In youth, as at the opera, everything seems possible. Surely it is not necessary to choose between love and riches. One may have both, and the one all the more easily for having attained the other. It must be a fiction of the moralists who construct the dramas that the god of love and the god of money each claims an undivided allegiance. It was in some wholly legendary, perhaps spiritual, world that it was necessary to renounce love to gain the Rhine gold. The boxes at the Metropolitan did not believe this. The spectators of the boxes could believe it still less. For was not beauty there seen shining in jewels that have a market value, and did not love visibly preside over the union, and make it known that his sweetest favors go with a prosperous world? And yet, is the charm of life somewhat depending upon a sense of its fleetingness, of its phantasmagorial character, a note of coming disaster, maybe, in the midst of its most seductive pageantry, in the whirl and glitter and hurry of it? Is there some subtle sense of exquisite satisfaction in snatching the sweet moments of life out of the very delirium of it, that must soon end in an awakening to bankruptcy of the affections, and the dreadful loss of illusions? Else why do we take pleasure—a pleasure so deep that it touches the heart like melancholy—in the common drama of the opera? How gay and joyous is the beginning! Mirth, hilarity, entrancing sound, brilliant color, the note of a trumpet calling to heroism, the beseeching of the concordant strings, and the soft flute inviting to pleasure; scenes placid, pastoral, innocent; light-hearted love, the dance on the green, the stately pageant in the sunlit streets, the court, the ball, the mad splendor of life. And then love becomes passion, and passion thwarted hurries on to sin, and sin lifts to the heights of the immortal, sweetly smiling gods, and plunges to the depths of despair. In vain the orchestra, the inevitable accompaniment of life, warns and pleads and admonishes; calm has gone, and gayety has gone; there is no sweetness now but in the wildness of surrender and of sacrifice. How sad are the remembered strains that aforetime were incentives to love and promises of happiness! Gloom settles upon the scene; Mephisto, the only radiant one, flits across it, and mocks the poor broken-hearted girl clinging to the church door. There is a dungeon, the chanting of the procession of tonsured priests, the passing-bell. Seldom appears the golden bridge over which the baffled and tired pass into Valhalla.
Do we like this because it is life, or because there is a certain satisfaction in seeing the tragedy which impends over all, pervades the atmosphere, as it were, and adds something of zest to the mildest enjoyment? Should we go away from the mimic stage any, better and stronger if the drama began in the dungeon and ended on the greensward, with innocent love and resplendent beauty in possession of the Rhine gold?
How simple, after all, was the created world on the stage to the real world in the auditorium, with its thousand complexities and dramatic situations, and if the little knot of players of parts for an hour could have had leisure to be spectators of the audience, what a deeper revelation of life would they not have seen! For the world has never assembled such an epitome of itself, in its passion for pleasure and its passion for display, as in the modern opera, with its ranks and tiers of votaries from the pit to the dome. I fancy that even Margaret, whose love for music was genuine, was almost as much fascinated by the greater spectacle as by the less.
It was a crowded night, for the opera was one that appealed to the senses and stimulated them to activity, and left the mind free to pursue its own schemes; in a word, orchestra and the scenes formed a sort of accompaniment and interpreter to the private dramas in the boxes. The opera was made for society, and not society for the opera. We occupied a box in the second tier—the Morgans, Margaret, and my wife. Morgan said that the glasses were raised to us from the parquet and leveled at us from the loges because we were a country party, but he well enough knew whose fresh beauty and enthusiastic young face it was that drew the fire when the curtain fell on the first act, and there was for a moment a little lull in the hum of conversation.
“I had heard,” Morgan was saying, “that the opera was not acclimated in New York; but it is nearly so. The audience do not jabber so loud nor so incessantly as at San Carlo, and they do not hum the airs with the singers—”
“Perhaps,” said my wife, “that is because they do not know the airs.”
“But they are getting on in cultivation, and learning how to assert the social side of the opera, which is not to be seriously interfered with by the music on the stage.”
“But the music, the scenery, were never before so good,” I replied to these cynical observations.
“That is true. And the social side has risen with it. Do you know what an impudent thing the managers did the other night in protesting against the raising of the lights by which the house was made brilliant and the cheap illusions of the stage were destroyed? They wanted to make the house positively gloomy for the sake of a little artificial moonlight on the painted towers and the canvas lakes.”
As the world goes, the scene was brilliant, of course with republican simplicity. The imagination was helped by no titled names any more than the eye was by the insignia of rank, but there was a certain glow of feeling, as the glass swept the circle, to know that there were ten millions in this box, and twenty in the next, and fifty in the next, attested well enough by the flash of jewels and the splendor of attire, and one might indulge a genuine pride in the prosperity of the republic. As for beauty, the world, surely, in this later time, had flowered here—flowered with something of Aspasia's grace and something of the haughty coldness of Agrippina. And yet it was American. Here and there in the boxes was a thoroughbred portrait by Copley—the long shapely neck, the sloping shoulders, the drooping eyelids, even to the gown in which the great-grandmother danced with the French officers.
“Who is that lovely creature?” asked Margaret, indicating a box opposite.
I did not know. There were two ladies, and behind them I had no difficulty in making out Henderson and—Margaret evidently had not seen him Mr. Lyon. Almost at the same moment Henderson recognized me, and signaled for me to come to his box. As I rose to do so, Mrs. Morgan exclaimed: “Why, there is Mr. Lyon! Do tell him we are here.” I saw Margaret's color rise, but she did not speak.
I was presented to Mrs. Eschelle and her daughter; in the latter I recognized the beauty who had flashed by us in the Park. The elder lady inclined to stoutness, and her too youthful apparel could not mislead one as to the length of her pilgrimage in this world, nor soften the hard lines of her worldly face-lines acquired, one could see, by a social struggle, and not drawn there by an innate patrician insolence.
“We are glad to see a friend of Mr. Henderson's,” she said, “and of Mr. Lyon's also. Mr. Lyon has told us much of your charming country home. Who is that pretty girl in your box, Mr. Fairchild?”
Miss Eschelle had her glass pointed at Margaret as I gave the desired information.
“How innocent!” she murmured. “And she's quite in the style—isn't she, Mr. Lyon?” she asked, turning about, her sweet mobile face quite the picture of what she was describing. “We are all innocent in these days.”
“It is a very good style,” I said.
“Isn't it becoming?” asked the girl, making her dark eyes at once merry and demure.
Mr. Lyon was looking intently at the opposite box, and a slight shade came over his fine face. “Ah, I see!”
“I beg your pardon, Miss Eschelle,” he said, after a second, “I hardly know which to admire most, the beauty, or the wit, or the innocence of the American women.”
“There is nothing so confusing, though, as the country innocence,” the girl said, with the most natural air; “it never knows where to stop.”
“You are too absurd, Carmen,” her mother interposed; “as if the town girl did!”
“Well, mamma, there is authority for saying that there is a time for everything, only one must be in the fashion, you know.”
Mr. Lyon looked a little dubious at this turn of the talk; Mr. Henderson was as evidently amused at the girl's acting. I said I was glad to see that goodness was in fashion.
“Oh, it often is. You know we were promised a knowledge of good as well as evil. It depends upon the point of view. I fancy, now, that Mr. Henderson tolerates the good—that is the reason we get on so well together; and Mr. Lyon tolerates the evil—that's the reason he likes New York. I have almost promised him that I will have a mission school.”
The girl looked quite capable of it, or of any other form of devotion. Notwithstanding her persistent banter, she had a most inviting innocence of manner, almost an ingenuousness, that well became her exquisite beauty. And but for a tentative daring in her talk, as if the gentle creature were experimenting as to how far one could safely go, her innocence might have seemed that of ignorance.
It came out in the talk that Mr. Lyon had been in Washington for a week, and would return there later on.
“We had a claim on him,” said Mrs. Eschelle, “for his kindness to us in London, and we are trying to convince him that New York is the real capital.”
“Unfortunately,” added Miss Eschelle, looking up in Mr. Lyon's face, “he visited Brandon first, and you seem to have bewitched him with your simple country ways. I can get him to talk of nothing else.”
“You mean to say,” Mr. Lyon replied, with the air of retorting, “that you have asked me about nothing else.”
“Oh, you know we felt a little responsible for you; and there is no place so dangerous as the country. Now here you are protected—we put all the wickedness on the stage, and learn to recognize and shun it.”
“It may be wicked,” said her mother, “but it is dull. Don't you find it so, Mr. Henderson? I am passionately fond of Wagner, but it is too noisy for anything tonight.”
“I notice, dear,” the dutiful daughter replied for all of us, “that you have to raise your voice. But there is the ballet. Let us all listen now.”
Mr. Lyon excused himself from going with me, saying that he would call at our hotel, and I took Henderson. “I shall count the minutes you are going to lose,” the girl said as we went out-to our box. The lobbies in the interact were thronged with men—for the most part the young speculators of the Chamber turned into loungers in the foyer—knowing, alert, attitudinizing in the extreme of the mode, unable even in this hour to give beauty the preference to business, well knowing, perhaps, that beauty itself in these days has a fine eye for business.
I liked Henderson better in our box than in his own. Was it because the atmosphere was more natural and genuine? Or was it Margaret's transparent nature, her sincere enjoyment of the scene, her evident pleasure in the music, the color, the gayety of the house, that made him drop the slight cynical air of the world which had fitted him so admirably a moment before? He already knew my wife and the Morgans, and, after the greetings were made, he took a seat by Margaret, quite content while the act was going on to watch its progress in the play of her responsive features. How quickly she felt, how the frown followed the smile, how, she seemed to weigh and try to apprehend the meaning of what went on—how her every sense enjoyed life!
“It is absurd,” she said, turning her bright face to him when the curtain dropped, “to be so interested in fictitious trouble.”
“I'm not so sure that it is,” he replied, in her own tone; “the opera is a sort of pulpit, and not seldom preaches an awful sermon—more plainly than the preacher dares to make it.”
“But not in nomine Dei.”
“No. But who can say what is most effective? I often wonder, as I watch the congregations coming from the churches on the Avenue, if they are any more solemnized than the audiences that pour out of this house. I confess that I cannot shake off 'Lohengrin' in a good while after I hear it.”
“And so you think the theatres have a moral influence?”
“Honestly”—and I heard his good-natured laugh—“I couldn't swear to that. But then we don't know what New York might be without them.”
“I don't know,” said Margaret, reflectively, “that my own good impulses, such as I have, are excited by anything I see on the stage; perhaps I am more tolerant, and maybe toleration is not good. I wonder if I should grow worldly, seeing more of it?”
“Perhaps it is not the stage so much as the house,” Henderson replied, beginning to read the girl's mind.
“Yes, it would be different if one came alone and saw the play, unconscious of the house, as if it were a picture. I think it is the house that disturbs one, makes one restless and discontented.”
“I never analyzed my emotions,” said Henderson, “but when I was a boy and came to the theatre I well remember that it made me ambitious; every sort of thing seemed possible of attainment in the excitement of the crowded house, the music, the lights, the easy successes on the stage; nothing else is more stimulating to a lad; nothing else makes the world more attractive.”
“And does it continue to have the same effect, Mr. Henderson?”
“Hardly,” and he smiled; “the illusion goes, and the stage is about as real as the house—usually less interesting. It can hardly compete with the comedy in the boxes.”
“Perhaps it is lack of experience, but I like the play for itself.”
“Oh yes; desire for the dramatic is natural. People will have it somehow. In the country village where there are no theatres the people make dramas out of each other's lives; the most trivial incidents are magnified and talked about—dramatized, in short.”
“You mean gossiped about?”
“Well, you may call it gossip—nothing can be concealed; everybody knows about everybody else; there is no privacy; everything is used to create that illusory spectacle which the stage tries to give. I think that in the country village a good theatre would be a wholesome influence, satisfy a natural appetite indicated by the inquisition into the affairs of neighbors, and by the petty scandal.”
“We are on the way to it,” said Mr. Morgan, who sat behind them; “we have theatricals in the church parlors, which may grow into a nineteenth century substitute for the miracle-plays. You mustn't, Margaret, let Mr. Henderson prejudice you against the country.”
“No,” said the latter, quickly; “I was only trying to defend the city. We country people always do that. We must base our theatrical life on something in nature.”
“What is the difference, Mr. Henderson,” asked Margaret, “between the gossip in the boxes and the country gossip you spoke of?”
“In toleration mainly, and lack of exact knowledge. It is here rather cynical persiflage, not concentrated public opinion.”
“I don't follow you,” said Morgan. “It seems to me that in the city you've got gossip plus the stage.”
“That is to say, we have the world.”
“I don't like to believe that,” said Margaret, seriously—“your definition of the world.”
“You make me see that it was a poor jest,” he said, rising to go. “By-the-way, we have a friend of yours in our box tonight—a young Englishman.”
“Oh, Mr. Lyon. We were all delighted with him. Such a transparent, genuine nature!”
“Tell him,” said my wife, “that we should be happy to see him at our hotel.”
When Henderson came back to his box Carmen did not look up, but she said, indifferently: “What, so soon? But your absence has made one person thoroughly miserable. Mr. Lyon has not taken his eyes off you. I never saw such an international attachment.”
“What more could I do for Miss Eschelle than to leave her in such company?”
“I beg your pardon,” said Lyon. “Miss Eschelle must believe that I thoroughly appreciate Mr. Henderson's self-sacrifice. If I occasionally looked over where he was, I assure you it was in pity.”
“You are both altogether too self-sacrificing,” the beauty replied, turning to Henderson a look that was sweetly forgiving. “They who sin much shall be forgiven much, you know.”
“That leaves me,” Mr. Lyon answered, with a laugh, “as you say over here, out in the cold, for I have passed a too happy evening to feel like a transgressor.”
“The sins of omission are the worst sort,” she retorted.
“You see what you must do to be forgiven,” Henderson said to Lyon, with that good-natured smile that was so potent to smooth away sharpness.
“I fear I can never do enough to qualify myself.” And he also laughed.
“You never will,” Carmen answered, but she accompanied the doubt with a witching smile that denied it.
“What is all this about forgiveness?” asked Mrs. Eschelle, turning to them from regarding the stage.
“Oh, we were having an experience meeting behind your back, mamma, only Mr. Henderson won't tell his experience.”
“Miss Eschelle is in such a forgiving humor tonight that she absolves before any one has a chance to confess,” he replied.
“Don't you think I am always so, Mr. Lyon?”
Mr. Lyon bowed. “I think that an opera-box with Miss Eschelle is the easiest confessional in the world.”
“That's something like a compliment. You see” (to Henderson) “how much you Americans have to learn.”
“Will you be my teacher?”
“Or your pupil,” the girl said, in a low voice, standing near him as she rose.
The play was over. In the robing and descending through the corridors there were the usual chatter, meaning looks, confidential asides. It is always at the last moment, in the hurry, as in a postscript, that woman says what she means, or what for the moment she wishes to be thought to mean. In the crowd on the main stairway the two parties saw each other at a distance, but without speaking.
“Is it true that Lyon is 'epris' there?” Carmen whispered to Henderson when she had scanned and thoroughly inventoried Margaret.
“You know as much as I do.”
“Well, you did stay a long time,” she said, in a lower tone.
As Margaret's party waited for their carriage she saw Mrs. Eschelle and her daughter enter a shining coach, with footman and coachman in livery. Henderson stood raising his hat. A little white hand was shaken to him from the window, and a sweet, innocent face leaned forward—a face with dark, eyes and golden hair, lit up with a radiant smile. That face for the moment was New York to Margaret, and New York seemed a vain show.
Carmen threw herself back in her seat as if weary. Mrs. Eschelle sat bolt-upright.
“What in the world, child, made you go on so tonight?”
“I don't know.”
“What made you snub Mr. Lyon so often?”
“Did I? He won't mind much. Didn't you see, mother, that he was distrait the moment he espied that girl? I'm not going to waste my time. I know the signs. No fisheries imbroglio for me, thank you.”
“Fish? Who said anything about fish?”
“Oh, the international business. Ask Mr. Henderson to explain it. The English want to fish in our waters, I believe. I think Mr. Lyon has had a nibble from a fresh-water fish. Perhaps it's the other way, and he's hooked. There be fishers of men, you know, mother.”
“You are a strange child, Carmen. I hope you will be civil to both of them.” And they rode on in silence.
In real life the opera or the theatre is only the prologue to the evening. Our little party supped at Delgardo's. The play then begins. New York is quite awake by that time, and ready to amuse itself. After the public duty, the public attitudinizing, after assisting at the artificial comedy and tragedy which imitate life under a mask, and suggest without satisfying, comes the actual experience. My gentle girl—God bless your sweet face and pure heart!—who looked down from the sky-parlor at the Metropolitan upon the legendary splendor of the stage, and the alluring beauty and wealth of the boxes, and went home to create in dreams the dearest romance in a maiden's life, you did not know that for many the romance of the night just began when the curtain fell.
The streets were as light as day. At no other hour were the pavements so thronged, was there such a crush of carriages, such a blockade of cars, such running, and shouting, greetings and decorous laughter, such a swirl of pleasurable excitement. Never were the fashionable cafes and restaurants so crowded and brilliant. It is not a carnival time; it is just the flow and ebb of a night's pleasure, an electric night which has all of the morning except its peace, a night of the gayest opportunity and unlimited possibility.
At each little table was a drama in progress, light or serious—all the more serious for being light at the moment and unconsidered. Morgan, who was so well informed in the gossip of society and so little involved in it—some men have this faculty, which makes them much more entertaining than the daily newspaper—knew the histories of half the people in the room. There were an Italian marquis and his wife supping together like lovers, so strong is the force of habit that makes this public life necessary even when the domestic life is established. There is a man who shot himself rather seriously on the doorsteps of the beauty who rejected him, and in a year married the handsome and more wealthy woman who sits opposite him in that convivial party. There is a Russian princess, a fair woman with cool observant eyes, making herself agreeable to a mixed company in three languages. In this brilliant light is it not wonderful how dazzlingly beautiful the women are—brunettes in yellow and diamonds, blondes in elaborately simple toilets, with only a bunch of roses for ornament, in the flush of the midnight hour, in a radiant glow that even the excitement and the lifted glass cannot heighten? That pretty girl yonder—is she wife or widow?—slight and fresh and fair, they say has an ambition to extend her notoriety by going upon the stage; the young lady with her, who does not seem to fear a public place, may be helping her on the road. The two young gentlemen, their attendants, have the air of taking life more seriously than the girls, but regard with respectful interest the mounting vivacity of their companions, which rises and sparkles like the bubbles in the slender glasses which they raise to their lips with the dainty grace of practice. The staid family parties who are supping at adjoining tables notice this group with curiosity, and express their opinion by elevated eyebrows.
Margaret leaned back in her chair and regarded the whole in a musing' frame of mind. I think she apprehended nothing of it except the light, the color, the beauty, the movement of gayety. For her the notes of the orchestra sounded through it all—the voices of the singers, the hum of the house; it was all a spectacle and a play. Why should she not enjoy it? There was something in the nature of the girl that responded to this form of pleasure—the legitimate pleasure the senses take in being gratified. “It is so different,” she said to me, “from the pleasure one has in an evening by the fire. Do you know, even Mr. Morgan seems worldly here.”
It was a deeper matter than she thought, this about worldliness, which had been raised in Margaret's mind. Have we all double natures, and do we simply conform to whatever surrounds us? Is there any difference in kind between the country worldliness and the city worldliness? I do not suppose that Margaret formulated any of these ideas in words. Her knowledge of the city had hitherto been superficial. It was a place for shopping, for a day in a picture exhibition, for an evening in the theatre, no more a part of her existence than a novel or a book of travels: of the life of the town she knew nothing. That night in her room she became aware for the first time of another world, restless, fascinating, striving, full of opportunities. What must London be?
If we could only note the first coming into the mind of a thought that changes life and re-forms character—supposing that every act and every new departure has this subtle beginning—we might be less the sport of circumstances than we seem to be. Unnoted, the desire so swiftly follows the thought and juggles with the will.
The next day Mr. Henderson left his card and a basket of roses. Mr. Lyon called. It was a constrained visit. Margaret was cordially civil, and I fancied that Mr. Lyon would have been more content if she had been less so. If he were a lover, there was little to please him in the exchange of the commonplaces of the day.
“Yes,” he was saying to my wife, “perhaps I shall have to change my mind about the simplicity of your American life. It is much the same in New York and London. It is only a question of more or less sophistication.”
“Mr. Henderson tells us,” said my wife, “that you knew the Eschelles in London.”
“Yes. Miss Eschelle almost had a career there last season.”
“Why almost?”
“Well—you will pardon me—one needs for success in these days to be not only very clever, but equally daring. It is every day more difficult to make a sensation.”
“I thought her, across the house,” Margaret said, “very pretty and attractive. I did not know you were so satirical, Mr. Lyon. Do you mean that one must be more daring, as you call it, in London than in New York?”
“I hope it will not hurt your national pride, Miss Debree, if I say that there is always the greater competition in the larger market.”
“Oh, my pride,” Margaret answered, “does not lie in that direction.”
“And to do her justice, I don't think Miss Eschelle's does, either. She appears to be more interested now in New York than in London.”
He laughed as he said this, and Margaret laughed also, and then stopped suddenly, thinking of the roses that came that morning. Could she be comparing the Londoner with the handsome American who sat by her side at the opera last night? She was half annoyed with herself at the thought.
“And are not you also interested in New York, Mr. Lyon?” my wife asked.
“Yes, moderately so, if you will permit me to say it.” It was an effort on his part to keep up the conversation, Margaret was so wholly unresponsive; and afterwards, knowing how affairs stood with them, I could understand his well-bred misery. The hardest thing in the world is to suffer decorously and make no sign in the midst of a society which insists on stoicism, no matter how badly one is hurt. The Society for First Aid to the Injured hardens its heart in these cases. “I have never seen another place,” he continued, “where the women are so busy in improving themselves. Societies, clubs, parlor lectures, readings, recitations, musicales, classes—it fatigues one to keep in sight of them. Every afternoon, every evening, something. I doubt if men are capable of such incessant energy, Mrs. Fairchild.”
“And you find they have no time to be agreeable?”
“Quite the contrary. There is nothing they are not interesting in, nothing about which they cannot talk, and talk intensely. They absorb everything, and have the gift of acquiring intelligence without, as one of them told me, having to waste time in reading. Yes, it is a most interesting city.”
The coming in of Mr. Morgan gave another turn to the talk. He had been to see a rural American play, an exhibition of country life and character, constructed in absolute disregard of any traditions of the stage.
“I don't suppose,” Mr. Morgan said, “a foreigner would understand it; it would be impossible in Paris, incomprehensible in London.”
“Yes, I saw it,” said Mr. Lyon, thus appealed to. “It was very odd, and seemed to amuse the audience immensely. I suppose one must be familiar with American farm life to see the points of it. I confess that while I sat there, in an audience so keenly in sympathy with the play—almost a part of it, one might say—I doubted if I understood your people as well as I thought I did when I had been here a week only. Perhaps this is the beginning of an American drama.”
“Some people say that it is.”
“But it is so local!”
“Anything that is true must be true to local conditions, to begin with. The only question is, is it true to human nature? What puzzled me in this American play was its raising the old question of nature and art. You've seen Coquelin? Well, that is acting, as artificial as a sonnet, the perfection of training, skill in an art. You never doubt that he is performing in a play for the entertainment of an audience. You have the same enjoyment of it that you have of a picture—a picture, I mean, full of character and sentiment, not a photograph. But I don't think of Denman Thompson as an actor trained to perfection in a dramatic school, but as a New Hampshire farmer. I don't admire his skill; I admire him. There is plenty that is artificial, vulgarly conventional, in his play, plenty of imitation of the rustic that shows it is imitation, but he is the natural man. If he is a stage illusion, he does not seem so to me.” “Probably to an American audience only he does not,” Mr. Lyon remarked.
“Well, that is getting to be a tolerably large audience.”
“I doubt if you will change the laws of art,” said Mr. Lyon, rising to go.
“We shall hope to see you again at our house,” my wife said.
“You are very good. I should like it; but my time is running out.”
“If you cannot come, you may leave your adieus with Miss Debree, who is staying some time in the city,” my wife said, evidently to Margaret's annoyance. But she could do no less than give him her city address, though the information was not accompanied by any invitation in her manner.
Margaret was to stay some time with two maiden ladies, old friends of her mother, the Misses Arbuser. The Arbusers were people of consequence in their day, with a certain social prestige; in fact, the excellent ladies were two generations removed from successful mercantile life, which in the remote prospective took on an old-family solidity. Nowhere else in the city could Margaret have come closer in contact with a certain phase of New York life in which women are the chief actors—a phase which may be a transition, and may be only a craze. It is not so much a condescension of society to literature as it is a discovery that literature and art, in the persons of those who produce both, may be sources of amusement, or perhaps, to be just, of the enlargement of the horizon and the improvement of the mind. The society mind was never before so hospitable to new ideas and new sensations. Charities, boards of managers, missions, hospitals, news-rooms, and lodging-houses for the illiterate and the homeless—these are not sufficient, even with balls, dancing classes, and teas, for the superfluous energies of this restless, improving generation; there must be also radical clubs, reading classes, study classes, ethical, historical, scientific, literary lectures, the reading of papers by ladies of distinction and gentlemen of special attainments—an unremitting pursuit of culture and information. Curiosity is awake. The extreme of social refinement and a mild Bohemianism almost touch. It passes beyond the affectation of knowing persons who write books and write for the press, artists in paint and artists in music. “You cannot be sure in the most exclusive circle”—it was Carmen Eschelle who said this—“that you will not meet an author or even a journalist.” Not all the women, however, adore letters or affect enthusiasm at drawing-room lectures; there are some bright and cynical ones who do not, who write papers themselves, and have an air of being behind the scenes.
Margaret had thought that she was fully occupied in the country, with her teaching, her reading, her literature and historical clubs, but she had never known before what it was to be busy and not have time for anything, always in pursuit of some new thing, and getting a fragment here and there; life was a good deal like reading the dictionary and remembering none of the words. And it was all so cosmopolitan and all-embracingly sympathetic. One day it was a paper by a Servian countess on the social life of the Servians, absorbingly interesting both in itself and because it was a countess who read it; and this was followed by the singing of an Icelandic tenor and a Swedish soprano, and a recital on the violin by a slight, red-haired, middle-aged woman from London. All the talents seem to be afloat and at the service of the strenuous ones who are cultivating themselves.
The first function at which Margaret assisted in the long drawing-rooms of the Arbusers was a serious one—one that combined the charm of culture with the temptations of benevolence. The rooms were crowded with the fashion of the town, with a sprinkling of clergymen and of thin philanthropic gentlemen in advanced years. It was a four-o'clock, and the assembly had the cheerfulness of a reception, only that the display of toilets was felt to be sanctified by a purpose. The performance opened with a tremendous prelude on the piano by Herr Bloomgarten, who had been Liszt's favorite pupil; indeed, it was whispered that Liszt had said that, old as he was, he never heard Bloomgarten without learning something. There was a good deal of subdued conversation while the pianist was in his extreme agony of execution, and a hush of extreme admiration—it was divine, divine, ravishing—when he had finished. The speaker was a learned female pundit from India, and her object was to interest the women of America in the condition of their unfortunate Hindoo sisters. It appeared that thousands and tens of thousands of them were doomed to early and lifelong widowhood, owing to the operation of cruel caste laws, which condemned even girls betrothed to deceased Brahmins to perpetual celibacy. This fate could only be alleviated by the education and elevation of women. And money was needed for schools, especially for medical schools, which would break down the walls of prejudice and enfranchise the sex. The appeal was so charmingly made that every one was moved by it, especially the maiden ladies present, who might be supposed to enter into the feelings of their dusky sisters beyond the seas. The speaker said, with a touch of humor that always intensifies a serious discourse, that she had been told that in one of the New England States there was a superfluity of unmarried women; but this was an entirely different affair; it was a matter of choice with these highly educated and accomplished women. And the day had come when woman could make her choice! At this there was a great clapping of hands. It was one thing to be free to lead a life of single self-culture, and quite another to be compelled to lead a single fife without self-culture. The address was a great success, and much enthusiasm spread abroad for the cause of the unmarried women of India.
In the audience were Mrs. Eschelle and her daughter. Margaret and Carmen were made acquainted, and were drawn together by curiosity, and perhaps by a secret feeling of repulsion. Carmen was all candor and sweetness, and absorbingly interested in the women of India, she said. With Margaret's permission she would come and see her, for she believed they had common friends.
It would seem that there could not be much sympathy between natures so opposed, persons who looked at life from such different points of view, but undeniably Carmen had a certain attraction for Margaret. The New Englander, whose climate is at once his enemy and his tonic, always longs for the tropics, which to him are a region of romance, as Italy is to the German. In his nature, also, there is something easily awakened to the allurements of a sensuous existence, and to a desire for a freer experience of life than custom has allowed him. Carmen, who showed to Margaret only her best side—she would have been wise to exhibit no other to Henderson, but women of her nature are apt to cheapen themselves with men—seemed an embodiment of that graceful gayety and fascinating worldliness which make the world agreeable.
One morning, a few days after the Indian function, Margaret was alone in her own cozy sitting-room. Nothing was wanting that luxury could suggest to make it in harmony with a beautiful woman, nothing that did not flatter and please, or nurse, perhaps, a personal sense of beauty, and impart that glow of satisfaction which comes when the senses are adroitly ministered to. Margaret had been in a mood that morning to pay extreme attention to her toilet. The result was the perfection of simplicity, of freshness, of maiden purity, enhanced by the touch of art. As she surveyed herself in the pier-glass, and noted the refined lines of the morning-gown which draped but did not conceal the more exquisite lines of her figure, and adjusted a rose in her bosom, she did not feel like a Puritan, and, although she may not have noted the fact, she did not look like one. It was not a look of vanity that she threw into the mirror, or of special self-consciousness; in her toilet she had obeyed only her instinct (that infallible guide in a woman of refinement), and if she was conscious of any emotion, it was of the stirring within her of the deepest womanly nature.
In fact, she was restless. She flung herself into an easy-chair before the fire, and took up a novel. It was a novel with a religious problem. In vain she tried to be interested in it. At home she would have absorbed it eagerly; they would have discussed it; the doubts and suggestions in it would have assumed the deepest personal importance. It might have made an era in her thoughtful country life. Here it did not so appeal to her; it seemed unreal and shadowy in a life that had so much more of action than of reflection in it. It was a life fascinating and exciting, and profoundly unsatisfactory. Yet, after all, it was more really life than that placid vegetation in the country. She felt that in the whirl of only a few days of it—operas, receptions, teas, readings, dances, dinners, where everybody sparkled with a bewildering brilliancy, and yet from which one brought away nothing but a sense of strain; such gallantry, such compliments, such an easy tossing about of every topic under heaven; such an air of knowing everything, and not caring about anything very much; so much mutual admiration and personal satisfaction! She liked it, and perhaps was restless because she liked it. To be admired, to be deferred to—was there any harm in that? Only, if one suffers admiration today, it becomes a necessity tomorrow. She began to feel the influence of that life which will not let one stand still for a moment. If it is not the opera, it is a charity; if it is not a lover, it is some endowed cot in a hospital. There must be something going on every day, every hour.
Yes, she was restless, and could not read. She thought of Mr. Henderson. He had called formally. She had seen him, here and there, again and again. He had sought her out in all companies; his face had broken into a smile when he met her; he had talked with her lightly, gayly; she remembered the sound of his voice; she had learned to know his figure in a room among a hundred; and she blushed as she remembered that she had once or twice followed him with her eyes in a throng. He was, to be sure, nothing to her; but he was friendly; he was certainly entertaining; he was a part, somehow, of this easy-flowing life.
Miss Eschelle was announced. Margaret begged that she would come upstairs without ceremony. The mutual taking-in of the pretty street costume and the pretty morning toilet was the work of a moment—the photographer has invented no machine that equals a woman's eyes for such a purpose.
“How delightful it is! how altogether charming!” and Margaret felt that she was included with the room in this admiration. “I told mamma that I was coming to see you this morning, even if I missed the Nestors' luncheon. I like to please myself sometimes. Mamma says I'm frivolous, but do you know”—the girls were comfortably seated by the fire, and Carmen turned her sweet face and candid eyes to her companion—“I get dreadfully tired of all this going round and round. No, I don't even go to the Indigent Mothers' Home; it's part of the same thing, but I haven't any gift that way. Ah, you were reading—that novel.”
“Yes; I was trying to read it; I intend to read it.”
“Oh, we have had it! It's a little past now, but it has been all the rage. Everybody has read it; that is, I don't know that anybody has read it, but everybody has been talking about it. Of course somebody must have read it, to set the thing agoing. And it has been discussed to death. I sometimes feel as if I had changed my religion half a dozen times in a fortnight. But I haven't heard anything about it for a week. We have taken up the Hindoo widows now, you know.” And the girl laughed, as if she knew she were talking nonsense.
“And you do not read much in the city?” Margaret asked, with an answering smile.
“Yes; in the summer. That is, some do. There is a reading set. I don't know that they read much, but there is a reading set. You know, Miss Debree, that when a book is published—really published, as Mr. Henderson says—you don't need to read it. Somehow it gets into the air and becomes common property. Everybody hears the whole thing. You can talk about it from a notice. Of course there are some novels that one must read in order to understand human nature. Do you read French?”
“Yes; but not many French novels; I cannot.”
“Nor can I,” said Carmen, with a sincere face. “They are too realistic for me.” She was at the moment running over in her mind a “situation” in a paper-covered novel turned down on her nightstand. “Mr. Henderson says that everybody condemns the French novels, and that people praise the novels they don't read.”
“You know Mr. Henderson very well?”
“Yes; we've known him a long time. He is the only man I'm afraid of.”
“Afraid of?”
“Well, you know he is a sort of Club man; that style of man provokes your curiosity, for you never can tell how much such men know. It makes you a little uneasy.”
Carmen was looking into the fire, as if abstractedly reflecting upon the nature of men in general, but she did not fail to notice a slight expression of pain on Margaret's face.
“But there is your Mr. Lyon—”
Margaret laughed. “You do me too much honor. I think you discovered him first.”
“Well, our Mr. Lyon.” Carmen was still looking into the fire. “He is such a good young man!”
Margaret did not exactly fancy this sort of commendation, and she replied, with somewhat the tone of defending him, “We all have the highest regard for Mr. Lyon.”
“Yes, and he is quite gone on Brandon, I assure you. He intends to do a great deal of good in the world. I think he spends half his time in New York studying, he calls it, our charitable institutions. Mamma reproaches me that I don't take more interest in philanthropy. That is her worldly side. Everybody has a worldly side. I'm as worldly as I can be”—this with a look of innocence that denied the self-accusation—“but I haven't any call to marry into Exeter Hall and that sort of thing. That is what she means—dear mamma. Are you High-Church or evangelical?” she asked, after a moment, turning to Margaret?
Margaret explained that she was neither.
“Well, I am High-Church, and Mr. Lyon is evangelical-Church evangelical. There couldn't be any happiness, you know, without harmony in religious belief.”
“I should think not,” said Margaret, now quite recovering herself. “It must be a matter of great anxiety to you here.”
Carmen was quick to note the change of tone, and her face beamed with merriment as she rose.
“What nonsense I've been talking! I did not intend to go into such deep things. You must not mind what I said about Mr.—(a little pause to read Margaret's face)—Mr. Lyon. We esteem him as much as you do. How charming you are looking this morning! I wish I had your secret of not letting this life tell on one.” And she was gone in a shower of compliments and smiles and caressing ways. She had found out what she came to find out. Mr. Henderson needs watching, she said to herself.
The interview, as Margaret thought it over, was amusing, but it did not raise her spirits. Was everybody worldly and shallow? Was this the sort of woman whom Mr. Henderson fancied? Was Mr. Henderson the sort of man to whom such a woman would be attracted?