# McClure's Magazine/Volume 28/Number 5/The Namesake

"It was the same feeling that artists know when we, rarely, achieve truth in our work; the feeling of union with some great force, of purpose and security, of being glad that we have lived. For the first time I felt the pull of race and blood and kindred, and felt beating within me things that had not begun with me."
THE NAMESAKE
BY
WILLA SIBERT CATHER
SEVEN of us, students, sat one evening in Hartwell's studio on the Boulevard St. Michel. We were all fellow-countrymen; one from New Hampshire, one from Colorado, another from Nevada, several from the farm lands of the Middle West, and I myself from California. Lyon Hartwell, though born abroad, was simply, as every one knew, "from America." He seemed, almost more than any other one living man, to mean all of it—from ocean to ocean. When he was in Paris, his studio was always open to the seven of us who were there that evening, and we intruded upon his leisure as often as we thought permissible.
Although we were within the terms of the easiest of all intimacies, and although the great sculptor, even when he was more than usually silent, was at all times the most gravely cordial of hosts, yet, on that long remembered evening, as the sunlight died on the burnished brown of the horse-chestnuts below the windows, a perceptible dullness yawned through our conversation.
We were, indeed, somewhat low in spirit, for one of our number, Charley Bentley, was leaving us indefinitely, in response to an imperative summons from home. To-morrow his studio, just across the hall from Hartwell's, was to pass into other hands, and Bentley's luggage was even now piled in discouraged resignation before his door. The various bales and boxes seemed literally to weigh upon us as we sat in his neighbor's hospitable rooms, drearily putting in the time until he should leave us to catch the ten o'clock express for Dieppe.
The day we had got through very comfortably, for Bentley made it the occasion of a somewhat pretentious luncheon at Maxim's. There had been twelve of us at table, and the two young Poles were so thirsty, the Gascon so fabulously entertaining, that it was near upon five o'clock when we put down our liqueur glasses for the last time, and the red, perspiring waiter, having pocketed the reward of his arduous and protracted services, bowed us affably to the door, flourishing his napkin and brushing back the streaks of wet, black hair from his rosy forehead. Our guests having betaken themselves belated to their respective engagements, the rest of us returned with Bentley—only to be confronted by the depressing array before his door. A glance about his denuded rooms had sufficed to chill the glow of the afternoon, and we fled across the hall in a body and begged Lyon Hartwell to take us in.
Bentley had said very little about it, but we all knew what it meant to him to be called home. Each of us knew what it would mean to himself, and each had felt something of that quickened sense of opportunity which comes at seeing another man in any way counted out of the race. Never had the game seemed so enchanting, the chance to play it such a piece of unmerited, unbelievable good fortune.
It must have been, I think, about the middle of October, for I remember that the sycamores were almost bare in the Luxembourg Gardens that morning, and the terraces about the queens of France were strewn with crackling brown leaves. The fat red roses, out the summer long on the stand of the old flower woman at the corner, had given place to dahlias and purple asters. First glimpses of autumn toilettes flashed from the carriages; wonderful little bonnets nodded at one along the Champs-Elysées; and in the Quarter an occasional feather boa, red or black or white, brushed one's coat sleeve in the gay twilight of the early evening. The crisp, sunny autumn air was all day full of the stir of people and carriages and of the cheer of salutations; greetings of the students, returned brown and bearded from their holiday, gossip of people come back from Trouville, from St. Valery, from Dieppe, from all over Brittany and the Norman coast. Everywhere was the joyousness of return, the taking up again of life and work and play.
I had felt ever since early morning that this was the saddest of all possible seasons for saying good-by to that old, old city of youth, and to that little corner of it on the south shore which since the Dark Ages themselves—yes, and before—has been so peculiarly the land of the young.
I can recall our very postures as we lounged about Hartwell's rooms that evening, with Bentley making occasional hurried trips to his desolated workrooms across the hall—as if haunted by a feeling of having forgotten something—or stopping to poke nervously at his perroquets, which he had bequeathed to Hartwell, gilt cage and all. Our host himself sat on the couch, his big, bronze-like shoulders backed up against the window, his shaggy head, beaked nose, and long chin cut clean against the gray light.
Our drowsing interest, in so far as it could be said to be fixed upon anything, was centered upon Hartwell's new figure, which stood on the block ready to be cast in bronze, intended as a monument for some American battlefield. He called it "The Color Sergeant." It was the figure of a young soldier running, clutching the folds of a flag, the staff of which had been shot away. We had known it in all the stages of its growth, and the splendid action and feeling of the thing had come to have a kind of special significance for the half dozen of us who often gathered at Hartwell's rooms—though, in truth, there was as much to dishearten one as to inflame, in the case of a man who had done so much in a field so amazingly difficult; who had thrown up in bronze all the restless, teeming force of that adventurous wave still climbing westward in our own land across the waters. We recalled his "Scout," his "Pioneer," his "Gold Seekers," and those monuments in which he had invested one and another of the heroes of the Civil War with such convincing dignity and power.
"Where in the world does he get the heat to make an idea like that carry?" Bentley remarked morosely, scowling at the clay figure. "Hang me, Hartwell, if I don't think it's just because you're not really an American at all, that you can look at it like that."
The big man shifted uneasily against the window. "Yes," he replied smiling, "perhaps there is something in that. My citizenship was somewhat belated and emotional in its flowering. I've half a mind to tell you about it, Bentley." He rose uncertainly, and, after hesitating a moment, went back into his workroom, where he began fumbling among the litter in the corners.
At the prospect of any sort of personal expression from Hartwell, we glanced questioningly at one another; for although he made us feel that he liked to have us about, we were always held at a distance by a certain diffidence of his. There were rare occasions—when he was in the heat of work or of ideas—when he forgot to be shy, but they were so exceptional that no flattery was quite so seductive as being taken for a moment into Hartwell's confidence. Even in the matter of opinions—the commonest of currency in our circle—he was niggardly and prone to qualify. No man ever guarded his mystery more effectually. There was a singular, intense spell, therefore, about those few evenings when he had broken through this excessive modesty, or shyness, or melancholy, and had, as it were, committed himself.
When Hartwell returned from the back room, he brought with him an unframed canvas which he put on an easel near his clay figure. We drew close about it, for the darkness was rapidly coming on. Despite the dullness of the light, we instantly recognized the boy of Hartwell's "Color Sergeant." It was the portrait of a very handsome lad in uniform, standing beside a charger impossibly rearing. Not only in his radiant countenance and flashing eyes, but in every line of his young body there was an energy, a gallantry, a joy of life, that arrested and challenged one.
"Yes, that's where I got the notion," Hartwell remarked, wandering back to his seat in the window. "I've wanted to do it for years, but I've never felt quite sure of myself. I was afraid of missing it. He was an uncle of mine, my father's half-brother, and I was named for him. He was killed in one of the big battles of Sixty-four, when I was a child. I never saw him—never knew him until he had been dead for twenty years. And then, one night, I came to know him as we sometimes do living persons—intimately, in a single moment."
He paused to knock the ashes out of his short pipe, refilled it, and puffed at it thoughtfully for a few moments with his hands on his knees. Then, settling back heavily among the cushions and looking absently out of the window, he began his story. As he proceeded further and further into the experience which he was trying to convey to us, his voice sank so low and was sometimes so charged with feeling, that I almost thought he had forgotten our presence and was remembering aloud. Even Bentley forgot his nervousness in astonishment and sat breathless under the spell of the man's thus breathing his memories out into the dusk.
"It was just fifteen years ago this last spring that I first went home, and Bentley's having to cut away like this brings it all back to me.
"I was born, you know, in Italy. My father was a sculptor, though I dare say you've not heard of him. He was one of those first fellows who went over after Story and Powers,—went to Italy for 'Art,' quite simply; to lift from its native bough the willing, iridescent bird. Their story is told, informingly enough, by some of those ingenuous marble things at the Metropolitan. My father came over some time before the outbreak of the Civil War, and was regarded as a renegade by his family because he did not go home to enter the army. His half-brother, the only child of my grandfather's second marriage, enlisted at fifteen and was killed the next year. I was ten years old when the news of his death reached us. My mother died the following winter, and I was sent away to a Jesuit school, while my father, already ill himself, stayed on at Rome, chipping away at his Indian maidens and marble goddesses, still gloomily seeking the thing for which he had made himself the most unhappy of exiles.
"He died when I was fourteen, but even before that I had been put to work under an Italian sculptor. He had an almost morbid desire that I should carry on his work, under, as he often pointed out to me, conditions so much more auspicious. He left me in the charge of his one intimate friend, an American gentleman in the consulate at Rome, and his instructions were that I was to be educated there and to live there until I was twenty-one. After I was of age, I came to Paris and studied under one master after another until I was nearly thirty. Then, almost for the first time, I was confronted by a duty which was not my pleasure.
"My grandfather's death, at an advanced age, left an invalid maiden sister of my father's quite alone in the world. She had suffered for years from a cerebral disease, a slow decay of the faculties which rendered her almost helpless. I decided to go to America and, if possible, bring her back to Paris, where I seemed on my way toward what my poor father had wished for me.
"On my arrival at my father's birthplace, however, I found that this was not to be thought of. To tear this timid, feeble, shrinking creature, doubly aged by years and illness, from the spot where she had been rooted for a lifetime, would have been little short of brutality. To leave her to the care of strangers seemed equally heartless. There was clearly nothing for me to do but to remain and wait for that slow and painless malady to run its course. I was there something over two years.
"My grandfather's home, his father's homestead before him, lay on the high banks of a river in Western Pennsylvania. The little town twelve miles down the stream, whither my great-grandfather used to drive his ox-wagon on market days, had become, in two generations, one of the largest manufacturing cities in the world. For hundreds of miles about us the gentle hill slopes were honey-combed with gas wells and coal shafts; oil derricks creaked in every valley and meadow; the brooks were sluggish and discolored with crude petroleum, and the air was impregnated by its searching odor. The great glass and iron manufactories had come up and up the river almost to our very door; their smoky exhalations brooded over us, and their crashing was always in our ears. I was plunged into the very incandescence of human energy. But, though my nerves tingled with the feverish, passionate endeavor which snapped in the very air about me, none of these great arteries seemed to feed me; this tumultuous life did not warm me. On every side were the great muddy rivers, the ragged mountains from which the timber was being ruthlessly torn away, the vast tracts of wild country, and the gulches that were like wounds in the earth; everywhere the glare of that relentless energy which followed me like a searchlight and seemed to scorch and consume me. I could only hide myself in the tangled garden, where the dropping of a leaf or the whistle of a bird was the only incident.
"The Hartwell homestead had been sold away little by little, until all that remained of it was garden and orchard. The house, a square brick structure, stood in the midst of a great garden which sloped toward the river, ending in a grassy bank which fell some forty feet to the water's edge. The garden was now little more than a tangle of neglected shrubbery; damp, rank, and of that intense blue-green peculiar to vegetation in smoky places where the sun shines but rarely, and the mists form early in the evening and hang late in the morning.
"I shall never forget it as I saw it first, when I arrived there in the chill of a backward June. The long, rank grass, thick and soft and falling in billows, was always wet until midday. The gravel walks were bordered with great lilac-bushes, mock-orange, and bridal-wreath. Back of the house was a neglected rose garden, surrounded by a low stone wall over which the long suckers trailed and matted. They had wound their pink, thorny tentacles, layer upon layer, about the lock and the hinges of the rusty iron gate. Even the porches of the house, and the very windows, were damp and heavy with growth: wistaria, clematis, honeysuckle, and trumpet vine. The garden was grown up with trees, especially that part of it which lay above the river. The bark of the old locusts was blackened by the smoke that crept continually up the valley, and their feathery foliage, so merry in its movement and so yellow and joyous in its color, seemed peculiarly precious under that somber sky. There were sycamores and copper beeches; gnarled apple-trees, too old to bear; and fall pear-trees, hung with a sharp, hard fruit in October; all with a leafage singularly rich and luxuriant, and peculiarly vivid in color. The oaks about the house had been old trees when my great-grandfather built his cabin there, more than a century before, and this garden was almost the only spot for miles along the river where any of the original forest growth still survived. The smoke from the mills was fatal to trees of the larger sort, and even these had the look of doomed things—bent a little toward the town and seemed to wait with head inclined before that on-coming, shrieking force.
"About the river, too, there was a strange hush, a tragic submission—it was so leaden and sullen in its color, and it flowed so soundlessly forever past our door.
"I sat there every evening, on the high veranda overlooking it, watching the dim outlines of the steep hills on the other shore, the flicker of the lights on the island, where there was a boat-house, and listening to the call of the boatmen through the mist. The mist came as certainly as night, whitened by moonshine or starshine. The tin water-pipes went splash, splash, with it all evening, and the wind, when it rose at all, was little more than a sighing of the old boughs and a troubled breath in the heavy grasses.
"At first it was to think of my distant friends and my old life that I used to sit there; but after awhile it was simply to watch the days and weeks go by, like the river which seemed to carry them away.
"Within the house I was never at home. Month followed month, and yet I could feel no sense of kinship with anything there. Under the roof where my father and grandfather were born, I remained utterly detached. The somber rooms never spoke to me, the old furniture never seemed tinctured with race. This portrait of my boy uncle was the only thing to which I could draw near, the only link with anything I had ever known before.
"There is a good deal of my father in the face, but it is my father transformed and glorified; his hesitating discontent drowned in a kind of triumph. From my first day in that house, I continually turned to this handsome kinsman of mine, wondering in what terms he had lived and had his hope; what he had found there to look like that, to bound at one, after all those years, so joyously out of the canvas.
"From the timid, clouded old woman over whose life I had come to watch, I learned that in the backyard, near the old rose garden, there was a locust-tree which my uncle had planted. After his death, while it was still a slender sapling, his mother had a seat built round it, and she used to sit there on summer evenings. His grave was under the apple-trees in the old orchard.
"My aunt could tell me little more than this. There were days when she seemed not to remember him at all.
"It was from an old soldier in the village that I learned the boy's story. Lyon was, the old man told me, but fourteen when the first enlistment occurred, but was even then eager to go. He was in the court-house square every evening to watch the recruits at their drill, and when the home company was ordered off he rode into the city on his pony to see the men board the train and to wave them good-by. The next year he spent at home with a tutor, but when he was fifteen he held his parents to their promise and went into the army. He was color sergeant of his regiment and fell in a charge upon the breastworks of a fort about a year after his enlistment.
"The veteran showed me an account of this charge which had been written for the village paper by one of my uncle's comrades who had seen his part in the engagement, it seems that as his company were running at full speed across the bottom lands toward the fortified hill, a shell burst over them. This comrade, running beside my uncle, saw the colors waver and sink as if falling, and looked to see that the boy's hand and forearm had been torn away by the exploding shrapnel. The boy, he thought, did not realize the extent of his injury, for he laughed, shouted something which his comrade did not catch, caught the flag in his left hand, and ran on up the hill. They went splendidly up over the breastworks, but just as my uncle, his colors flying, reached the top of the embankment, a second shell carried away his left arm at the arm-pit, and he fell over the wall with the flag settling about him.
"It was because this story was ever present with me, because I was unable to shake it off, that I began to read such books as my grandfather had collected upon the Civil War. I found that this war was fought largely by boys, that more men enlisted at eighteen than at any other age. When I thought of those battlefields—and I thought of them much in those days—there was always that glory of youth above them, that impetuous, generous passion stirring the long lines on the march, the blue battalions in the plain. The bugle, whenever I have heard it since, has always seemed to me the very golden throat of that boyhood which spent itself so gaily, so incredibly.
"I used often to wonder how it was that this uncle of mine, who seemed to have possessed all the charm and brilliancy allotted to his family and to have lived up its vitality in one splendid hour, had left so little trace in the house where he was born and where he had awaited his destiny. Look as I would, I could find no letters from him, no clothing or books that might have been his. He had been dead but twenty years, and yet nothing seemed to have survived except the tree he had planted. It seemed incredible and cruel that no physical memory of him should linger to be cherished among his kindred,—nothing but the dull image in the brain of that aged sister. I used to pace the garden walks in the evening, wondering that no breath of his, no echo of his laugh, of his call to his pony or his whistle to his dogs, should linger about those shaded paths where the pale roses exhaled their dewy, country smell. Sometimes, in the dim starlight, I have thought that I heard on the grasses beside me the stir of a footfall lighter than my own, and under the black arch of the lilacs I have fancied that he bore me company.
"There was, I found, one day in the year for which my old aunt waited, and which stood out from the months that were all of a sameness to her. On the thirtieth of May she insisted that I should bring down the big flag from the attic and run it up upon the tall flagstaff beside Lyon's tree in the garden. Later in the morning she went with me to carry some of the garden flowers to the grave in the orchard,—a grave scarcely larger than a child's.
"I had noticed, when I was hunting for the flag in the attic, a leather trunk with my own name stamped upon it, but was unable to find the key. My aunt was all day less apathetic than usual; she seemed to realize more clearly who I was, and to wish me to be with her. I did not have an opportunity to return to the attic until after dinner that evening, when I carried a lamp up-stairs and easily forced the lock of the trunk. I found all the things that I had looked for; put away, doubtless, by his mother, and still smelling faintly of lavender and rose leaves; his clothes, his exercise books, his letters from the army, his first boots, his riding-whip, some of his toys, even. I took them out and replaced them gently. As I was about to shut the lid, I picked up a copy of the Æneid, on the fly-leaf of which was written in a slanting, boyish hand,
Lyon Hartwell, January, 1862.
He had gone to the wars in Sixty-three, I remembered.
"My uncle, I gathered, was none too apt at his Latin, for the pages were dog-eared and rubbed and interlined, the margins mottled with pencil sketches—bugles, stacked bayonets, and artillery carriages. In the act of putting the book down, I happened to run over the pages to the end, and on the fly-leaf at the back I saw his name again, and a drawing—with his initials and a date—of the Federal flag; above it, written in a kind of arch and in the same unformed:
"Oh, say, can you see by the dawn's early light
What so proudly we hailed at the twilight's last gleaming?"
It was a stiff, wooden sketch, not unlike a detail from some Egyptian inscription, but, the moment I saw it, wind and color seemed to touch it. I caught up the book, blew out the lamp, and rushed down into the garden.
"I seemed, somehow, at last to have known him; to have been with him in that careless, unconscious moment and to have known him as he was then.
"As I sat there in the rush of this realization, the wind began to rise, stirring the light foliage of the locust over my head and bringing, fresher than before, the woody odor of the pale roses that overran the little neglected garden. Then, as it grew stronger, it brought the sound of something sighing and stirring over my head in the perfumed darkness.
"I thought of that sad one of the Destinies who, as the Greeks believed, watched from birth over those marked for a violent or untimely death. Oh, I could see him, there in the shine of the morning, his book idly on his knee, his flashing eyes looking straight before him, and at his side that grave figure, hidden in her draperies, her eyes following his, but seeing so much farther—seeing what he never saw, that great moment at the end, when he swayed above his comrades on the earthen wall.
"All the while, the bunting I had run up in the morning flapped fold against fold, heaving and tossing softly in the dark—against a sky so black with rain clouds that I could see above me only the blur of something in soft, troubled motion.
"The experience of that night, coming so overwhelmingly to a man so dead, almost rent me in pieces. It was the same feeling that artists know when we, rarely, achieve truth in our work; the feeling of union with some great force, of purpose and security, of being glad that we have lived. For the first time I felt the pull of race and blood and kindred, and felt beating within me things that had not begun with me. It was as if the earth under my feet had grasped and rooted me, and were pouring its essence into me. I sat there until the dawn of morning, and all night long my life seemed to be pouring out of me and running into the ground."
Hartwell drew a long breath that lifted his heavy shoulders, and then let them fall again. He shifted a little and faced more squarely the scattered, silent company before him. The darkness had made us almost invisible to each other, and, except for the occasional red circuit of a cigarette end traveling upward from the arm of a chair, he might have supposed us all asleep.
"And so," Hartwell added thoughtfully, "I naturally feel an interest in fellows who are going home. It's always an experience."
No one said anything, and in a moment there was a loud rap at the door,—the concierge, come to take down Bentley's luggage and to announce that the cab was below. Bentley got his hat and coat, enjoined Hartwell to take good care of his perroquets, gave each of us a grip of the hand, and went briskly down the long flights of stairs. We followed him into the street, calling our good wishes, and saw him start on his drive across the lighted city to the Gare St. Lazare.