Hillsboro People Part 8

"Excuse me for my cynical mirth," he said, "but I must say he doesn't look it. I was prepared for any characterization but that. He looks like a powerful son of the Renaissance, who might have lived in that one little vacation of the soul after medievalism stopped hag-riding us, and before the modern conscience got its claws on us. And you say he was a blue-nosed Puritan!"

The professor of rhetoric looked an uneasy fear that he was being ridiculed. "I only repeated the village notion of him," he said airily.

"He may have been anything. All I know is that he was as secretive as a clam, and about as interesting personally."

"Look at the picture," said the critic, still laughing; "you'll know all about him!"

The professor of rhetoric nodded. "You're right, he doesn't look much like my character of him. I never seem to have had a good, square look at him before. I've heard several people say the same thing, that they seemed to understand him better from the portrait than from his living face. There was something about his eyes that kept you from thinking of anything but what he was saying."

The critic agreed. "The eyes are wonderful ... ruthless in their power ... fires of h.e.l.l." He laughed a deprecating apology for his overemphatic metaphor and suggested: "It's possible that there was more to the professorial life than met the eye. Had he a wife?"

"No; it was always a joke in the village that he would never look at a woman."

The critic glanced up at the smoldering eyes of the portrait and smiled.

"I've heard of that kind of a man before," he said. "Never known to drink, either, I suppose?"

"Cold-water teetotaler," laughed the professor, catching the spirit of the occasion.

"Look at the color in that nose!" said the critic. "I fancy that the ascetic moralist--"

A very young man, an undergraduate who had been introduced as the junior usher, nodded his head. "Yep, a lot of us fellows always thought old Grid a little too good to be true."

An older man with the flexible mouth of a politician now ventured a contribution to a conversation no longer bafflingly esthetic: "His father, old Governor Gridley, wasn't he ... Well, I guess you're right about the son. No halos were handed down in _that_ family!"

The laugh which followed this speech was stopped by the approach of Falleres, his commanding presence dwarfing the president beside him. He was listening with a good-natured contempt to the apparently rather anxious murmurs of the latter.

"Of course I know, Mr. Falleres, it is a great deal to ask, but she is so insistent ... she won't go away and continues to make the most distressing spectacle of herself ... and several people, since she has said so much about it, are saying that the expression is not that of the late professor. Much against my will I promised to speak to you--"

His mortified uneasiness was so great that the artist gave him a rescuing hand. "Well, Mr. President, what can I do in the matter? The man is dead.

I cannot paint him over again, and if I could I would only do again as I did this time, choose that aspect which my judgment told me would make the best portrait. If his habitual vacant expression was not so interesting as another not so permanent a habit of his face ... why, the poor artist must be allowed some choice. I did not know I was to please his grandmother, and not posterity."

"His aunt," corrected the president automatically.

The portrait-painter accepted the correction with his tolerant smile. "His aunt," he repeated. "The difference is considerable. May I ask what it was you promised her?"

The president summoned his courage. It was easy to gather from his infinitely reluctant insistence how painful and compelling had been the scene which forced him to action. "She wants you to change it ... to make the expression of the--"

For the first time the artist's equanimity was shaken. He took a step backward. "Change it!" he said, and although his voice was low the casual chat all over the room stopped short as though a pistol had been fired.

"It's not _my_ idea!" The president confounded himself in self-exoneration. "I merely promised, to pacify her, to ask you if you could not do some little thing that would--"

The critic a.s.sumed the role of conciliator. "My dear sir, I don't believe you quite understand what you are asking. It's as though you asked a priest to make just a little change in the church service and leave out the 'not' in the Commandments."

"I only wish to know Mr. Falleres's att.i.tude," said the president stiffly, a little nettled by the other's note of condescension. "I presume he will be willing to take the responsibility of it himself and explain to the professor's aunt that _I_ have done--"

The artist had recovered from his lapse from Olympian to calm and now nodded, smiling: "Dear me, yes, Mr. President, I'm used to irate relatives."

The president hastened away and the knots of talkers in other parts of the room, who had been looking with expectant curiosity at the group before the portrait, resumed their loud-toned chatter. When their attention was next drawn in the same direction, it was by a shaky old treble, breaking, quavering with weakness. A small, shabby old woman, leaning on a crutch, stood looking up imploringly at the tall painter.

"My dear madam," he broke in on her with a kindly impatience, "all that you say about Professor Gridley is much to his credit, but what has it to do with me?"

"You painted his portrait," she said with a simplicity that was like stupidity. "And I am his aunt. You made a picture of a bad man. I know he was a good man."

"I painted what I saw," sighed the artist wearily. He looked furtively at his watch.

The old woman seemed dazed by the extremity of her emotion. She looked about her silently, keeping her eyes averted from the portrait that stood so vividly like a living man beside her. "I don't know what to do!" she murmured with a little moan. "I can't _bear_ it to have it stay here--people forget so. Everybody'll think that Gridley looked like _that_! And there isn't anybody but me. He never had anybody but me."

The critic tried to clear the air by a roundly declaratory statement of principles. "You'll pardon my bluntness, madam; but you must remember that none but the members of Professor Gridley's family are concerned in the exact details of his appearance. Fifty years from now n.o.body will remember how he looked, one way or the other. The world is only concerned with portraits as works of art."

She followed his reasoning with a strained and docile attention and now spoke eagerly as though struck by an unexpected hope: "If that's all, why put his name to it? Just hang it up, and call it anything."

She shrank together timidly and her eyes reddened at the laughter which greeted this nave suggestion.

Falleres looked annoyed and called his defender off. "Oh, never mind explaining me," he said, snapping his watch shut. "You'll never get the rights of it through anybody's head who hasn't himself sweat blood over a composition only to be told that the other side of the sitter's profile is usually considered the prettier. After all, we have the last word, since the sitter dies and the portrait lives."

The old woman started and looked at him attentively.

"Yes," said the critic, laughing, "immortality's not a bad balm for pin-p.r.i.c.ks."

The old woman turned very pale and for the first time looked again at the portrait. An electric thrill seemed to pa.s.s through her as her eyes encountered the bold, evil ones fixed on her. She stood erect with a rigid face, and "Immortality!" she said, under her breath.

Falleres moved away to make his adieux to the president, and the little group of his satellites straggled after him to the other end of the room.

For a moment there no one near the old woman to see the crutch furiously upraised, hammer-like, or to stop her sudden pa.s.sionate rush upon the picture.

At the sound of cracking cloth, they turned back, horrified. They saw her, with an insane violence, thrust her hands into the gaping hole that had been the portrait's face and, tearing the canvas from end to end, fall upon the shreds with teeth and talon.

All but Falleres flung themselves toward her, dragging her away. With a movement as instinctive he rushed for the picture, and it was to him, as he stood aghast before the ruined canvas, that the old woman's shrill treble was directed, above the loud shocked voices of those about her: "There ain't anything immortal but souls!" she cried.

FLINT AND FIRE

My husband's cousin had come up from the city, slightly more f.a.gged and sardonic than usual, and as he stretched himself out in the big porch-chair he was even more caustic than was his wont about the bareness and emotional sterility of the lives of our country people.

"Perhaps they had, a couple of centuries ago, when the Puritan hallucination was still strong, a certain fierce savor of religious intolerance; but now that that has died out, and no material prosperity has come to let them share in the larger life of their century, there is a flatness, a mean absence of warmth or color, a deadness to all emotions but the pettiest sorts--"

I pushed the pitcher nearer him, clinking the ice invitingly, and directed his attention to our iris-bed as a more cheerful object of contemplation than the degeneracy of the inhabitants of Vermont. The flowers burned on their tall stalks like yellow tongues of flame. The strong, sword-like green leaves thrust themselves boldly up into the spring air like a challenge. The plants vibrated with vigorous life.

In the field beyond them, as vigorous as they, strode Adoniram Purdon behind his team, the reins tied together behind his muscular neck, his hands grasping the plow with the masterful sureness of the successful pract.i.tioner of an art. The hot, sweet spring suns.h.i.+ne shone down on 'Niram's head with its thick crest of brown hair, the ineffable odor of newly turned earth steamed up about him like incense, the mountain stream beyond him leaped and shouted. His powerful body answered every call made on it with the precision of a splendid machine. But there was no elation in the grimly set face as 'Niram wrenched the plow around a big stone, or as, in a more favorable furrow, the gleaming share sped steadily along before the plowman, turning over a long, unbroken brown ribbon of earth.

My cousin-in-law waved a nervous hand toward the sternly silent figure as it stepped doggedly behind the straining team, the head bent forward, the eyes fixed on the horses' heels.

"There!" he said. "There is an example of what I mean. Is there another race on earth which could produce a man in such a situation who would not on such a day sing, or whistle, or at least hold up his head and look at all the earthly glories about him?"

I was silent, but not for lack of material for speech. 'Niram's reasons for austere self-control were not such as I cared to discuss with a man of my cousin's mental att.i.tude. As we sat looking at him the noon whistle from the village blew and the wise old horses stopped in the middle of a furrow. 'Niram unharnessed them, led them to the shade of a tree, and put on their nose-bags. Then he turned and came toward the house.

"Don't I seem to remember," murmured my cousin under his breath, "that, even though he is a New-Eng-lander, he has been known to make up errands to your kitchen to see your pretty Ev'leen Ann?"