# The Red Book Magazine/Volume 39/Number 4/You

from The Red Book Magazine, Aug 1922, pp. 39–44, 104, 106. Accompanying illustrations may be omitted.
There's a Muriel in every neighborhood. That is why every- one is going to be charmed by this delightful story of one Muriel in particular, by America's most distinguished author.
You
By Booth Tarkington
Illustrated by Arthur William Brown
MURIEL ELIOT'S friends and contemporaries were in the habit of describing her as “the most brilliant girl in town;” she was “up on simply everything,” they said, and it was customary to add the exclamation: “How on earth she finds the time!” And since Muriel also found time to be always charmingly dressed, in harmony with her notable comeliness, the marvel of so much upness in her infant twenties may indeed need a little explaining.
Her own conception was that she was a “serious” person and cared for “serious reading”—that is to say, after she left college, she read, not what is acceptably called “literature,” but young journalists' musings about what aspires to be called that; she was not at all interested in buildings or pictures or statues themselves, but thought she was, read a little of what is printed about such things in reviews, and spoke of “art” and “literature” with authoritative conviction. She was a kind-hearted girl, and she believed that “capitalism” was the cunning device of greedy men to keep worthy persons under heel; hence it followed that all “capital” should be taken away from the “capitalist class” by the “people;” and not picturing herself as in any way uncomfortably affected by the process of seizure, she called herself a “socialist.”
In addition to all this, Muriel's upness included “the new psychology” and the appropriate humorous contempt for the Victorian Period, that elastic conception of something-or-other which, according to the writing young ladies and gentlemen who were her authorities, seems to extend from about the time of the Battle of Tippecanoe to the close of President Taft's administration. Muriel, like her original sources of information, was just becoming conscious of herself as an authority at about the latter date—she was twelve then; and at twenty she began to speak of having spent her youth in the Late Victorian Period. That obscure decade before her birth, that time so formless and dark between the years of our Lord 1890 and 1900, was Mid-Victorian; people still mistook Tennyson and Longfellow for poets.
Sometimes older women thought Muriel a little hard; she was both brilliant and scholarly, they admitted; but the papers she wrote for the women's clubs were so “purely intellectual,” so icily scientific, so little reticent in the discussion of love, marriage and children, that these ladies shook their heads. The new generation, as expressed by Muriel, lacked something important, they complained; for nothing less than maidenliness itself had been lost, and with it the rosebud reveries, the twilight half-dreams of a coming cavalier, the embowered guitar at moonrise. In a word, the charm of maidenhood was lost because romance was lost. Muriel lacked the romantic imagination, they said, a quality but ill replaced by so much “new thought.”
They made this mistake the more naturally because Muriel herself made it, though of course she did not think of her supposed lack of romance as a fault. She believed herself to be a severely practical person, and an originally thinking person, as a quotation from one of her essays may partly explain. “I face the actual world as it is; I face it without superstition, and without tradition. Despising both the nonsense and the misery into which former generations have been led by romance, I permit no illusions to guide my thinking. I respect nothing merely because it is established; I examine mathematically; I think mathematically; I believe nothing that I do not prove.”
When she wrote this, she was serious and really thought it true; but as a matter of fact, what she believed to be her thinking was the occasional mulling over of scattered absorptions from her reading. Her conception of her outward appearance, being somewhat aided by mirrors, came appreciably near the truth, but her conception of her mind had no such guide. Her mind spent the greater part of its time adrift in half-definite dreaming, and although she did not even suspect such a thing, her romantic imagination was the abode in which she really dwelt.
There is an astronomer who knows as much about the moon as can yet be known; yet when that moon is new in the sky, each month, he will be a little troubled if he fails to catch his first glimpse of it over the right shoulder. When he does fail, his disappointment is so slight that he forgets all about it the next moment, and should you ask him if he has any superstition, he will laugh disdainfully, with no idea that he deceives both his questioner and himself. This is the least of the mistakes he makes about his own thoughts; he is mistaken about most of them; and yet he is a great man, less given to mistakes than the rest of us. Muriel Eliot's grandmother, who used to sing “Robin Adair,” who danced the Spanish Fandango at the Orphan Asylum Benefit in 1879, and wrote an anonymous love-letter to Lawrence Barrett, was not actually so romantic as Muriel.
Illustration: “I wont!" Muriel cried, and choked. “You know it makes me furious; that's why you do it!” “Did you say you never permitted your emotions to control you?” her mother asked.
The point is that Muriel's dreaminess, of which she was so little aware, had a great deal more to do with governing her actions than had her mathematical examinings and what she believed to be her thinking. Moreover, this was the cause of her unkindness to young Renfrew Mears, who lived across the street. Even to herself she gave other reasons for rejecting him; but the motive lay deep in her romanticism; for Muriel, without knowing it, believed in fairies.
Had she been truly practical, she would have seen that young Mr. Mears was what is called an “ideal match” for her. His grandfather, a cautious banker, had thought so highly of the young man's good sense as to leave him the means for a comfortable independence; yet Renfrew continued to live at home with his family and was almost always in bed by eleven o'clock. He was of a pleasant appearance; he was kind, modest, thoughtfully polite, and in everything the perfect material from which the equerry or background husband of a brilliant woman is constructed. No wonder her mother asked her what on earth she did want! Muriel replied that she despised the capitalistic institution of marriage, and she believed that she meant what said; but of course what she really wanted was a fairy-story.
In those wandering and somewhat shapeless reveries that controlled her so much more than she knew, there were various repetitions that had become rather definite, though never quite so. One of these was the figure of her Mate. Her revery-self never showed her this mystery clearly in contours and colors, but rather in shadowy outlines, though she was sure that her Mate had dark and glowing eyes. He was somewhere, and sometime she would see him. When she did see him, she would recognize him instantly; the first look exchanged would bring the full revelation to both of them—they would ever have little need of spoken words. But her most frequent picture of this mystic encounter was a painful one: she saw herself a bride upon the bridegroom's arm and coming down the steps of the church; a passing stranger, halting abruptly upon the pavement, gave her one look from dark and glowing eyes, a look fateful with reproach and a tragic derision, seeming to say: “You did not wait till I came, but took that fool!”
Then he passed on, forever; and it was unfortunate for young Mr. Mears that the figure of the bridegroom in these foreshadowings invariably bore a general resemblance to his own. Renfrew had more to overcome than appeared upon the surface; he had shadows to fight; and so have other lovers—more of them than is guessed—when ladies are reluctant. For that matter, the thing is almost universal; and rare is the girl, however willing, who says “Yes,” without giving up at least some faint little tremulous shadow of a dream—though she may forget it and deny it as honestly as that astronomer forgets and denies the moon and his right shoulder.
Renfrew's case with his pretty neighbor was also weakened by the liking and approval of her father and mother, who made the mistake of frequently praising him to her; for when parents do this, with the daughter adverse, the poor lover is usually ruined—the reasons being obvious to everybody except the praising parents. Mrs. Eliot talked Renfrew Mears and his virtues at her daughter till the latter naturally declared that she hated him. “I do!” she said one morning. “I really do hate him, Mamma!”
“What nonsense!” her mother exclaimed. “When I heard the two of you chatting together on the front porch for at least an hour, only last evening!”
“Chatting!” Muriel repeated scornfully. “Chatting together! That shows how much you observe, Mamma! It don't think he said more than a dozen words the whole evening.”
“Well, don't you like a good listener?”
“Yes,” Muriel replied emphatically. “Indeed, I do! A good listener is one who understands what you're saying. Renfrew Mears has just lately learned enough to keep quiet, for fear if he speaks at all, it'll show he doesn't understand anything!”
“Well, if he doesn't, why did you talk to him?”
“Good gracious!” Muriel cried. “We can't always express ourselves as we wish to, in this life, Mamma; I should think you'd know that by this time! I can't throw rocks at him and say, 'Go back home!' every time he comes poking over here, can I? I have to be polite, even to Renfrew Mears, don't you suppose?”
The mother, sighing, gave her daughter one of those little half-surreptitious glances in which mothers seem to review troubled scenes with their own mothers; then she said gently: “Your father and I do wish you could feel a little more kindly toward the poor boy, Muriel.”
“Well, I can't, and I don't want to. What's more, I wouldn't marry him if I did.”
“Not if you were in love?”
“Poor Mamma!” Muriel said compassionately. “What has love to do with marrying? I expect to retain my freedom; I don't propose to enter upon a period of child-rearing—”
“Oh, good gracious!” Mrs. Eliot cried. “What a way to talk!”
“But if I did,” Muriel continued, with some sharpness, “I should never select Renfrew Mears to be my assistant in the task. And as for what you call 'love,' it seems to me a rather unhealthy form of excitement that I'm not subject to, fortunately.”
“You are so queer,” her mother murmured; whereupon Muriel laughed.
No doubt her laughter was a little condescending. “Queer?” she said. “No—only modern. Only frank and wholesome! Thinking people look at life as it really is, nowadays, Mamma. I am a child of the new age; but more than that, I am not the slave of my emotions; I am the product of my thinking. Unwholesome excitement and queer fancies have no part in my life, Mamma.”
“I hope not,” her mother responded with a little spirit. “I'm not exactly urging anything unwholesome upon you, Muriel. You're very inconsistent, it seems to me.”
“I!” Muriel said haughtily. “Inconsistent!”
“Why, when I just mention that your father and I'd be glad if you could feel a little kinder toward a good-looking, fine young man that we know all about, you begin talking, and pretty soon it sounds as though we were trying to get you to do something criminal! And then you go on to say you haven't got any 'queer fancies!' Isn't it a queer fancy to think we'd want you to do anything unhealthy or excited? That's why I say you're inconsistent.”
Muriel colored; her breathing quickened; and her eyes became threateningly bright. “The one thing I wont be called,” she said, “is 'inconsistent!'”
“Well, but—”
“I wont!” she cried, and choked. “You know it makes me furious; that's why you do it!”
“Did I understand you to say you never permitted your emotions to control you?” her mother asked dryly.
In retort, Muriel turned to the closet where she kept her hats; for her favorite way of meeting these persecutions was to go out of the house abruptly, leaving her mother to occupy it in full remorse; but this time Mrs. Eliot forestalled her. A servant appeared in the doorway and summoned her: “There's some one downstairs wants to see you; I took him in the library.”
“I'll come,” said Mrs. Eliot, and with a single dignified glance at her daughter, she withdrew, leaving Muriel to digest a discomfiture. For the art of domestic altercation lies almost wholly in the withdrawal, since here the field is won by abandoning it. In family embroilments she proves herself right, and the others wrong, who adroitly seizes the proper moment to make an unexpected departure either with dignity or in tears. People under stress of genuine emotion have been known to practice this art, seeming thereby to indicate the incompatible presence of a cool dramatist somewhere in the back of their heads; yet where is there anything that is not incompatible? Muriel, so poignantly injured by the word “inconsistent,” had meant to withdraw in silent pain, thus putting her mother in the wrong; but in the sometimes invaluable argot of the race-course, Mrs. Eliot got away first. Muriel felt severely baffled.
There remained to her, however, a retreat somewhat enfeebled by her mother's successful withdrawal: Mrs. Eliot had gone out of the room; Muriel could still go out of the house. Therefore she put on a hat, descended the stairs and went toward the front door in a manner intended to symbolize insulted pride taking a much more important departure than the mere walking out of a room.
Her mother, of course, was intended to see her pass the open double doors of the library, but Mrs. Eliot's back happened to be toward these doors, and she was denied the moving picture of the daughter sweeping through the hall. The caller, however, suffered no such deprivation; he sat facing the doorway, and although Muriel did not look directly at him, she became aware of a distinguished presence. The library was shadowy, the hall much lighter; she passed the doors quickly; but she was almost startled by the impression made upon her by this young man whom she had never seen before. Then, as she went on toward the front door, she had suddenly a sensation queerly like dizziness; it seemed to her that this stranger had looked at her profoundly as she passed, and that the gaze he bent upon her had come from a pair of dark and glowing eyes.
Illustration: “I say I don't,” she repeated. “I don't. I don't think it's important. Isn't that clear enough, Renfrew?”
She went out into the yard, but not, as she had intended, to the street; and turning the corner of the house, she crossed the sunny lawn to some hydrangea bushes in blossom, where she paused and stood, apparently in contemplation of the flowers. She was trembling a little, so strong was her queer consciousness of the stranger in the library and of his dark and glowing eyes. Such sensations as hers have often been described as “unreal;” that is to say, “she seemed to be in a dream.” Her own eye had not fully encountered the dark and glowing ones, but never had any person made so odd and instantaneous an impression upon her. What else was she to conclude but that there must have been “something psychic” about it? And how, except telepathy, could she have so suddenly found in her mind the conviction that the distinguished-looking young man was a painter? For to her own amazement, she was sure of this.
After a time she went back into the house, and again passed through the hall and by the open doors, but now her bearing was different. In a sweet, low voice she hummed a careless alr from Naples, while in her arms she bore a sheaf of splendid hydrangea blossoms, thus offering, in the momentary framing of the broad doorway, a composition rich in color and also of no mean decorative charm in contour. It may be said, “The Girl from the Garden” might have been the title she wished to suggest to a painter's mind, but when she came into the view of her mother's caller, consciousness of him increased all at once so overwhelmingly that she forgot herself. She had meant to pass the doorway with a cool leisureliness and entirely in profile—a Girl from the Garden with no other thought than to enliven her room with an armful of hydrangea blossoms,—but she came almost to a halt midway, and for the greater part of a second packed with drama, looked full upon the visitor.
He was one of those black-and-white young men: clothes black, linen white, a black bow at the collar, thick hair black, the face of a fine pallor, and black eyes lustrously comprehending. What they must have comprehended now was at least a little of the significance of the arrested attitude beyond the doorway, and more than a little of what was meant by the dark and lustrous eyes that with such poignant inquiry met his own. For Muriel's fairly shouted at him the startled question: “Who are you?”
Time, life and love are made of seconds and bits of seconds: Muriel had gone on, carrying her question clamoring down the hall with her, before this full second elapsed. She ran up the stairs and into her own room, dropped the hydrangeas upon a table, and in two strides confronted a mirror. A moment later she took up the hydrangeas again, with a care to hold them as she had held them in the hall below, then walked by the mirror, paused, gave the glass a deep, questioning look, and went on. After that she seated herself beside an open window that commanded a view of the front gate, and waited, the great question occupying her tumultuously.
By this time the great question had grown definite, and of course it was, “Is this He?” Other questions came tumbling after it: How did she know he was a painter, this young man of whom she had never heard? It is only in the moving pictures that a doctor must look like a doctor, a judge like a judge, an anarchist like an anarchist, a painter like a painter; the age of machines, hygiene and single-type clothing has so blurred men into indistinguishability that only a few musicians still look like musicians, a feat accomplished simply by the slight impoverishment of barbers. The young man in the library was actually a painter, but Muriel may well have been amazed that she knew it; for nowadays it is a common-place that a major general in mufti may be reasonably taken for a plumber, while an unimportant person soliciting alms at the door is shown into the house under the impression that a Senator is calling.
Why (Muriel asked herself) had her mother not mentioned such an appointment? But perhaps there had been no appointment; perhaps he had called without one. What for? To ask permission to paint the daughter's portrait? Had he seen her somewhere, before today? Where did he live? In Paris?
The front door could be heard closing below, and she looked down upon a white straw hat with a black band. This hat moved quickly down the path to the gate, and the young stranger was disclosed beneath the hat: a manly figure and an elastic step. Outside the gate he paused, looking back thoughtfully with his remarkable eyes; and Muriel, who had instantly withdrawn into the concealment of a window-curtain, marked that this look of his had the quality of covering the whole front of the house at a glance. It was a look, moreover, that seemed to comprehend the type of the house and even to measure its dimensions—a look of the kind that “takes in everything,” as people say. Muriel trembled again. Did he say to himself: “This is Her house?” Did he think: “I should like to set my easel here by the gate and paint this house, because it is the house where She dwells?”
His pause at the gate was only a momentary one; he turned toward the region of commerce and hotels, and walked quickly away, the intervening foliage of the trees almost immediately cutting him off from the observation of the girl at the window. Then she heard her mother coming up the stairs and through the upper hall; whereupon Muriel, still tremulous, began hastily to alter the position of the little silver implements upon her dressing-table, thus sketching a preoccupation with small housewifery, if Mrs. Eliot should come into the room. But to the daughter's acute disappointment, the mother passed the open door without even looking in, and retired to her own apartment.
Muriel most urgently wished to follow her and shower her with questions: “Who is he? Isn't he a painter? Why did he come to see you? What were you talking about? When is he coming again? What did he say when he saw me?” But remembering the terms upon which she and her mother had so recently parted, and that odious word “inconsistent,” Muriel could not bend to the intimacy of such a questioning. In fact, her own thought took the form, “I'd rather die!”
She turned to the window again, looked out at that gate so lately made significant by the passage of the stranger—and there was young Mr. Renfrew Mears, just coming in. He was a neat picture of a summer young gentleman for any girl's eye; but to Muriel he was a too-familiar object, and just now about as interesting as a cup of tepid barley-water. She tried to move away before he saw her, but Renfrew had always a fatal quickness for seeing her. He called to her.
“Oh, Muriel!”
“Well—what?” she said reluctantly.
“There's something I want to ask you about. Will you come down a few minutes?”
“Oh, well—I suppose so,” was her not too heartening response; but on the way downstairs a thought brightened her. Perhaps Renfrew might know something about a dark young man—a painter—lately come to town.
HE was blank upon this subject, however, as she discovered when they had seated themselves upon a wicker settee on the veranda. “No,” he said. “I haven't heard of any artist that's come here lately. Where'd you hear about one?”
“Oh, around,” she said casually. “I'm not absolutely certain he's an artist, but I got that idea somewhere. The reason I wanted to know is because I thought he might be one of the new group that have broken away, like Matisse and Gaugin.”
“Who?”
“Never mind. Haven't you heard of anybody at all that's a stranger here—visiting somebody, perhaps?”
“Not exactly,” Renfrew replied, thinking it over conscientiously. “I don't believe I have, exactly.”
“What do you mean, you don't think you have 'exactly'?” she asked irritably. “Have you, or haven't you?”
“Well,” he said, “my aunt Milly from Burnetsville is visiting my cousins, the Thomases, but she's an invalid and you probably wouldn't—”
“No, I wouldn't!” Muriel said. “Don't strain your mind any more, Renfrew.”
“I could inquire around,” he suggested. “I thought it wouldn't likely be my aunt, but you said 'anybody at all.'”
“Never mind! What was it you wanted to ask me?”
“Well, it's something that's rather important, but of course maybe you wont think so, Muriel. Anyway, though, I hope you'll think it's sort of important.”
“But what is it? Don't hang fire so, Renfrew!”
“I just wanted to lead up to it a little,” he explained mildly. “I've been thinking about getting a new car, and I wondered what sort you think I'd better look at. I didn't want to get one you wouldn't like.”
Her lips parted to project that little series of sibilances commonly employed by adults to make children conscious of error. “Why on earth should you ask me?” she said sharply. “Is that your idea of an important question?”
Renfrew's susceptible complexion showed an increase of color, but he was growing more and more accustomed to be used as a doormat, and he responded, without rancor: “I meant I hoped you'd sort of think it important, my not wanting to get one you wouldn't like.”
“Now, what do you mean by that?”
“Well,” he said, “I mean I hoped you'd think it was important, my thinking it was important to ask you.”
“I don't,” she returned as a complete answer.
“You say—”
“I say I don't,” she repeated. I don't. I don't think it's important. Isn't that clear enough, Renfrew?”
“Yes,” he said, and looked plaintively away from her. “I guess I don't need any new car.”
“Is there anything more this morning?” she was cruel enough to inquire.
“No,” he answered, rising. “I guess that's all.” Then, having received another of his almost daily rejections, he went away, leaving her to watch his departing figure with some exasperation, though she might well have admired him for his ingenuity: every day or two he invented a new way of proposing to her. In comparison, her refusals were commonplace, but of course she neither realized this nor cared to be brilliant for Renfrew; and also, this was a poor hour for him, when the electric presence of the black-and-white stranger was still vibrant in the very air. Muriel returned to her room and put the hydrangeas in a big silver vase; she moved them gently, with a touch both reverent and caressing, for they had borne a part in a fateful scene, and already she felt it possible that in the after years she would never see hydrangeas in blossom without remembering today and the First Meeting.
Impulsively she went to her desk and wrote:
“Is it true that You have come? My hand trembles, and I know that if I spoke to my mother about You, my voice would tremble. Oh, I could never ask her a question about You! A moment ago I sat upon the veranda with a dull man who wants to marry me. It seemed a desecration to listen to him—an offense to You! He has always bored me. How much more terribly he bored me when perhaps I had just seen You for the first time in my life! Perhaps it is not for the first time in eternity, though! Was I ever a Queen in Egypt and were You a Persian sculptor? Did we meet in Ephesus once?
“It is a miracle that we should meet at all. I might have lived in another century—or on another planet! Should we then have gone seeking, seeking one another always vainly? All my life I have been waiting for You. Always I have known that I was waiting, but until today I did not know it was for just You. My whole being trembled when I saw You—if it was You? I am trembling now as I think of You, as I write of You—write to You! A new life has possibly begun for me in this hour!
“And some day will I show You this writing? That thought is like fire and like ice. I burn with it and freeze with ir, in terror of You! See! Here is my heart opened like a book for your reading!
“Oh, is it, is it You? I think that You are a painter; that is all I know of You—and why did I think it? It came to me as I stood in a garden, thrilling with my first quick glimpse of You. Was that the proof of our destiny, yours and mine? Yes, the miracle of my knowing that You are a painter when I do not even know your name—that is the answer! It must be You! I tremble with excitement as I write that word 'You' which has suddenly leaped into such fiery life and meaning: I tremble and I weep! Oh, You—You—You! Is it?”
Twice, during the latter phases of this somewhat hasty record of ardor, she had been summoned to lunch, and after hurrying the final words upon the page, she put the paper into a notebook and locked it inside her desk. Then she descended the stairs and went toward the dining-room, but halted suddenly, unseen, outside the door. She had caught the word “painter,” spoken by her father.
“Well, I'm glad you liked that painter.”
“Yes,” Mrs. Eliot said. “I talked it over with him, and I'm afraid he agreed with you instead of with me. Naturally, he would, though! I was quite interested in him.”
“You were?”
“Yes—such an unexpected type.”
“Well, no,” Mr. Eliot said. “Nobody's an unexpected type nowadays. Isn't Muriel coming down at all?”
“Jennie's been up for her twice,” his wife informed him. “I suppose she'll come eventually. She's cross this morning.”
“What about?”
“Oh, I just asked her if she couldn't be a little fairer to a certain somebody. I suppose I'd better not have mentioned it, because it made her very peevish.”
UPON this, Muriel made her entrance swiftly enough to let her mother know that the last words had been overheard, an advantage the daughter could not forgo. She took her place at the table, opposite to her gourmandizing little brother Robert, and in silence permitted her facial expression alone to mention what she thought of a mother who called her “peevish” when she was not present to defend herself.
Only a moment before, she had been thrilled inexpressibly: the black-and-white stranger, so mysteriously spoken of by her parents, was indeed a painter. That proved his You-ness, proved everything! Her whole being (as she would have said) shook with the revelation, and her anxiety to hear more of him was consuming; but the word “peevish” brought about an instantaneous reversion. She entered the dining-room in an entirely different mood, for her whole being was that of a daughter embattled with a parent who attacks unfairly—so intricately elastic are the ways of our whole beings!
Mrs. Eliot offered only the defense of a patient smile; Mr. Eliot looked puzzled and oppressed; and for a time there was no conversation during the further progress of this uncomfortable meal. Nothing was to be heard in the room except movements of a servant and the audible eating of fat little Robert, who was incurably natural with his food.
It was Muriel who finally decided to speak. “I'm sorry to have interrupted your conversation,” she said frostily. “Perhaps, though, you'd prefer not to say any more about me to Papa and Robert while I'm here to explain what really happened, Mamma.”
“Oh, nonsense!” Mr. Eliot said. “I suppose even the Pope gets 'peevish' now and then; it's no deadly insult to say a person got a little peevish. We weren't having a 'conversation' about you at all. We were talking about other matters, and just barely mentioned you.”
Muriel looked at him quickly. “What other things were talking about?”
He laughed.
“My! How suspicious you are!”
Illustration: She came to a halt midway, and for the greater part of a second packed with drama, looked full upon the visitor.
“Not at all; I simply asked you what other things you were talking about.”
Instead of replying, “About a distinguished young painter who saw you on the street and wants to paint your portrait,” Mr. Eliot laughed again and rose, having finished his coffee. He came round the table to her and pinched her ear on his way to the door. “Good gracious!” he said. “Don't you suppose your mother and I ever talk about anything except what a naughty daughter we have?” And with that he departed. Mrs. Eliot said, “Excuse me,” rather coldly to Muriel, followed him to the front door and failed to return.
Muriel did not see her mother again during the afternoon, and in the evening Mr. and Mrs. Eliot went out to a dinner of their bridge-club, leaving their daughter to dine in the too audible company of Robert. She dressed exquisitely, though not for Robert, whose naturalness at the table brought several annoyed glances from her. “Can't you manage it more quietly, Robert?” she asked at last, with the dessert. “Try!”
“Whaffor?” he inquired.
“Only because it's so hideous!”
“Oh, hush!” he said rudely, and being offended, became more natural than ever, on purpose.
She sighed. Her whole being, not antagonized by her mother's presence, had become, with the falling of the dusk, an uplifted and mysterious expectation; and the sounds made by the gross child Robert were not to be borne. She left the table, went out into the starlight, and stood by the hydrangeas, an ethereal figure in draperies of mist.
“Oh, You!” she whispered, and let a bare arm be caressed by the clumps of great blossoms. “When are you coming again, You? Tonight?”
SHE quivered with the sense of impending drama; it seemed to her certain. that the next moment she would see him—that he would come to her out of the darkness. The young painter should have done so; he should have stepped out of the vague night-shadows, a poetic and wistful figure, melancholy with mystery, yet ineffably radiant. “Mademoiselle, step lightly!” he should have said. “Do you not see the heart beneath your slipper? It was mine until I threw it there!”
“Ah, You!” she murmured to the languorous hydrangeas.
At such a moment the sound of peanuts being eaten, shells and all, could fail to prove inharmonious. She shivered with the sudden anguish of a dislocated mood; but she was Robert's next of available kin and recognized a duty. She crossed the lawn to the veranda, where sat Robert, busy with a small paper sack upon his knee.
“Robert! Stop that!”
“I aint doin' anything,” he said crossly.
“You are. What do you mean, eating peanuts when you've just finished an enormous dinner?”
“Well, what hurt is that?”
“And with the shells on!” she cried.
“Makes more to 'em,” he explained.
“Stop it!”
“I wont,” Robert said doggedly. “I'm goin' to do what I please tonight, no matter how much trouble I get into tomorrow!”
“What 'trouble' do you expect tomorrow?”
“Didn't you hear about it?” he asked. “Papa and Mamma were talkin' about it at lunch.”
“I didn't hear them.”
“I guess it was before you came down,” Robert said; and then he gave her a surprise. “The painter was here this morning, and they got it all fixed up.”
MURIEL moved back from him a step, and inexplicably a dismal foreboding took her. “What?” she said.
“Well, the thing that bothers me is simply this,” Robert informed her: “He told Mamma he'd have to bring his little boy along and let him play around here as long as the work went on. He said he has to take this boy along with him, because his wife's a dentist's 'sistant and can't keep him around a dentist office, and they haven't got any place to leave him. He's about nine years old, and I'll bet anything I have trouble with him before the day's over.”
“Do you mean the—the painter is married, Robert?”
“Yes, and got this boy,” Robert said, shaking his head. “I bet I do have trouble with him if he's got to be around here until they get three coats o' paint on our house. Mamma thought they only needed two, but Papa said three, and the painter talked Mamma into it this morning.”
“The house?” Muriel said. “We're going to have the—the house painted?”
Robert was rather surprised. “Why, don't you remember how much Papa and Mamma were talkin' about it, two or three weeks ago? And then they thought not and didn't say so much about it, but for a while Papa was goin' to have every painter in town come up here and make a bid. Don't you remember?”
“I do now,” Muriel said feebly; and a moment later she glanced toward the bright windows of the house across the street. “Robert,” she said, “if you've finished those horrible peanuts, you might run and ask Mr. Renfrew Mears if he'd mind coming over a little while.”
She had been deeply stirred by the subject that had occupied her ail day, and it was a spiritual necessity for her (so to say) to continue upon the topic with somebody—even with Renfrew Mears! However, she rejected him again, though with a much greater consideration for his feelings than was customary; and when he departed, she called after him:
“Look out for your clothes when you come over tomorrow. We're going to have the house painted.”
Then, smiling contentedly, she went indoors and up to her room. The great vase of hydrangeas stood upon a table; she looked at it absently, and then was reminded of something. She took some sheets of written paper from a notebook in her desk, tossed them into a waste-basket, yawned and went to bed.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1946, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 77 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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