The Captain of the Gray-Horse Troop Part 14

"It is _our_ notion," stoutly replied Curtis. "Our little army to-day stands towards the whole nation as a police force relates itself to a city--a power that interferes only to prevent aggression of one interest on the rights of another."

Brisbane's big, flat voice took up the theme.

"That's a very pretty theory, but you'll find plenty to claim that the army is an instrument of oppression."

"I'll admit it is sometimes wrongly used," Curtis replied. "We who are in the field can't help that, however. We are under orders. Of course,"

he added, modestly, "I am only a young soldier. I have seen but ten years of service, and I have taken part in but one campaign--a war I considered unavoidable at that time."

"You would hold, then, that an officer of the army has a right to convictions?" queried Brisbane, in the tone of the lawyer.

"Most certainly. A man does not cease to think upon entering the army."

"That's dangerous doctrine."

"It's the American idea. What people would suffer by having its army intelligent?"

Lawson coughed significantly. "Bring forth the black-swathed axe--treason has upreared her head."

It was plain that Brisbane was lying in wait for him. Curtis whispered to Elsie:

"Rescue me! Your father is planning to quiz me, and I must not talk before I report to the department."

"I understand. We will go to my studio after dinner." And with Lawson's aid she turned the conversation into safe channels.

It was a very great pleasure to the young soldier to sit once more at such a board and in pleasant relation to Elsie. It was more than he had ever hoped for, and he surprised her by his ability to take on her interests. He grew younger in the glow of her own youth and beauty, and they finished their ices in such good-fellows.h.i.+p that Mrs. Wilc.o.x was amazed.

"We will slip away now," Elsie said, in a low tone to Curtis, and they both rose. As they were about to leave the room Brisbane looked up in surprise. "Where are you going? Don't you smoke, Captain? Stay and have a cigar."

Elsie answered for him. "Captain Curtis can come back, but I want him to see my studio now, for I know if you get to talking politics he will miss the pictures altogether."

"She has a notion I'm growing garrulous," Brisbane retorted, "but I deny the charge. Well, let me see you later, Captain; there are some things I want to discuss with you."

"Grace, you are to come, too," Elsie said to her girl friend, and led the way out into the hall.

Miss Cooke stepped to Curtis's side. "You've been in Was.h.i.+ngton before?" she asked, with an inflection which he hated.

"Oh yes, many times. In fact, I lived here till I was sixteen. I was born in Maryland, not far from here."

"Indeed! Then you know the city thoroughly?"

"Certain sides of it. Exteriorly and officially I know it; socially, I am a stranger to it. My people were proud and poor. A good old family in a fine old house, and very little besides."

Elsie led the way slowly up the big staircase, secretly hoping Miss Cooke would find it too cool for her thin blood. She wished to be alone with Curtis, and this wish, obscure as it was, grew stronger as she set a chair for him and placed a frame on an easel.

"You really need daylight to see them properly."

"Am I to make remarks?"

"Certainly; tell me just what you think."

"Then let me preface my helpful criticisms by saying that I don't know an earthly thing about painting. We had drawing, of a certain kind, at the academy, and I used to visit the galleries in New York when occasion served. Now you know the top and the bottom of my art education."

"It's cold in here, Elsie," broke in Miss Cooke, whom they had quite forgotten. "Is the steam turned on?"

"Wrap my slumber-robe around you," Elsie carelessly replied. "Now here is my completed study of Little Peta. What do you think of that? Is it like her?"

"Very like her, indeed. I think it excellent," he said, with unaffected enthusiasm. "She was a quaint little thing. She is about to be married to young Two Horns--a white man's wedding."

Elsie's eyes glowed. "Oh, I wish I could see that! But don't let her wear white man's clothing. She'd be so cunning in her own way of dress.

I wish she had not learned to chew gum."

"None of us quite live up to our best intentions," he replied, laughing.

"Peta thinks she's gaining in grace. Most of the white ladies she knows chew gum."

The pictures were an old story to Miss Cooke, who s.h.i.+vered for a time in silence and at last withdrew. Elsie and Curtis were deep in discussion of the effect of white man's clothing on the Tetongs, but each was aware of a subtle change in the other as the third person was withdrawn. A delicious sense of danger, of inward impulse warring with outward restraint, added zest to their intercourse. He instantly recalled the last time he stood in her studio feeling her frank contempt of him. "I am on a different footing now," he thought, with a certain exultation.

It was worth years of hards.h.i.+p and hunger and cold to stand side by side with a woman who had not merely beauty and wealth but talent, and a mysterious quality that was more alluring than beauty or intellect. What this was he could not tell, but it had already made life a new game to him.

She, on her part, exulted with a sudden sense of having him to herself for experiment, and every motion of his body, every tone of his voice she noted and admired.

He resumed: "Naturally, I can say nothing of the technique of these pictures. My praise of them must be on the score of their likeness to the people. They are all admirable portraits, exact and spirited, and yet--" He hesitated, with wrinkled brows.

"Don't spare me!" she cried out. "Cut me up if you can!"

"Well, then, they seem to me unsympathetic. For example, the best of them all is Peta, because you liked her, you comprehended her, partly, for she was a child, gentle and sweet. But you have painted old Crawling Elk as if he were a felonious mendicant. You've delineated his rags, his wrinkled skin, his knotted hands, but you've left the light out of his eyes. Let me tell you something about that old man. When I saw him first he was sitting on the high bank of the river, motionless as bronze, and as silent. He was mourning the loss of his little grandchild, and had been there two days and two nights wailing till his voice had sunk to a whisper. His rags were a sign of his utter despair. You didn't know that when you painted him, did you?"

"No, I did not," she replied, softly.

"Moreover, Crawling Elk is the annalist and story-teller of his tribe.

He carries the 'winter count' and the sacred pipe, and can tell you of every movement of the Tetongs for more than a century and a half. His mind is full of poetry, and his conceptions of the earth and sky are beautiful. He knows little that white men know, and cares for very little that the white man fights for, but his mind teems with lore of the mysterious universe into which he has been thrust, and which he has studied for seventy-two years. In the eyes of G.o.d, I am persuaded there is no very wide difference between old Crawling Elk and Herbert Spencer. The circle of Spencer's knowledge is wider, but it is as far from including the infinite as the redman's story of creation. Could you understand the old man as I do, you would forget his rags. He would loom large in the mysterious gloom of life. Your painting is as prejudiced in its way as the description which a cowboy would give you of this old man. You have given the color, the picturesque qualities of your subjects, but you have forgotten that they are human souls, groping for happiness and light."

As he went on, Elsie stared at the picture fixedly, and it changed under her glance till his deeply pa.s.sionate words seemed written on the canvas. The painting ceased to be a human face and became a mechanical setting together of features, a clever delineation of the exterior of a ragged old man holding a beaded tobacco-pouch and a long red pipe.

"This old 'beggar,'" Curtis continued, "never lights that pipe you have put in his hands without blowing a whiff to the great spirits seated at the cardinal points of the compa.s.s. He makes offerings for the health of his children--he hears voices in the noon-day haze. He sits on the hill-top at dawn to commune with the spirits over his head. As a beggar he is picturesque; as a man, he is bewildered by the changes in his world, and sad with the shadow of his children's future. All these things, and many more, you must learn before you can represent the soul of the redman. You can't afford to be unjust."

She was deeply affected by his words. They held conceptions new to her.

But his voice pierced her, strangely subdued her. It quivered with an emotion which she could not understand. Why should he care so much whether she painted her subjects well or ill? She was seized with sudden, bitter distrust.

"I wish I had not shown you my studies," she said, resentfully.

His face became anxious, his voice gentle. "I beg your pardon; I have presumed too far. I hope, Miss Brisbane, you will not take what I say too much to heart. Indeed, you must not mind me at all. I am, first of all, a sort of crank; and then, as I say, I don't know a word about painting; please forget my criticisms."

She understood his mood now. His anxiety to regain her good-will was within her grasp, and she seized the opportunity to make him plead for himself and exonerate her.

"You have torn my summer's work to flinders," she said, sullenly, looking down at a bit of charcoal she was grinding into the rug beneath her feet.

He was aghast. "Don't say that, I beg of you! Good Heavens! don't let my preachment discourage you. You see, I have two or three hobbies, and when I am once mounted I'm sure to ride right over somebody's garden wall." He rose and approached her. "I shall never forgive myself if I have taken away the smallest degree of your enthusiasm. My aim--if I had an aim--was to help you to understand my people, so that when you come out next summer--"

"All that is ended now," she said, sombrely. "I shall attempt no more Indian work!"