The Troll Garden and Selected Stories - Willa Cather (ebook reader for surface pro .TXT) 📗

glanced nervously at his brother. “But do things vanish just because they have been dreamed?” he objected.

“Generally that is the very best reason for their vanishing,” said Arthur gravely.

“But, Father, people can’t help what they dream,” remonstrated Edward gently.

“Oh, come! You’re making these children talk like a Maeterlinck dialogue,” laughed Miss Broadwood.

Flavia presently entered, a book in her hand, and bade them all good morning. “Come, little people, which story shall it be this morning?” she asked winningly. Greatly excited, the children followed her into the garden. “She does then, sometimes,” murmured Imogen as they left the breakfast room.

“Oh, yes, to be sure,” said Miss Broadwood cheerfully. “She reads a story to them every morning in the most picturesque part of the garden. The mother of the Gracchi, you know. She does so long, she says, for the time when they will be intellectual companions for her. What do you say to a walk over the hills?”

As they left the house they met Frau Lichtenfeld and the bushy Herr Schotte—the professor cut an astonishing figure in golf stockings—returning from a walk and engaged in an animated conversation on the tendencies of German fiction.

“Aren’t they the most attractive little children,” exclaimed Imogen as they wound down the road toward the river.

“Yes, and you must not fail to tell Flavia that you think so. She will look at you in a sort of startled way and say, ‘Yes, aren’t they?’ and maybe she will go off and hunt them up and have tea with them, to fully appreciate them. She is awfully afraid of missing anything good, is Flavia. The way those youngsters manage to conceal their guilty presence in the House of Song is a wonder.”

“But don’t any of the artist-folk fancy children?” asked Imogen.

“Yes, they just fancy them and no more. The chemist remarked the other day that children are like certain salts which need not be actualized because the formulae are quite sufficient for practical purposes. I don’t see how even Flavia can endure to have that man about.”

“I have always been rather curious to know what Arthur thinks of it all,” remarked Imogen cautiously.

“Thinks of it!” ejaculated Miss Broadwood. “Why, my dear, what would any man think of having his house turned into an hotel, habited by freaks who discharge his servants, borrow his money, and insult his neighbors? This place is shunned like a lazaretto!”

Well, then, why does he—why does he—” persisted Imogen.

“Bah!” interrupted Miss Broadwood impatiently, “why did he in the first place? That’s the question.”

“Marry her, you mean?” said Imogen coloring.

“Exactly so,” said Miss Broadwood sharply, as she snapped the lid of her matchbox.

“I suppose that is a question rather beyond us, and certainly one which we cannot discuss,” said Imogen. “But his toleration on this one point puzzles me, quite apart from other complications.”

“Toleration? Why this point, as you call it, simply is Flavia. Who could conceive of her without it? I don’t know where it’s all going to end, I’m sure, and I’m equally sure that, if it were not for Arthur, I shouldn’t care,” declared Miss Broadwood, drawing her shoulders together.

“But will it end at all, now?”

“Such an absurd state of things can’t go on indefinitely. A man isn’t going to see his wife make a guy of herself forever, is he? Chaos has already begun in the servants’ quarters. There are six different languages spoken there now. You see, it’s all on an entirely false basis. Flavia hasn’t the slightest notion of what these people are really like, their good and their bad alike escape her. They, on the other hand, can’t imagine what she is driving at. Now, Arthur is worse off than either faction; he is not in the fairy story in that he sees these people exactly as they are, <i>but</i> he is utterly unable to see Flavia as they see her. There you have the situation. Why can’t he see her as we do? My dear, that has kept me awake o’ nights. This man who has thought so much and lived so much, who is naturally a critic, really takes Flavia at very nearly her own estimate. But now I am entering upon a wilderness. From a brief acquaintance with her you can know nothing of the icy fastnesses of Flavia’s self-esteem. It’s like St. Peter’s; you can’t realize its magnitude at once. You have to grow into a sense of it by living under its shadow. It has perplexed even Emile Roux, that merciless dissector of egoism. She has puzzled him the more because be saw at a glance what some of them do not perceive at once, and what will be mercifully concealed from Arthur until the trump sounds; namely, that all Flavia’s artists have done or ever will do means exactly as much to her as a symphony means to an oyster; that there is no bridge by which the significance of any work of art could be conveyed to her.”

“Then, in the name of goodness, why does she bother?” gasped Imogen. “She is pretty, wealthy, well-established; why should she bother?”

“That’s what M. Roux has kept asking himself. I can’t pretend to analyze it. She reads papers on the Literary Landmarks of Paris, the Loves of the Poets, and that sort of thing, to clubs out in Chicago. To Flavia it is more necessary to be called clever than to breathe. I would give a good deal to know that glum Frenchman’s diagnosis. He has been watching her out of those fishy eyes of his as a biologist watches a hemisphereless frog.”

For several days after M. Roux’s departure Flavia gave an embarrassing share of her attention to Imogen. Embarrassing, because Imogen had the feeling of being energetically and futilely explored, she knew not for what. She felt herself under the globe of an air pump, expected to yield up something. When she confined the conversation to matters of general interest Flavia conveyed to her with some pique that her one endeavor in life had been to fit herself to converse with her friends upon those things which vitally interested them. “One has no right to accept their best from people unless one gives, isn’t it so? I want to be able to give—!” she declared vaguely. Yet whenever Imogen strove to pay her tithes and plunged bravely into her plans for study next winter, Flavia grew absent-minded and interrupted her by amazing generalizations or by such embarrassing questions as, “And these grim studies really have charm for you; you are quite buried in them; they make other things seem light and ephemeral?”

“I rather feel as though I had got in here under false pretenses,” Imogen confided to Miss Broadwood. “I’m sure I don’t know what it is that she wants of me.”

“Ah,” chuckled Jemima, “you are not equal to these heart to heart talks with Flavia. You utterly fail to communicate to her the atmosphere of that untroubled joy in which you dwell. You must remember that she gets no feeling out of things herself, and she demands that you impart yours to her by some process of psychic transmission. I once met a blind girl, blind from birth, who could discuss the peculiarities of the Barbizon school with just Flavia’s glibness and enthusiasm. Ordinarily Flavia knows how to get what she wants from people, and her memory is wonderful. One evening I heard her giving Frau Lichtenfeld some random impressions about Hedda Gabler which she extracted from me five years ago; giving them with an impassioned conviction of which I was never guilty. But I have known other people who could appropriate your stories and opinions; Flavia is infinitely more subtle than that; she can soak up the very thrash and drift of your daydreams, and take the very thrills off your back, as it were.”

After some days of unsuccessful effort, Flavia withdrew herself, and Imogen found Hamilton ready to catch her when she was tossed afield. He seemed only to have been awaiting this crisis, and at once their old intimacy reestablished itself as a thing inevitable and beautifully prepared for. She convinced herself that she had not been mistaken in him, despite all the doubts that had come up in later years, and this renewal of faith set more than one question thumping in her brain. “How did he, how can he?” she kept repeating with a tinge of her childish resentment, “what right had he to waste anything so fine?”

When Imogen and Arthur were returning from a walk before luncheon one morning about a week after M. Roux’s departure, they noticed an absorbed group before one of the hall windows. Herr Schotte and Restzhoff sat on the window seat with a newspaper between them, while Wellington, Schemetzkin, and Will Maidenwood looked over their shoulders. They seemed intensely interested, Herr Schotte occasionally pounding his knees with his fists in ebullitions of barbaric glee. When imogen entered the hall, however, the men were all sauntering toward the breakfast room and the paper was lying innocently on the divan. During luncheon the personnel of that window group were unwontedly animated and agreeable all save Schemetzkin, whose stare was blanker than ever, as though Roux’s mantle of insulting indifference had fallen upon him, in addition to his own oblivious self-absorption. Will Maidenwood seemed embarrassed and annoyed; the chemist employed himself with making polite speeches to Hamilton. Flavia did not come down to lunch—and there was a malicious gleam under Herr Schotte’s eyebrows. Frank Wellington announced nervously that an imperative letter from his protecting syndicate summoned him to the city.

After luncheon the men went to the golf links, and Imogen, at the first opportunity, possessed herself of the newspaper which had been left on the divan. One of the first things that caught her eye was an article headed “Roux on Tuft Hunters; The Advanced American Woman as He Sees Her; Aggressive, Superficial, and Insincere.” The entire interview was nothing more nor less than a satiric characterization of Flavia, aquiver with irritation and vitriolic malice. No one could mistake it; it was done with all his deftness of portraiture. Imogen had not finished the article when she heard a footstep, and clutching the paper she started precipitately toward the stairway as Arthur entered. He put out his hand, looking critically at her distressed face.

“Wait a moment, Miss Willard,” he said peremptorily, “I want to see whether we can find what it was that so interested our friends this morning. Give me the paper, please.”

Imogen grew quite white as he opened the journal. She reached forward and crumpled it with her hands. “Please don’t, please don’t,” she pleaded; “it’s something I don’t want you to see. Oh, why will you? it’s just something low and despicable that you can’t notice.”

Arthur had gently loosed her hands, and he pointed her to a chair. He lit a cigar and read the article through without comment. When he had finished it he walked to the fireplace, struck a match, and tossed the flaming journal between the brass andirons.

“You are right,” he remarked as he came back, dusting his hands with his handkerchief. “It’s quite impossible to comment. There are extremes of blackguardism for which we have no name. The only thing necessary is to see that Flavia gets no wind of this. This seems to be my cue to act; poor girl.”

Imogen looked at him tearfully; she could only murmur, “Oh, why did you read it!”

Hamilton laughed spiritlessly. “Come, don’t you worry about it. You always took other people’s troubles too seriously. When you were little and all the world was gay and everybody happy, you must needs get the Little Mermaid’s troubles to grieve over. Come with me into the music room. You remember the musical setting I once made you for the