WeRead Powered by ReaderPub
The Brimming Cup cover

The Brimming Cup

Chapter 20: CHAPTER IX
Open in WeRead

Explore more books like this:

About This Book

The story centers on Marise, a mother who feels the ache of her children's growing independence while the town around her hums with domestic talk, friendships, and returning visitors. Interwoven episodes follow household routines, garden vignettes, and neighborhood encounters, and trace relationships among older residents, younger men, and prospective lovers. Through small crises, reflective interludes, and moments of loss and renewal, the narrative examines duty, personal longing, moral choice, and the gradual self-discovery that emerges from everyday life.

Half an Hour in the Life of a Modern Woman


May 8.

Marise looked at the clock. They all three looked at the clock. On school mornings the clock dominated their every instant. Marise often thought that the swinging of its great pendulum was as threatening as the Pendulum that swung in the Pit. Back and forth, back and forth, bringing nearer and nearer the knife-edge of its dire threat that nine o'clock would come and the children not be in school. Somehow they must all manage to break the bonds that held them there and escape from the death-trap before the fatal swinging menace reached them. The stroke of nine, booming out in that house, would be like the Crack o' Doom to the children.

Marise told Paul not to eat so fast, and said to Elly, who was finishing her lessons and her breakfast together, "I let you do this, this one time, Elly, but I don't want you to let it happen again. You had plenty of time yesterday to get that done."

She stirred her coffee and thought wistfully, "What a policeman I must seem to the children. I wish I could manage it some other way."

Elly, her eyes on the book, murmured in a low chanting rhythm, her mouth full of oatmeal, "Delaware River, Newcastle, Brandywine, East Branch, West Branch, Crum Creek, Schuylkill."

Paul looked round at the clock again. His mother noted the gesture, the tension of his attitude, his preoccupied expression, and had a quick inner vision of a dirty, ragged, ignorant, gloriously free little boy on a raft on the Mississippi river, for whom life was not measured out by the clock, in thimbleful doses, but who floated in a golden liberty on the very ocean of eternity. "Why can't we bring them up like Huckleberry Finns!" she thought, protestingly, pressing her lips together.

Then she laughed inwardly at the thought of certain sophisticated friends and their opinion of her life. "I daresay we do seem to be bringing them up like Huckleberry Finns, in the minds of any of the New York friends, Eugenia Mills for instance!" She remembered with a passing gust of amusement the expression of slightly scared distaste which Eugenia had for the children. "Too crudely quivering lumps of life-matter for Eugenia's taste," she thought, and then, "I wonder what Marsh's feeling towards children really is, children in general. He seems to have the greatest capacity to ignore their existence at all. Or does he only seem to do that, because I have grown so morbidly conscious of their existence as the only thing vital in life? That's what he thinks, evidently. Well, I'd like to have him live a mother's life and see how he'd escape it!"

"Mother," said Paul seriously, "Mother, Mark isn't even awake yet, and he'll never be ready for school."

"Oh, his teacher had to go to a wedding today. Don't you remember? He doesn't have any school till the afternoon session."

She thought to herself, "What a sense of responsibility Paul has! He is going to be one of the pillars of the earth, one of those miraculous human beings who are mixed in just the right proportions, so that they aren't pulled two ways at once. Two ways! Most of us are pulled a thousand ways! It is one of the injustices of the earth that such people aren't loved as much as impulsive, selfish, brilliant natures like dear little Mark's. Paul has had such a restful personality! Even when he was a baby, he was so straight-backed and robust. There's no yellow streak in Paul, such as too much imagination lets in. I know all about that yellow streak, alas!"

The little boy reached down lovingly, and patted the dog, sitting in a rigid attitude of expectancy by his side. As the child turned the light of his countenance on those adoring dog eyes, the animal broke from his tenseness into a wriggling fever of joy.

"'Oh, my God, my dear little God!'" quoted Marise to herself, watching uneasily the animal's ecstasy of worship. "I wish dogs wouldn't take us so seriously. We don't know so much more than they, about anything." She thought, further, noticing the sweetness of the protecting look which Paul gave to Médor, "All animals love Paul, anyhow. Animals know more than humans about lots of things. They haven't that horrid perverse streak in them that makes humans dislike people who are too often in the right. Paul is like my poor father. Only I'm here to see that Paul is loved as Father wasn't. Médor is not the only one to love Paul. I love Paul. I love him all the more because he doesn't get his fair share of love. And old Mr. Welles loves him, too, bless him!"

"Roanoke River, Staunton River, Dan River," murmured Elly, swallowing down her chocolate. She stroked a kitten curled up on her lap.

"What shall I have for lunch today?" thought Marise. "There are enough potatoes left to have them creamed."

Like a stab came the thought, "Creamed potatoes to please our palates and thousands of babies in Vienna without milk enough to live!" She shook the thought off, saying to herself, "Well, would it make any difference to those Viennese babies if I deprived my children of palatable food?" and was aware of a deep murmur within her, saying only half-articulately, "No, it wouldn't make any literal difference to those babies, but it might make a difference to you. You are taking another step along the road of hardening of heart."

All this had been the merest muted arpeggio accompaniment to the steady practical advance of her housekeeper's mind. "And beefsteak . . . Mark likes that. At fifty cents a pound! What awful prices. Well, Neale writes that the Canadian lumber is coming through. That'll mean a fair profit. What better use can we put profit to, than in buying the best food for our children's growth. Beefsteak is not a sinful luxury!"

The arpeggio accompaniment began murmuring, "But the Powers children. Nelly and 'Gene can't afford fifty cents a pound for beefsteak. Perhaps part of their little Ralph's queerness and abnormality comes from lack of proper food. And those white-cheeked little Putnam children in the valley. They probably don't taste meat, except pork, more than once a week." She protested sharply, "But if their father won't work steadily, when there is always work to be had?" And heard the murmuring answer, "Why should the children suffer because of something they can't change?"

She drew a long breath, brushed all this away with an effort, asking herself defiantly, "Oh, what has all this to do with us?" And was aware of the answer, "It has everything to do with us, only I can't figure it out."

Impatiently she proposed to herself, "But while I'm trying to figure it out, wouldn't I better just go ahead and have beefsteak today?" and wearily, "Yes, of course, we'll have beefsteak as usual. That's the way I always decide things."

She buttered a piece of toast and began to eat it, thinking, "I'm a lovely specimen, anyhow, of a clear-headed, thoughtful modern woman, muddling along as I do."

The clock struck the half-hour. Paul rose as though the sound had lifted him bodily from his seat. Elly did not hear, her eyes fixed dreamily on her kitten, stroking its rounded head, lost in the sensation of the softness of the fur.

Her mother put out a reluctant hand and touched her quietly. "Come, dear Elly, about time to start to school."

As she leaned across the table, stretching her neck towards the child, she caught a glimpse of herself in the mirror on the other side of the room, and thought, "Oh, how awful! I begin to look as Cousin Hetty does, with that scrawny neck. . . ."

She repulsed the thought vigorously. "Well, what does it matter if I do? There's nothing in my life, any more, that depends on my looking young."

At this thought, something perfectly inchoate, which she did not recognize, began clawing at her. She pushed it off, scornfully, and turned to Elly, who got up from the table and began collecting her books into her school-bag. Her face was rosy and calm with the sweet ineffable confidence of a good child who has only good intentions. As she packed her books together, she said, "Well, I'm ready. I've done my grammar, indefinite pronouns, and I can say all those river-tributaries backwards. So now I can start. Good-bye, Mother dear." Marise bent to kiss the shining little face. "Good-bye, Elly."

To herself she thought, as her face was close to the child's, "I wonder if I look to my little girl as Cousin Hetty used to look to me?" and startled and shocked that the idea kept recurring to her, assuming an importance she was not willing to give it, she cried out to herself, "Oh, stop being so paltry about that!"

Aloud she said, "Don't forget to put your rubbers on. Have you a clean handkerchief? Oh, Elly, look at your nails! Here, hand me the nail-file over there, Paul. I'll clean them more quickly than you, dear."

As she cleaned the nails, one eye on the grimly relentless clock, the ideas flicked through her mind like quick, darting flames. "What mediaeval nonsense we do stuff into the school-children's head. What an infamous advantage we take of the darlings' trust in us and their docility to our purposes! My dear little daughter with her bright face of desire-to-do-her-best! What wretched chaff she is getting for that quick, imaginative brain of hers! It's not so bad for Paul, but . . . oh, even for him what nonsense! Rules of grammar, names of figures of speech . . . stuff left over from scholastic hair-splitting! And the tributaries of rivers . . . !" She glanced up for an instant and was struck into remorse by the tranquil expression of peace in the little girl's clear eyes, bent affectionately on her mother. "Oh, my poor, darling little daughter," she thought, "how can you trust anything in this weak and wicked world as you trust your broken reed of a mother? I don't know, dear child, any more than you do, where we are going, nor how we are going to get there. We are just stumbling along, your father and I, as best we can, dragging you and your brothers along with us. And all we can do for you, or for each other, is to love you and . . ."

Elly withdrew her hand. "There, Mother, I know they're clean enough now. I'm afraid I'll be late if I don't go. And you know she scolds like everything if anybody's late." She repeated in a rapid murmur, "The tributaries of the Delaware on the left bank are . . ."

Her mother's mind went back with a jerk to the question of river-tributaries. "And what's the use of cramming her memory with facts she could find in three minutes in any Atlas if by any strange chance she should ever ever need to know about the tributaries of the Delaware. As well set her to learning the first page of the Telephone Directory! Why don't I do the honest thing by her and say to her that all that is poppy-cock?"


An inner dialogue flashed out, lunge, parry, riposte, like rapier blades at play. "Because if I told her it is nonsense, that would undermine her faith in her teacher and her respect for her."

"But why should she respect her teacher if her teacher does not deserve that sort of respect? Ought even a little child to respect anything or anybody merely because of a position of authority and not because of intrinsic worth? No, of course not."

"Oh, you know that's only wild talk. Of course you couldn't send the child to school, and keep her under her teacher, unless you preserve the form of upholding the teacher's authority."

"Yes, but in Heaven's name, why do we send her to school? She could learn twenty times more, anywhere else."

"Because sending her to school keeps her in touch with other children, with her fellow-beings, keeps her from being 'queer' or different. She might suffer from it as she grew up, might desire more than anything in the world to be like others."


Elly had been staring at her mother's face for a moment, and now said, "Mother, what makes you look so awfully serious?"

Marise said ruefully, "It's pretty hard to explain to a little girl. I was wondering whether I was as good a mother to you as I ought to be."

Elly was astonished to the limit of astonishment at this idea. "Why, Mother, how could you be any better than you are?" She threw herself on her mother's neck, crying, "Mother, I wish you never looked serious. I wish you were always laughing and cutting up, the way you used to. Seems to me since the war is over, you're more soberer than you were before, even, when you were so worried about Father in France. I'd rather you'd scold me than look serious."

Paul came around the table, and shouldered his way against Elly up to a place where he touched his mother. "Is that masculine jealousy, or real affection?" she asked herself, and then, "Oh, what a beast! To be analyzing my own children!" And then, "But how am I ever going to know what they're like if I don't analyze them?"

The dog, seeing the children standing up, half ready to go out, began barking and frisking, and wriggling his way to where they stood all intertwined, stood up with his fore-paws against Paul. The kitten had been startled by his approach and ran rapidly up Marise as though she had been a tree, pausing on her shoulder to paw at a loosened hair-pin.

Marise let herself go on this wave of eager young life, and thrust down into the dark all the razor-edged questions. "Oh, children! children! take the kitten off my back!" she said, laughing and squirming. "She's tickling me with her whiskers. Oh, ow!" She was reduced to helpless mirth, stooping her head, reaching up futilely for the kitten, who had retreated to the nape of her neck and was pricking sharp little pin-pointed claws through to the skin. The children danced about chiming out peals of laughter. The dog barked excitedly, standing on his hind-legs, and pawing first at one and then at another. Then Paul looked at the clock, and they all looked at the clock. The children, flushed with fun, crammed on their caps, thrust their arms into coats, bestowed indiscriminate kisses on their mother and the kitten, and vanished for the morning, followed by the dog, pleading with little whines to be taken along too. The kitten got down and began soberly to wash her face.


There was an instant of appalling silence in the house, the silence that is like no other, the silence that comes when the children have just gone. Through it, heavy-footed and ruthless, Marise felt something advancing on her, something which she dreaded and would not look at.

From above came a sweet, high, little call, "Mo-o-o-ther!" Oh, a respite—Mark was awake!

His mother sprang upstairs to snatch at him as he lay, rosy and smiling and sleepy. She bent over him intoxicated by his beauty, by the flower-perfection of his skin, by the softness of his sleep-washed eyes.

She heard almost as distinctly as though the voice were in her ear, "Oh, you mothers use your children as other people use drugs. The child-habit, the drug-habit, the baby-habit, the morphine habit . . . two different ways of getting away from reality." That was what Marsh had said one day. What terribly tarnishing things he did say. How they did make you question everything. She wondered what Neale would say to them.

She hoped to have a letter from Neale today. She hoped so, suddenly, again, with such intensity, such longing, such passion that she said to herself, "What nonsense that was, that came into my head, out on the road in the dark, the other night, that Neale and I had let the flood-tide of emotion ebb out of our hearts! What could have put such a notion into my head?" What crazy, fanciful creatures women are! Always reaching out for the moon. Yes, that must have been the matter with her lately, that Neale was away. She missed him so, his strength and courage and affection.

"I'm awfully hungry," remarked Mark in her ear. "I feel the hole right here." He laid a small shapely hand on the center of his pajama-clad body, but he kept the other hand and arm around his mother's neck, and held her close where he had pulled her to him in his little bed. As he spoke he rubbed his peach-like cheek softly against hers.

A warm odor of sleep and youth and clean, soaped skin came up from him. His mother buried her face in it as in a flower.

"Ooh!" he cried, laughing richly, "you're tickling me."

"I mean to tickle you!" she told him savagely, worrying him as a mother-cat does her kitten. He laughed delightedly, and wriggled to escape her, kicking his legs, pushing at her softly with his hands, reaching for the spot back of her ear. "I'll tickle you," he crowed, tussling with her, disarranging her hair, thudding his little body against her breast, as he thrashed about. The silent house rang with their laughter and cries.

They were both flushed, with lustrous eyes, when the little boy finally squirmed himself with a bump off the bed and slid to the floor.

At this point the kitten came walking in, innocent-eyed and grave. Mark scrambled towards her on his hands and knees. She retreated with a comic series of stiff-legged, sideways jumps, that made him roll on the floor, chuckling and giggling, and grabbing futilely for the kitten's paws.

Marise had stood up and was putting the loosened strands of her hair back in place. The spell was broken. Looking down on the laughing child, she said dutifully, "Mark, the floor's cold. You mustn't lie down on it. And, anyhow, you're ever so late this morning. Hop up, dear, and get into your clothes."

"Oh, Mother, you dress me!" he begged, rolling over to look up at her pleadingly.

She shook her head. "Now, Mark, that's silly. A great big boy like you, who goes to school. Get up quick and start right in before you take cold."

He scrambled to his feet and padded to her side on rosy bare feet. "Mother, you'll have to 'tay here, anyhow. You know I can't do those back buttons. And I always get my drawer-legs twisted up with my both legs inside my one leg."

Marise compromised. "Well, yes, if you'll hurry. But not if you dawdle. Mother has a lot to do this morning. Remember, I won't help you with a single thing you can do yourself."

The child obediently unbuttoned his pajamas and stepping out of them reached for his undershirt. His mother, looking at him, fell mentally on her knees before the beautiful, living body. "Oh, my son, the straight, strong darling! My precious little son!" She shook with that foolish aching anguish of mothers, intolerable. . . . "Why must he stop being so pure, so safe? How can I live when I am no longer strong enough to protect him?"

Mark remarked plaintively, shrugging himself into the sleeves of his shirt, "I've roden on a horse, and I've roden on a dog, and I've even roden on a cow, but I've never roden on a camel, and I want to."

The characteristic Mark-like unexpectedness of this made her smile.

"You probably will, some day," she said, sitting down.

"But I've never even sawn a camel," complained Mark. "And Elly and Paul have, and a elephant too."

"Well, you're big enough to be taken to the circus this year," his mother promised him. "This very summer we'll take you."

"But I want to go now!" clamored Mark, with his usual disregard of possibilities, done in the grand style.

"Don't dawdle," said his mother, looking around for something to read, so that she would seem less accessible to conversation. She found the newspaper under her hand, on the table, and picked it up. She had only glanced at the head-lines yesterday. It took a lot of moral courage to read the newspapers in these days. As she read, her face changed, darkened, set.

The little boy, struggling with his underwear, looked at her and decided not to ask for help.

She was thinking as she read, "The Treaty muddle worse than ever. Great Britain sending around to all her colonies asking for the biggest navy in the world. Our own navy constantly enlarged at enormous cost. Constantinople to be left Turkish because nobody wants anybody else to have it. Armenian babies dying like flies and evening cloaks advertised to sell for six hundred dollars. Italy land-grabbing. France frankly for anything except the plain acceptance of the principles we thought the war was to foster. The same reaction from those principles starting on a grand scale in America. Men in prison for having an opinion . . . what a hideous bad joke on all the world that fought for the Allies and for the holy principles they claimed! To think how we were straining every nerve in a sacred cause two years ago. Neale's enlistment. Those endless months of loneliness. That constant terror about him. And homes like that all over the world . . . with this as the result. Could it have been worse if we had all just grabbed what we could get for ourselves, and had what satisfaction we could out of the baser pleasures?"

She felt a mounting wave of horror and nausea, and knowing well from experience what was on its way, fought desperately to ward it off, reading hurriedly a real-estate item in the newspaper, an account of a flood in the West, trying in vain to fix her mind on what she read. But she could not stop the advance of what was coming. She let the newspaper fall with a shudder as the thought arrived, hissing, gliding with venomous swiftness along the familiar path it had so often taken to her heart . . . "suppose this reactionary outburst of hate and greed and intolerance and imperialistic ambitions all around, means that the 'peace' is an armed truce only, and that in fifteen years the whole nightmare will start over."

She looked down at the little boy, applying himself seriously to his buttons. "In fifteen years' time my baby will be a man of twenty-one."

Wild cries broke out in her heart. "No, oh no! I couldn't live through another. To see them all go, husband and sons! Not another war! Let me live quickly, anyhow, somehow, to get it over with . . . and die before it comes."

The little boy had been twisting himself despairingly, and now said in a small voice, "Mother, I've tried and I've tried and I can't do that back button."

His mother heard his voice and looked down at him uncomprehendingly for a moment. He said, less resigned, impatience pricking through his tone, "Mother, I told you I never could reach that button behind."

She bent from her chair, mechanically secured the little garment, and then, leaning back, looked down moodily at her feet. The little boy began silently to put on and lace up his shoes.

Marise was aware of a dimming of the light in the inner room of her consciousness, as though one window after another were being darkened. A hushed, mournful twilight fell in her heart. Melancholy came and sat down with her, black-robed. What could one feel except Melancholy at the sight of the world of humanity, poor world, war-ridden, broken in health, ruined in hope, the very nerves of action cut by the betrayal of its desperate efforts to be something more than base.


Was that really Melancholy? Something else slid into her mind, something watchful. She sat perfectly still so that no chance movement should disturb that mood till it could be examined and challenged. There was certainly something else in her heart beside sorrow over the miseries of the after-war world.

She persisted in her probing search, felt a cold ray of daylight strike into that gloom and recognized with amazement and chagrin what else it was! Disgusting! There in the very bottom of her mind, lay still that discomfort at beginning to look like Cousin Hetty! And so that wound to her vanity had slowly risen again into her consciousness and clothed itself in the ampler, nobler garments of impersonal Melancholy. . . . "Oh," she cried aloud, impatiently, contemptuous of herself, "what picayune creatures human beings are! I'm ashamed to be one!"

She started up and went to the window, looking out blankly at the mountain wall, as she had at the newspaper, not seeing what was there, her eyes turned inward. "Wait now, wait. Don't go off, half-cocked. Go clear through with this thing," she exhorted herself. "There must be more in it than mere childish, silly vanity." She probed deep and brought up, "Yes, there is more to it. In the first place I was priggish and hypocritical when I tried to pretend that it was nothing to me when I looked in the glass and saw for the first time that my youth has begun to leave me. That was Anglo-Saxon pretense, trying to seem to myself made of finer stuff than I really am. It's really not cheerful for any woman, no matter on what plane, to know that the days of her physical flowering are numbered. I'd have done better to look straight at that, and have it out with myself."

She moved her head very slightly, from side to side. "But there was more than that. There was more than that. What was it?" She leaned her ear as if to listen, her eyes very large and fixed. "Yes, there was the war, and the awfulness of our disappointment in it, too, after all. There was the counsel of despair about everything, the pressure on us all to think that all efforts to be more than base are delusions. We were so terribly fooled with our idealistic hopes about the war . . . who knows but that we are being fooled again when we try for the higher planes of life? Perhaps those people are right who say that to grab for the pleasures of the senses is the best . . . those are real pleasures, at least. Who knows if there is anything else?"

Something like a little, far-away tolling said to her, "There was something else. There was something else."

This time she knew what it was. "Yes, there was that other aspect of the loss of physical youth, when you think that the pleasures of the senses are perhaps all there are. There was the inevitable despairing wonder if I had begun to have out of my youth all it could have given, whether . . ."

There tolled in her ear, "Something else, something else there." But now she would not look, put her hands over her eyes, and stood in the dark, fighting hard lest a ray of light should show her what might be there.

A voice sounded beside her. Touclé was saying, "Have you got one of your headaches? The mail carrier just went by. Here are the letters."

She took down her hands, and opened her eyes. She felt that something important hung on there being a letter from Neale. She snatched at the handful of envelopes and sorted them over, her fingers trembling. Yes, there it was, the plain stamped envelope with Neale's firm regular handwriting.

She felt as though she were a diver whose lungs had almost collapsed, who was being drawn with heavenly swiftness up to the surface of the water. She tore open the envelope and read, "Dearest Marise." It was as though she had heard his voice.

She drew in a great audible breath and began to read. What a relief it was to feel herself all one person, not two or three, probing hatefully into each other!


But there was something she had not done, some teasing, unimportant thing, she ought to finish before going on with the letter. She looked up vacantly, half-absently, wondering what it was. Her eyes fell on Touclé. Touclé was looking at her, Touclé who so seldom looked at anything. She felt a momentary confusion as though surprised by another person in a room she had thought empty. And after that, uneasiness. She did not want Touclé to go on looking at her.

"Mark hasn't had his breakfast yet," she said to the old Indian woman. "Won't you take him downstairs, please, and give him a dish of porridge for me?"


CHAPTER IX

"The Gent Around the Lady

and

The Lady Round the Gent"

An Evening in the Life of Mr. Vincent Marsh

May 25.

"Come in, come in!" cried an old black-clad woman, with a white apron, who opened the door wider into the flaring brilliance of the lamp-lit kitchen. "I'm real glad you felt to come to one of our dances. They're old-fashioned, but we like 'em." She closed the door behind them and added cordially, "Now Mr. Welles is going to live here, he'll have to learn to shake his feet along with the rest of us."

Mr. Welles was frankly terrified at the idea. "Why, I never dreamed of dancing in all my life!" he cried. "I only came to look on." He hesitated to divest himself of his overcoat, panic-struck and meditating flight. Vincent fell upon him from one side and the lively old woman from the other. Together they stripped the older man of his wraps. "Never too late to learn," old Mrs. Powers assured him briskly. "You dance with me and I'll shove ye around, all right. There ain't a quadrille ever danced that I couldn't do backwards with my eyes shut, as soon as the music strikes up." She motioned them towards the door, "Step right this way. The folks that have come are all in the settin'-room."

As they followed her, Vincent said, "Mrs. Powers, aren't you going to dance with me, too?"

"Oh, of course I be," she answered smartly, "if you ask me."

"Then I ask you now," he urged, "for the first dance. Only I don't know any more than Mr. Welles how to dance a quadrille. But I'm not afraid."

"I guess there ain't much ye be afraid of," she said admiringly. They came now into the dining-room and caught beyond that a glimpse of the living-room. Both wore such an unusual aspect of elegance and grace that Vincent stared, stopping to look about him. "Looks queer, don't it," said Mrs. Powers, "with the furniture all gone. We always move out everything we can, up garret, so's to leave room for dancing."

Oh yes, that was it, Vincent thought; the shinily varnished cheap furniture had almost disappeared, and the excellent proportions of the old rooms could be seen. Lamps glowed from every shelf, their golden light softened by great sprays of green branches with tender young leaves, which were fastened everywhere over the doors, the windows, banked in the corner The house smelled like a forest, indescribably fresh and spicy.

"There ain't many flowers yet; too early," explained Mrs. Powers apologetically, "so we had to git green stuff out'n the woods to kind of dress us up. 'Gene he would have some pine boughs too. He's crazy about pine-trees. I always thought that was one reason why he took it so hard when we was done out of our wood-land. He thinks as much of that big pine in front of the house as he does of a person. And tonight he's got the far room all done up with pine boughs."

They arrived in the living-room now, where the women and children clustered on one side, and the men on the other, their lean boldly marked faces startlingly clear-cut in the splendor of fresh shaves. The women were mostly in light-colored waists and dark skirts, their hair carefully dressed. Vincent noticed, as he nodded to them before taking his place with the men, that not a single one had put powder on her face. Their eyes looked shining with anticipation. They leaned their heads together and chatted in low tones, laughing and glancing sideways at the group of men on the other side of the room. Vincent wondered at the presence of the children. When she arrived, he would ask Marise about that. At the inward mention of the name he felt a little shock, which was not altogether pleasurable. He narrowed his eyes and shook his head slightly, as though to toss a lock of hair from his forehead, a gesture which was habitual with him when he felt, with displeasure, an unexpected emotion not summoned by his will. It passed at once.

On joining the dark-suited group of men he found himself next to young Frank Warner, leaning, loose-jointed and powerful, against the wall, and not joining in the talk of weather, pigs, roads, and spring plowing which rose from the others. Vincent looked at him with approval. He felt strongly drawn to this splendid, primitive creature, and knew perfectly well why. He liked anybody who had pep enough to have an original feeling, not one prescribed by the ritual and tabu of his particular tribe.

"Hello, Frank," he said. "Have a cigarette?

"We'll have to go out if we smoke," said Frank.

"Well, why shouldn't we?" suggested Vincent, looking around him. "There's nothing to do here, yet."

Frank tore himself loose from the supporting wall with a jerk, and nodded. Together they stepped out of the front door, unused by the guests, who all entered by the kitchen. At first it was as though they had plunged into black velvet curtains, so great was the contrast with the yellow radiance of the room they had left. They looked back through the unshaded windows and saw the room as though it were an illustration in a book, or a scene in a moving-picture play, the men grouped in a dark mass on one side, the women, smiling, bending their heads towards each other, the lamps glowing on the green branches and on the shining eyes of all those pleasure-expectant human beings.

As they looked, Nelly Powers came in from another room, doubtless the "far room" of which her mother-in-law had spoken. She was carrying a large tray full of cups. She braced herself against the weight of the earthenware and balancing herself with a free swinging motion on her high-heeled shoes walked with an accentuation of her usual vigorous poise.

"By George, she's a beauty!" cried Vincent, not sorry to have an opportunity to talk of her with his companion.

Frank made no comment. Vincent laughed to himself at the enormous capacity for silence of these savages, routing to the imagination of a civilized being. He went on, determined to get some expression from the other, "She's one of the very handsomest women I ever saw anywhere."

Frank stirred in the darkness as though he were about to speak. Vincent cocked his ear and prepared to listen with all the prodigious sharpness of which he knew himself capable. If he could only once make this yokel speak her name, he'd know . . . all he wanted to know.

Frank said, "Yes, she's good-looking, all right."

Vincent kept silence, pondering every tone and overtone of the remark. He was astonished to find that he had no more direct light than ever on what he wanted to know. He laughed again at his own discomfiture. There were the two extremes, the super-sophisticated person who could control his voice so that it did not give him away, and the utter rustic whose voice had such a brute inexpressiveness that his meaning was as effectively hidden. He would try again. He said casually, "She's an enough-sight better-looking specimen than her husband. However does it happen that the best-looking women are always caught by that sort of chimpanzees? How did she ever happen to marry 'Gene, anyhow?"

The other man answered, literally. "I don't know how she did happen to marry him. She don't come from around here. 'Gene was off working in a mill, down in Massachusetts, Adams way, and they got married there. They only come back here to live after they'd had all that trouble with lawyers and lost their wood-land. 'Gene's father died about that time. It cut him pretty hard. And 'Gene and his wife they come back to run the farm."

At this point they saw, looking in at the lighted dumb-show in the house, that new arrivals had come. Vincent felt a premonitory clap of his heart and set his teeth in his cigarette. Yes, Marise had come, now appeared in the doorway, tall, framed in green-leafed branches, the smooth pale oval of her face lighted by the subtle smile, those dark long eyes! By God! What would he not give to know what went on behind that smile, those eyes!

She was unwinding from her head the close, black nun-like wrap that those narrow primitive country-women far away on the other side of the globe had chosen to express their being united to another human being. And a proper lugubrious symbol it made for their lugubrious, prison-like, primitive view of the matter.

Now she had it off. Her sleek, gleaming dark head stood poised on her long, thick, white throat. What a woman! What she could be in any civilized setting!

She was talking to Nelly Powers now, who had come back and stood facing her in one of those superb poses of hers, her yellow braids heavy as gold. It was Brunhilda talking to Leonardo da Vinci's Ste. Anne. No, heavens no! Not a saint, a musty, penitential negation like a saint! Only of course, the Ste. Anne wasn't a saint either, but da Vinci's glorious Renaissance stunt at showing what an endlessly desirable woman he could make if he put his mind on it.

"What say, we go in," suggested Frank, casting away the butt of his cigarette. "I think I hear old Nate beginning to tune up."

They opened the door and stepped back, the laughing confusion of their blinking entrance, blinded by the lights, carrying off the first moments of greeting. In the midst of this, Vincent heard the front door open and, startled to think that anyone else had used that exit, turned his head, and saw with some dismay that 'Gene had followed them in. How near had he been to them in the black night while they talked of his wife's mismated beauty? He walked past them giving no sign, his strong long arms hanging a little in front of his body as he moved, his shoulders stooped apparently with their own weight. From the dining-room came a sound which Vincent did not recognize as the voice of any instrument he had ever heard: a series of extraordinarily rapid staccato scrapes, playing over and over a primitively simple sequence of notes. He stepped to the door to see what instrument was being used and saw an old man with a white beard and long white hair, tipped back in a chair, his eyes half shut, his long legs stretched out in front of him, patting with one thick boot. Under his chin was a violin, on the strings of which he jiggled his bow back and forth spasmodically, an infinitesimal length of the horse-hair being used for each stroke, so that there was no sonority in the tones. Vincent gazed at him with astonishment. He had not known that you could make a violin, a real violin, sound like that.

Old Mrs. Powers said at his elbow, "The first sets are forming, Mr. Marsh." She called across to Frank Warner, standing very straight with Nelly Powers' hand on his arm, "Frank, you call off, wun't ye?"

Instantly the young man, evidently waiting for the signal, sent out a long clear shout, "First sets fo-orming!"

Vincent was startled by the electrifying quality of the human voice when not hushed to its usual smothered conversational dullness.

"Two sets formed in the living-room! Two in the dining-room! One in the far room!" chanted Frank. He drew a deep breath which visibly swelled his great chest and sang out, resonantly, "Promenade to your places!"

He set the example, marching off through the throng with Nelly by his side.

"Frank, he generally calls off," explained old Mrs. Powers. "It's in his family to. His father always did before him." She looked around her, discerned something intelligible in what looked like crowding confusion to Vincent and told him hurriedly, "Look-y-here, we'll have to git a move on, if we git into a set. They're all full here." Frank appeared in the doorway, alone, and lifted a long high arm. "One couple needed in the far room!" he proclaimed with stentorian dignity and seriousness.

"Here we are!" shouted old Mrs. Powers, scrambling her way through the crowd, and pulling Vincent after her. He could see now that the couples about him were indeed in their places, hand in hand, facing each other, gravely elate and confident. The younger ones were swinging their bodies slightly, in time to the sharply marked beat of the fiddle, and in the older ones, the pulse throbbed almost visibly as they waited.

He felt the breath of pines on him, resinous, penetrating, stimulating. He was in a small, square room with a low ceiling, dense and green with pine-boughs, fastened to the walls. The odor was as strange an accompaniment to dancing as was that furiously whirling primitive iteration of the fiddle.

"Over here!" cried Mrs. Powers, dragging masterfully at her partner. She gave a sigh of satisfaction, caught at his hand and held it high. "All ready, Frank," she said.

Facing them, near the doorway stood Frank and Nelly, their heads up, Nelly's small high-heeled shoe thrust forward, their clasped hands held high. Vincent felt his blood move more quickly at the spectacle they made. On one side stood Marise Crittenden, her fingers clasped by the huge knotted hand of 'Gene Powers, and on the other was rounded, rosy old Mr. Bayweather holding by the hand the oldest Powers child, a pretty blonde girl of twelve.

Frank's voice pealed out above the jig-jig-jigging of the fiddle. "Salute your partners!"

Vincent had a qualm of a feeling he thought he had left behind him with his boyhood, real embarrassment, fear of appearing at a disadvantage. What in the world did their antiquated lingo mean? Was he to kiss that old woman?

Mrs. Powers said reassuringly, "Don't you worry. Just do what the others do."

As she spoke she was holding out her skirts and dipping to a courtesy. A little later, he caught at the idea and sketched a bow such as to his astonishment he saw the other men executing. Was he in old Versailles or Vermont?

He felt his hand seized by the old woman's. Such a hearty zest was in her every action that he looked at her amazed.

"Balance to the corners, right!" chanted Frank, sending his voice out like a bugle so that it might be heard in all the rooms.

With perfect precision, and poise, the men and women of the couples separated, stepped swayingly, each towards the nearest of the couple to their right, and retreated.

"Balance to corners, left!"

The same movement was executed to the other side.

"First couple forward and back!" shouted Frank.

Marise and 'Gene advanced, hand in hand, to meet the old clergyman and the little girl. They met in the middle, poised an instant on the top wave of rhythm and stepped back, every footfall, every movement, their very breathing, in time to the beat-beat-beat of the fiddle's air which filled the room as insistently as the odor of the pines.

Mrs. Powers nodded her white head to it and tapped her foot. Marsh had not ventured to remove his eyes from the weaving interplay of the dancers in his own set. Now, for an instant, he glanced beyond them into the next room. He received an impression of rapid, incessant, intricate shifting to and fro, the whole throng of dancers in movement as swift and disconcerting to the eyes as the bits of glass in a kaleidoscope. It made him literally dizzy to see it, and he turned his eyes back to his own set.

The air changed, but not the rhythm, and all the men broke out in a hoarse chant, singing to a whirring, rapid tune,

"Oh, pass right through and never mind who
And leave the girl behind you.
Now come right back on the same old track
And swing the girl behind you!"

In obedience to these chanted commands, the four who were executing the figure went through labyrinthine manoeuvers, forward and back, dividing and reuniting. The old clergyman held out his hand to Mrs. Crittenden, laughing as he swung her briskly about. 'Gene bent his great bulk solemnly to swing his own little daughter. Then with neat exactitude, on the stroke of the beat, they were all back in their places.

"Second couple forward and back!" sang out Frank, prolonging the syllables in an intoned chant like a muezzin calling from a tower. Vincent felt himself being pushed and shoved by Mrs. Powers through the intricate figure.

"Now come right back on the same old track
And swing the girl behind you!"

The men shouted loudly, stamping in time, with such a relish for the beat of the rhythm that it sang itself through to the motor-centers and set them throbbing. Vincent found himself holding Nelly Powers at arm's length and swinging her till his head whirled. She was as light as sea-foam, dreamy, her blue eyes shining.

"Grand right and left!" shouted Frank.

Vincent's hand was seized by the little Powers girl. She swung him competently and passed him on to her mother, who swam past him like a goddess, a golden aroma of health and vivid sensual seduction trailing from her as she moved.

Then it was Marise's hand in his . . . how strange, how strange . . . that hand which knew the secrets of Debussy's heart. . . . She grasped his fingers firmly and looked at him full, laughingly, her face as open as a child's . . . the many-sided tantalizing creature! She pulled him about and was gone.

And there was old Mrs. Powers in her place, absurdly light and elastic, treading the floor in her flat, old-woman's shoes with brilliant precision.

"All promenade!" cried Frank, this time his voice exultant that the end was successfully reached.

He seized Nelly by the waist and danced with her the length of the room, followed by the other couples. The music stopped. He released her instantly, made a strange, stiff little bow, and turned away. The set was over.

"There!" said Mrs. Powers, breathing quickly. "'Twan't so hard as you thought 'twas goin' to be, was it?"

"Good-evening," said Mr. Bayweather on the other side, wiping the pink roll at the back of his neck. "What do you think of our aboriginal folk-dancing? I'll warrant you did not think there was a place in the United States where the eighteenth century dances had had an uninterrupted existence, did you?"

"I assure you I had never thought about the subject at all," said Vincent, edging away rapidly towards escape.

"Fascinating historical phenomenon, I call it," said the clergyman. "Analogous to the persistence of certain parts of old English speech which is to be observed in the talk of our people. For instance in the eighteenth century English vocabulary, the phrase . . ."

His voice died away in the voices of the people Vincent had put resolutely between them shoving his way through the crowd, recklessly. He was struck by the aspect of the people, their blood warmed, their lips moist, their eyes gleaming. The rooms were growing hot, and the odor of pines was heavy in the air.

He found himself next to Nelly Powers, and asked her to dance with him, "although I don't know at all how to do it," he explained. She smiled, silently, indifferently, confidently, and laid her hand on his arm in token of accepting his invitation. Vincent had a passing fancy that she did not care at all with whom she danced, that the motion itself was enough for her. But he reflected that it was probably that she did not care at all whether she danced with him.

From the other end of the room came Frank's deep-mouthed shout, "The set is forming! Promenade to your places!"

Nelly moved swiftly in that direction and again Vincent found himself opposite Frank, dancing this time with Marise Crittenden.

The music broke out into its shaking, quavering iteration of the pulse of the dance.

"Salute your partners!"

This time Vincent knew what to do, and turning, bowed low to Nelly, who made him a deep courtesy, her toe pointed, instep high, her eyes shining, looking straight at him but evidently not seeing him. The music seemed to float her off on a cloud.

"Chassay to the corners, right!"

Vincent untangled the difference between "chassay" and "balance" and acquitted himself. Now that his first panic of astonishment was over, he observed that the figures of the dance were of great simplicity, all but the central part, the climax.

When the preliminary part was over, the music changed and again the men broke out into their accompanying chant. This time it ran,