that now, childless, she was but more sharply single than before. But she sat rather coldly light, having, as she called it, enough to live on—so far, that is, as she lived by bread alone: how little indeed she was regularly content with that diet appeared from the name she had made—Susan Shepherd Stringham—as a contributor to the best magazines. She wrote short stories, and she fondly believed she had her “note,” the art of showing New England without showing it wholly in the kitchen. She had not herself been brought up in the kitchen; she knew others who had not; and to speak for them had thus become with her a literary mission. To be in truth literary had ever been her dearest thought, the thought that kept her bright little nippers perpetually in position. There were masters, models, celebrities, mainly foreign, whom she finely accounted so and in whose light she ingeniously laboured; there were others whom, however chattered about, she ranked with the inane, for she was full of discrimination; but all categories failed her—they ceased at least to signify—as soon as she found herself in presence of the real thing, the romantic life itself. That was what she saw in Mildred—what positively made her hand a while tremble too much for the pen. She had had, it seemed to her, a revelation—such as even New England refined and grammatical couldn’t give; and, all made up as she was of small neat memories and ingenuities, little industries and ambitions, mixed with something moral, personal, that was still more intensely responsive, she felt her new friend would have done her an ill turn if their friendship shouldn’t develop, and yet that nothing would be left of anything else if it should. It was for the surrender of everything else that she was, however, quite prepared, and while she went about her usual Boston business with her usual Boston probity she was really all the while holding herself. She wore her “handsome” felt hat, so Tyrolese, yet somehow, though feathered from the eagle’s wing, so truly domestic, with the same straightness and security; she attached her fur boa with the same honest precautions; she preserved her balance on the ice-slopes with the same practised skill; she opened, each evening, her “Transcript” with the same interfusion of suspense and resignation; she attended her almost daily concert with the same expenditure of patience and the same economy of passion; she flitted in and out of the Public Library with the air of conscientiously returning or bravely carrying off in her pocket the key of knowledge itself; and finally—it was what she most did—she watched the thin trickle of a fictive “love-interest” through that somewhat serpentine channel, in the magazines, which she mainly managed to keep clear for it. But the real thing, all the while, was elsewhere; the real thing had gone back to New York, leaving behind it the two unsolved questions, quite distinct, of why it was real, and whether she should ever be so near it again.
For the figure to which these questions attached themselves she had found a convenient description—she thought of it for herself, always, as that of a girl with a background. The great reality was in the fact that, very soon, after but two or three meetings, the girl with the background, the girl with the crown of old gold and the mourning that was not as the mourning of Boston, but at once more rebellious in its gloom and more frivolous in its frills, had told her she had never seen anyone like her. They had met thus as opposed curiosities, and that simple remark of Milly’s—if simple it was—became the most important thing that had ever happened to her; it deprived the love-interest, for the time, of actuality and even of pertinence; it moved her first, in short, in a high degree, to gratitude, and then to no small compassion. Yet in respect to this relation at least it was what did prove the key of knowledge; it lighted up as nothing else could do the poor young woman’s history. That the potential heiress of all the ages should never have seen anyone like a mere typical subscriber, after all, to the “Transcript” was a truth that—in especial as announced with modesty, with humility, with regret—described a situation. It laid upon the elder woman, as to the void to be filled, a weight of responsibility; but in particular it led her to ask whom poor Mildred had then seen, and what range of contacts it had taken to produce such queer surprises. That was really the inquiry that had ended by clearing the air: the key of knowledge was felt to click in the lock from the moment it flashed upon Mrs. Stringham that her friend had been starved for culture. Culture was what she herself represented for her, and it was living up to that principle that would surely prove the great business. She knew, the clever lady, what the principle itself represented, and the limits of her own store; and a certain alarm would have grown upon her if something else hadn’t grown faster.
This was, fortunately for her—and we give it in her own words—the sense of a harrowing pathos. That, primarily, was what appealed to her, what seemed to open the door of romance for her still wider than any, than a still more reckless, connection with the “picture-papers.” For such was essentially the point: it was rich, romantic, abysmal, to have, as was evident, thousands and thousands a year, to have youth and intelligence and if not beauty, at least, in equal measure, a high, dim, charming, ambiguous oddity, which was even better, and then on top of all to enjoy boundless freedom, the freedom of the wind in the desert—it was unspeakably touching to be so equipped and yet to have been reduced by fortune to little humble-minded mistakes.
It brought our friend’s imagination back again to New York,
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