  XIV.

  XV.

  XVI.

  XVII.

  XVIII.

  XIX.

  XX.

  XXI.

  XXII.

  XXIII.

  XXIV.

  XXV.

  I.

  The young actor who thought he saw his part in Maxwell’s play had so far made his way upward on the Pacific Coast that he felt justified in taking the road with a combination of his own. He met the author at a dinner of the Papyrus Club in Boston, where they were introduced with a facile flourish of praise from the journalist who brought them together, as the very men who were looking for each other, and who ought to be able to give the American public a real American drama. The actor, who believed he had an ideal of this drama, professed an immediate interest in the kind of thing Maxwell told him he was trying to do, and asked him to come the next day, if he did not mind its being Sunday, and talk the play over with him.

  He was at breakfast when Maxwell came, at about the hour people were getting home from church, and he asked the author to join him. But Maxwell had already breakfasted, and he hid his impatience of the actor’s politeness as well as he could, and began at the first moment possible: “The idea of my play is biblical; we’re still a very biblical people.” He had thought of the fact in seeing so many worshippers swarming out of the churches.

  “That is true,” said the actor.

  “It’s the old idea of the wages of sin. I should like to call it that.”

  “The name has been used, hasn’t it?”

  “I shouldn’t mind; for I want to get a new effect from the old notion, and it would be all the stronger from familiar association with the name. I want t
o show that the wages of sin is more sinning, which is the very body of death.”

  “Well?”

  “Well, I take a successful man at the acme of his success, and study him in a succession of scenes that bring out the fact of his prosperity in a way to strike the imagination of the audience, even the groundlings; and, of course, I have to deal with success of the most appreciable sort — a material success that is gross and palpable. I have to use a large canvas, as big as Shakespeare’s, in fact, and I put in a great many figures.”

  “That’s right,” said the actor. “You want to keep the stage full, with people coming and going.”

  “There’s a lot of coming and going, and a lot of incidents, to keep the spectator interested, and on the lookout for what’s to happen next. The whole of the first act is working up to something that I’ve wanted to see put on the stage for a good while, or ever since I’ve thought of writing for the stage, and that is a large dinner, one of the public kind.”

  “Capital!” said the actor.

  “I’ve seen a good deal of that sort of thing as a reporter; you know they put us at a table off to one side, and we see the whole thing, a great deal better than the diners themselves do. It’s a banquet, given by a certain number of my man’s friends, in honor of his fiftieth birthday, and you see the men gathering in the hotel parlor — well, you can imagine it in almost any hotel — and Haxard is in the foreground. Haxard is the hero’s name, you know.”

  “It’s a good name,” the actor mused aloud. “It has a strong sound.”