# The Song of the Lark/Part 2/Chapter 5

V
BY the first of February Thea had been in Chicago almost four months, and she did not know much more about the city than if she had never quitted Moonstone. She was, as Harsanyi said, incurious. Her work took most of her time, and she found that she had to sleep a good deal. It had never before been so hard to get up in the morning. She had the bother of caring for her room, and she had to build her fire and bring up her coal. Her routine was frequently interrupted by a message from Mr. Larsen summoning her to sing at a funeral. Every funeral took half a day, and the time had to be made up. When Mrs. Harsanyi asked her if it did not depress her to sing at funerals, she replied that she "had been brought up to go to funerals and did n't mind."
Thea never went into shops unless she had to, and she felt no interest in them. Indeed, she shunned them, as places where one was sure to be parted from one's money in some way. She was nervous about counting her change, and she could not accustom herself to having her purchases sent to her address. She felt much safer with her bundles under her arm.
During this first winter Thea got no city consciousness. Chicago was simply a wilderness through which one had to find one's way. She felt no interest in the general briskness and zest of the crowds. The crash and scramble of that big, rich, appetent Western city she did not take in at all, except to notice that the noise of the drays and street-cars tired her. The brilliant window displays, the splendid furs and stuffs, the gorgeous flower-shops, the gay candy-shops, she scarcely noticed. At Christmas-time she did feel some curiosity about the toy-stores, and she wished she held ​Thor's little mittened fist in her hand as she stood before the windows. The jewelers windows, too, had a strong attraction for her—she had always liked bright stones. When she went into the city she used to brave the biting lake winds and stand gazing in at the displays of diamonds and pearls and emeralds; the tiaras and necklaces and ear-rings, on white velvet. These seemed very well worth while to her, things worth coveting.
Mrs. Lorch and Mrs. Andersen often told each other it was strange that Miss Kronborg had so little initiative about "visiting points of interest." When Thea came to live with them she had expressed a wish to see two places: Montgomery Ward and Company's big mail-order store, and the packing-houses, to which all the hogs and cattle that went through Moonstone were bound. One of Mrs. Lorch's lodgers worked in a packing-house, and Mrs. Andersen brought Thea word that she had spoken to Mr. Eckman and he would gladly take her to Packingtown. Eckman was a toughish young Swede, and he thought it would be something of a lark to take a pretty girl through the slaughter-houses. But he was disappointed. Thea neither grew faint nor clung to the arm he kept offering her. She asked innumerable questions and was impatient because he knew so little of what was going on outside of his own department. When they got off the street-car and walked back to Mrs. Lorch s house in the dusk, Eckman put her hand in his overcoat pocket—she had no muff—and kept squeezing it ardently until she said, "Don't do that; my ring cuts me." That night he told his roommate that he "could have kissed her as easy as rolling off a log, but she was n't worth the trouble." As for Thea, she had enjoyed the afternoon very much, and wrote her father a brief but clear account of what she had seen.
One night at supper Mrs. Andersen was talking about the exhibit of students work she had seen at the Art ​Institute that afternoon. Several of her friends had sketches in the exhibit. Thea, who always felt that she was behindhand in courtesy to Mrs. Andersen, thought that here was an opportunity to show interest without committing herself to anything. "Where is that, the Institute?" she asked absently.
Mrs. Andersen clasped her napkin in both hands. "The Art Institute? Our beautiful Art Institute on Michigan Avenue? Do you mean to say you have never visited it?"
"Oh, is it the place with the big lions out in front? I remember; I saw it when I went to Montgomery Ward's. Yes, I thought the lions were beautiful."
"But the pictures! Didn't you visit the galleries?"
"No. The sign outside said it was a pay-day. I 've always meant to go back, but I have n't happened to be down that way since."
Mrs. Lorch and Mrs. Andersen looked at each other. The old mother spoke, fixing her shining little eyes upon Thea across the table. "Ah, but Miss Kronborg, there are old masters! Oh, many of them, such as you could not see anywhere out of Europe."
"And Corots." breathed Mrs. Andersen, tilting her head feelingly. "Such examples of the Barbizon school!" This was meaningless to Thea, who did not read the art columns of the Sunday Inter-Ocean as Mrs. Andersen did.
"Oh, I 'm going there some day," she reassured them. "I like to look at oil paintings."
One bleak day in February, when the wind was blowing clouds of dirt like a Moonstone sandstorm, dirt that filled your eyes and ears and mouth, Thea fought her way across the unprotected space in front of the Art Institute and into the doors of the building. She did not come out again until the closing hour. In the street-car, on the long cold ride home, while she sat staring at the waistcoat buttons of a fat strap-hanger, she had a serious reckoning with herself. She seldom thought about her way of life, about ​what she ought or ought not to do; usually there was but one obvious and important thing to be done. But that afternoon she remonstrated with herself severely. She told herself that she was missing a great deal; that she ought to be more willing to take advice and to go to see things. She was sorry that she had let months pass without going to the Art Institute. After this she would go once a week.
The Institute proved, indeed, a place of retreat, as the sand hills or the Kohlers garden used to be; a place where she could forget Mrs. Andersen's tiresome overtures of friendship, the stout contralto in the choir whom she so unreasonably hated, and even, for a little while, the torment of her work. That building was a place in which she could relax and play, and she could hardly ever play now. On the whole, she spent more time with the casts than with the pictures. They were at once more simple and more perplexing; and some way they seemed more important, harder to overlook. It never occurred to her to buy a catalogue, so she called most of the casts by names she made up for them. Some of them she knew; the Dying Gladiator she had read about in "Childe Harold" almost as long ago as she could remember; he was strongly associated with Dr. Archie and childish illnesses. The Venus di Milo puzzled her; she could not see why people thought her so beautiful. She told herself over and over that she did not think the Apollo Belvedere "at all handsome." Better than anything else she liked a great equestrian statue of an evil, cruel-looking general with an unpronounceable name. She used to walk round and round this terrible man and his terrible horse, frowning at him, brooding upon him, as if she had to make some momentous decision about him.
The casts, when she lingered long among them, always made her gloomy. It was with a lightening of the heart, a feeling of throwing off the old miseries and old sorrows of the world, that she ran up the wide staircase to the ​pictures. There she liked best the ones that told stories. There was a painting by Gérôme called "The Grief of the Pasha" which always made her wish for Gunner and Axel. The Pasha was seated on a rug, beside a green candle almost as big as a telegraph pole, and before him was stretched his dead tiger, a splendid beast, and there were pink roses scattered about him. She loved, too, a picture of some boys bringing in a newborn calf on a litter, the cow walking beside it and licking it. The Corot which hung next to this painting she did not like or dislike; she never saw it.
But in that same room there was a picture—oh, that was the thing she ran upstairs so fast to see! That was her picture. She imagined that nobody cared for it but herself, and that it waited for her. That was a picture indeed. She liked even the name of it, "The Song of the Lark." The flat country, the early morning light, the wet fields, the look in the girl's heavy face—well, they were all hers, anyhow, whatever was there. She told herself that that picture was "right." Just what she meant by this, it would take a clever person to explain. But to her the word covered the almost boundless satisfaction she felt when she looked at the picture.
Before Thea had any idea how fast the weeks were flying, before Mr. Larsen's "permanent" soprano had returned to her duties, spring came; windy, dusty, strident, shrill; a season almost more violent in Chicago than the winter from which it releases one, or the heat to which it eventually delivers one. One sunny morning the apple trees in Mrs. Lorch's back yard burst into bloom, and for the first time in months Thea dressed without building a fire. The morning shone like a holiday, and for her it was to be a holiday. There was in the air that sudden, treacherous softness which makes the Poles who work in the packing-houses get drunk. At such times beauty is necessary, and in Packingtown there is no place to get it except at the ​saloons, where one can buy for a few hours the illusion of comfort, hope, love,—whatever one most longs for.
Harsanyi had given Thea a ticket for the symphony concert that afternoon, and when she looked out at the white apple trees her doubts as to whether she ought to go vanished at once. She would make her work light that morning, she told herself. She would go to the concert full of energy. When she set off, after dinner, Mrs. Lorch, who knew Chicago weather, prevailed upon her to take her cape. The old lady said that such sudden mildness, so early in April, presaged a sharp return of winter, and she was anxious about her apple trees.
The concert began at two-thirty, and Thea was in her seat in the Auditorium at ten minutes after two—a fine seat in the first row of the balcony, on the side, where she could see the house as well as the orchestra. She had been to so few concerts that the great house, the crowd of people, and the lights, all had a stimulating effect. She was surprised to see so many men in the audience, and wondered how they could leave their business in the afternoon. During the first number Thea was so much interested in the orchestra itself, in the men, the instruments, the volume of sound, that she paid little attention to what they were playing. Her excitement impaired her power of listening. She kept saying to herself, "Now I must stop this foolishness and listen; I may never hear this again"; but her mind was like a glass that is hard to focus. She was not ready to listen until the second number, Dvorak's Symphony in E minor, called on the programme, "From the New World." The first theme had scarcely been given out when her mind became clear; instant composure fell upon her, and with it came the power of concentration. This was music she could understand, music from the New World indeed! Strange how, as the first movement went on, it brought back to her that high tableland above Laramie; the grass-grown wagon ​trails, the far-away peaks of the snowy range, the wind and the eagles, that old man and the first telegraph message.
When the first movement ended, Thea's hands and feet were cold as ice. She was too much excited to know anything except that she wanted something desperately, and when the English horns gave out the theme of the Largo, she knew that what she wanted was exactly that. Here were the sand hills, the grasshoppers and locusts, all the things that wakened and chirped in the early morning; the reaching and reaching of high plains, the immeasurable yearning of all flat lands. There was home in it, too; first memories, first mornings long ago; the amazement of a new soul in a new world; a soul new and yet old, that had dreamed something despairing, something glorious, in the dark before it was born; a soul obsessed by what it did not know, under the cloud of a past it could not recall.
If Thea had had much experience in concert-going, and had known her own capacity, she would have left the hall when the symphony was over. But she sat still, scarcely knowing where she was, because her mind had been far away and had not yet come back to her. She was startled when the orchestra began to play again—the entry of the gods into Walhalla. She heard it as people hear things in their sleep. She knew scarcely anything about the Wagner operas. She had a vague idea that "Rhinegold" was about the strife between gods and men; she had read something about it in Mr. Haweis's book long ago. Too tired to follow the orchestra with much understanding, she crouched down in her seat and closed her eyes. The cold, stately measures of the Walhalla music rang out, far away; the rainbow bridge throbbed out into the air, under it the wailing of the Rhine daughters and the singing of the Rhine. But Thea was sunk in twilight; it was all going on in another world. So it happened that with a dull, almost listless ear she heard for the first time ​that troubled music, ever-darkening, ever-brightening, which was to flow through so many years of her life.
When Thea emerged from the concert hall, Mrs. Lorch's predictions had been fulfilled. A furious gale was beating over the city from Lake Michigan. The streets were full of cold, hurrying, angry people, running for street-cars and barking at each other. The sun was setting in a clear, windy sky, that flamed with red as if there were a great fire somewhere on the edge of the city. For almost the first time Thea was conscious of the city itself, of the congestion of life all about her, of the brutality and power of those streams that flowed in the streets, threatening to drive one under. People jostled her, ran into her, poked her aside with their elbows, uttering angry exclamations. She got on the wrong car and was roughly ejected by the conductor at a windy corner, in front of a saloon. She stood there dazed and shivering. The cars passed, screaming as they rounded curves, but either they were full to the doors, or were bound for places where she did not want to go. Her hands were so cold that she took off her tight kid gloves. The street lights began to gleam in the dusk. A young man came out of the saloon and stood eyeing her questioningly while he lit a cigarette. "Looking for a friend to-night?" he asked. Thea drew up the collar of her cape and walked on a few paces. The young man shrugged his shoulders and drifted away.
Thea came back to the corner and stood there irresolutely. An old man approached her. He, too, seemed to be waiting for a car. He wore an overcoat with a black fur collar, his gray mustache was waxed into little points, and his eyes were watery. He kept thrusting his face up near hers. Her hat blew off and he ran after it—a stiff, pitiful skip he had—and brought it back to her. Then, while she was pinning her hat on, her cape blew up, and he held it down for her, looking at her intently. His face worked as if he were going to cry or were frightened. He leaned ​over and whispered something to her. It struck her as curious that he was really quite timid, like an old beggar. "Oh, let me alone!" she cried miserably between her teeth. He vanished, disappeared like the Devil in a play. But in the mean time something had got away from her; she could not remember how the violins came in after the horns, just there. When her cape blew up, perhaps—Why did these men torment her? A cloud of dust blew in her face and blinded her. There was some power abroad in the world bent upon taking away from her that feeling with which she had come out of the concert hall. Everything seemed to sweep down on her to tear it out from under her cape. If one had that, the world became one's enemy; people, buildings, wagons, cars, rushed at one to crush it under, to make one let go of it. Thea glared round her at the crowds, the ugly, sprawling streets, the long lines of lights, and she was not crying now. Her eyes were brighter than even Harsanyi had ever seen them. All these things and people were no longer remote and negligible; they had to be met, they were lined up against her, they were there to take something from her. Very well; they should never have it. They might trample her to death, but they should never have it. As long as she lived that ecstasy was going to be hers. She would live for it, work for it, die for it; but she was going to have it, time after time, height after height. She could hear the crash of the orchestra again, and she rose on the brasses. She would have it, what the trumpets were singing! She would have it, have it,—it! Under the old cape she pressed her hands upon her heaving bosom, that was a little girl's no longer.