my friend Mr. Jones, a Chicago newspaper man who writes about music, told me to drop the 's.' He's crazy about my voice."
Miss Bower didn't usually tell the whole story—about anything. Her first name, when she lived in Huntington, Illinois, was Edna, but Mr. Jones had persuaded her to change it to one which he felt would be worthy of her future. She was quick to take suggestions, though she told him she "didn't see what was the matter with 'Edna.'"
She explained to Hedger that she was going to Paris to study. She was waiting in New York for Chicago friends who were to take her over, but who had been detained. "Did you study in Paris?" she asked.
"No, I've never been in Paris. But I was in the south of France all last summer, studying with C——. He's the biggest man among the moderns—at least I think so."
Miss Bower sat down and made room for him on the bench. "Do tell me about it. I expected to be there by this time, and I can't wait to find out what it's like."
Hedger began to relate how he had seen some of this Frenchman's work in an exhibition, and deciding at once that this was the man for him, he had taken a boat for Marseilles the next week, going over steerage. He proceeded at once to the little town on the coast where his painter lived, and presented himself. The man never took pupils, but because Hedger had come so far, he let him stay. Hedger lived at the master's house and every day they went out together to paint, sometimes on the blazing rocks down by the sea. They wrapped themselves in light woollen blankets and didn't feel the heat. Being there and working with C—— was being in Paradise, Hedger concluded; he learned more in three months than in all his life before.
Eden Bower laughed. "You're a funny fellow. Didn't you do anything but work? Are the women very beautiful? Did you have awfully good things to eat and drink?"
Hedger said some of the women were fine looking, especially one girl who went about selling fish and lobsters. About the food there was nothing remarkable—except the ripe figs, he liked those. They drank sour wine, and used goat-butter, which was strong and full of hair, as it was churned in a goat skin.
"But don't they have parties or banquets? Aren't there any fine hotels down there?"
"Yes, but they are all closed in summer, and the country people are poor.
It's a beautiful country, though."
"How, beautiful?" she persisted.
"If you want to go in, I'll show you some sketches, and you'll see."
Miss Bower rose. "All right. I won't go to my fencing lesson this morning. Do you fence? Here comes your dog. You can't move but he's after you. He always makes a face at me when I meet him in the hall, and shows his nasty little teeth as if he wanted to bite me."
In the studio Hedger got out his sketches, but to Miss Bower, whose favourite pictures were Christ Before Pilate and a redhaired Magdalen of Henner, these landscapes were not at all beautiful, and they gave her no idea of any country whatsoever. She was careful not to commit herself, however. Her vocal teacher had already convinced her that she had a great deal to learn about many things.
"Why don't we go out to lunch somewhere?" Hedger asked, and began to dust his fingers with a handkerchief—which he got out of sight as swiftly as possible.
"All right, the Brevoort," she said carelessly. "I think that's a good place, and they have good wine. I don't care for cocktails."
Hedger felt his chin uneasily. "I'm afraid I haven't shaved this morning.
If you could wait for me in the Square? It won't take me ten minutes."
Left alone, he found a clean collar and handkerchief, brushed his coat and blacked his shoes, and last of all dug up ten dollars from the bottom of an old copper kettle he had brought from Spain. His winter hat was of such a complexion that the Brevoort hall boy winked at the porter as he took it and placed it on the rack in a row of fresh straw ones.
IV
That afternoon Eden Bower was lying on the couch in her music room, her face turned to the window, watching the pigeons. Reclining thus she could see none of the neighbouring roofs, only the sky itself and the birds that crossed and recrossed her field of vision, white as scraps of paper blowing in the wind. She was thinking that she was young and handsome and had had a good lunch, that a very easy-going, light-hearted city lay in the streets below her; and she was wondering why she found this queer painter chap, with his lean, bluish cheeks and heavy black eyebrows, more interesting than the smart young men she met at her teacher's studio.
Eden Bower was, at twenty, very much the same person that we all know her to be at forty, except that she knew a great deal less. But one thing she knew: that she was to be Eden Bower. She was like some one standing before a great show window full of beautiful and costly things, deciding which she will order. She understands that they will not all be delivered immediately, but one by one they will arrive at her door. She already knew some of the many things that were to happen to her; for instance, that the Chicago millionaire who was going to take her abroad with his sister as chaperone, would eventually press his claim in quite another manner. He was the most circumspect of bachelors, afraid of everything obvious, even of women who were too flagrantly handsome. He was a nervous collector of pictures and furniture, a nervous patron of music, and a nervous host; very cautious about his health, and about any course of conduct that might make him ridiculous. But she knew that he would at last throw all his precautions to the winds.
People like Eden Bower are inexplicable. Her father sold farming machinery in Huntington, Illinois, and she had grown up with no acquaintances or experiences outside of that prairie town. Yet from her earliest childhood she had not one conviction or opinion in common with the people about her—the only people she knew. Before she was out of short dresses she had made up her mind that she was going to be an actress, that she would live far away in great cities, that she would be much admired by men and would have everything she wanted. When she was thirteen, and was already singing and reciting for church entertainments, she read in some illustrated magazine a long article about the late Czar of Russia, then just come to the throne or about to come to it. After that, lying in the hammock on the front porch on summer evenings, or sitting through a long sermon in the family pew, she amused herself by trying to make up her mind whether she would or would not be the Czar's mistress when she played in his Capital. Now Edna had met this fascinating word only in the novels of Ouida—her hard-worked little mother kept a long row of them in the upstairs storeroom, behind the linen chest. In Huntington, women who bore that relation to men were called by a very different name, and their lot was not an enviable one; of all the shabby and poor, they were the shabbiest. But then, Edna had never lived in Huntington, not even before she began to find books like "Sapho" and "Mademoiselle de Maupin," secretly sold in paper covers throughout Illinois. It was as if she had come into Huntington, into the Bowers family, on one of the trains that puffed over the marshes behind their back fence all day long, and was waiting for another train to take her out.
As she grew older and handsomer, she had many beaux, but these small-town boys didn't interest her. If a lad kissed her when he brought her home from a dance, she was indulgent and she rather liked it. But if he pressed her further, she slipped away from him, laughing. After she began to sing in Chicago, she was consistently discreet. She stayed as a guest in rich people's houses, and she knew that she was being watched like a rabbit in a laboratory. Covered up in bed, with the lights out, she thought her own thoughts, and laughed.
This summer in New York was her first taste of freedom. The Chicago capitalist, after all his arrangements were made for sailing, had been compelled to go to Mexico to look after oil interests.
