Titan / Титан. Книга для чтения на английском языке. Теодор Драйзер

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teeth had that even set that they always assumed when he was dangerously in earnest. He took Aileen’s hand, however, and pressed it gently.

      “Don’t worry,” he repeated. “Chicago isn’t the only city, and we won’t be the poorest people in America, either, in ten years. Just keep up your courage. It will all come out right. It’s certain to.”

      Aileen looked out on the lamp-lit length of Michigan Avenue, down which they were rolling past many silent mansions. The tops of all the lamps were white, and gleamed through the shadows, receding to a thin point. It was dark, but fresh and pleasant. Oh, if only Frank’s money could buy them position and friendship in this interesting world; if it only would! She did not quite realize how much on her own personality, or the lack of it, this struggle depended.

      Chapter X

      A Test

      The opening of the house in Michigan Avenue occurred late in November in the fall of eighteen seventy-eight. When Aileen and Cowperwood had been in Chicago about two years. Altogether, between people whom they had met at the races, at various dinners and teas, and at receptions of the Union and Calumet Clubs (to which Cowperwood, through Addison’s backing, had been admitted) and those whom McKibben and Lord influenced, they were able to send invitations to about three hundred, of whom some two hundred and fifty responded. Up to this time, owing to Cowperwood’s quiet manipulation of his affairs, there had been no comment on his past – no particular interest in it. He had money, affable ways, a magnetic personality. The business men of the city – those whom he met socially – were inclined to consider him fascinating and very clever. Aileen being beautiful and graceful for attention, was accepted at more or less her own value, though the kingly high world knew them not.

      It is amazing what a showing the socially unplaced can make on occasion where tact and discrimination are used. There was a weekly social paper published in Chicago at this time, a rather able publication as such things go, which Cowperwood, with McKibben’s assistance, had pressed into service. Not much can be done under any circumstances where the cause is not essentially strong; but where, as in this case, there is a semblance of respectability, considerable wealth, and great force and magnetism, all things are possible. Kent McKibben knew Horton Biggers, the editor, who was a rather desolate and disillusioned person of forty-five, gray, and depressed-looking – a sort of human sponge or barnacle who was only galvanized into seeming interest and cheerfulness by sheer necessity. Those were the days when the society editor was accepted as a member of society – de facto – and treated more as a guest than a reporter, though even then the tendency was toward elimination. Working for Cowperwood, and liking him, McKibben said to Biggers one evening:

      “You know the Cowperwoods, don’t you, Biggers?”

      “No,” replied the latter, who devoted himself barnacle-wise to the more exclusive circles. “Who are they?”

      “Why, he’s a banker over here in La Salle Street. They’re from Philadelphia. Mrs. Cowperwood’s a beautiful woman – young and all that. They’re building a house out here on Michigan Avenue. You ought to know them. They’re going to get in, I think. The Addisons like them. If you were to be nice to them now I think they’d appreciate it later. He’s rather liberal, and a good fellow.”

      Biggers pricked up his ears[47]. This social journalism was thin picking at best, and he had very few ways of turning an honest penny. The would-be’s and half-in’s who expected nice things said of them had to subscribe, and rather liberally, to his paper. Not long after this brief talk Cowperwood received a subscription blank from the business office of the Saturday Review, and immediately sent a check for one hundred dollars to Mr. Horton Biggers direct. Subsequently certain not very significant personages noticed that when the Cowperwoods dined at their boards the function received comment by the Saturday Review, not otherwise. It looked as though the Cowperwoods must be favored; but who were they, anyhow?

      The danger of publicity, and even moderate social success, is that scandal loves a shining mark. When you begin to stand out the least way in life, as separate from the mass, the cognoscenti wish to know who, what, and why. The enthusiasm of Aileen, combined with the genius of Cowperwood, was for making their opening entertainment a very exceptional affair, which, under the circumstances, and all things considered, was a dangerous thing to do. As yet Chicago was exceedingly slow socially. Its movements were, as has been said, more or less bovine and phlegmatic. To rush in with something utterly brilliant and pyrotechnic was to take notable chances. The more cautious members of Chicago society, even if they did not attend, would hear, and then would come ultimate comment and decision.

      The function began with a reception at four, which lasted until six-thirty, and this was followed by a dance at nine, with music by a famous stringed orchestra of Chicago, a musical programme by artists of considerable importance, and a gorgeous supper from eleven until one in a Chinese fairyland of lights[48], at small tables filling three of the ground-floor rooms. As an added fillip to the occasion Cowperwood had hung, not only the important pictures which he had purchased abroad, but a new one – a particularly brilliant Gérôme[49], then in the heyday of his exotic popularity[50] – a picture of nude odalisques of the harem, idling beside the highly colored stone marquetry of an oriental bath. It was more or less “loose” art for Chicago, shocking to the uninitiated, though harmless enough to the illuminati; but it gave a touch of color to the art-gallery which the latter needed. There was also, newly arrived and newly hung, a portrait of Aileen by a Dutch artist, Jan van Beers, whom they had encountered the previous summer at Brussels. He had painted Aileen in nine sittings, a rather brilliant canvas, high in key[51], with a summery, out-of-door world behind her – a low stone-curbed pool, the red corner of a Dutch brick palace, a tulip-bed, and a blue sky with fleecy clouds. Aileen was seated on the curved arm of a stone bench, green grass at her feet, a pink-and-white parasol with a lacy edge held idly to one side; her rounded, vigorous figure clad in the latest mode of Paris, a white and blue striped-silk walking-suit, with a blue-and-white-banded straw hat, wide-brimmed, airy, shading her lusty, animal eyes. The artist had caught her spirit quite accurately, the dash, the assumption, the bravado based on the courage of inexperience, or lack of true subtlety. A refreshing thing in its way, a little showy, as everything that related to her was, and inclined to arouse jealousy in those not so liberally endowed by life, but fine as a character piece. In the warm glow of the guttered gas-jets she looked particularly brilliant here, pampered, idle, jaunty – the well-kept, stall-fed pet of the world. Many stopped to see, and many were the comments, private and otherwise.

      This day began with a flurry of uncertainty and worried anticipation on the part of Aileen. At Cowperwood’s suggestion she had employed a social secretary, a poor hack of a girl, who had sent out all the letters, tabulated the replies, run errands,[52] and advised on one detail and another. Fadette, her French maid, was in the throes of preparing for two toilets which would have to be made this day, one by two o’clock at least, another between six and eight. Her “mon dieus” and “parbleus”[53] could be heard continuously as she hunted for some article of dress or polished an ornament, buckle, or pin. The struggle of Aileen to be perfect was, as usual, severe. Her meditations, as to the most becoming gown to wear were trying. Her portrait was on the east wall in the art-gallery, a spur to emulation; she felt as though all society were about to judge her. Theresa Donovan, the local dressmaker, had given some advice; but Aileen decided on a heavy brown velvet constructed by Worth, of Paris – a thing of varying aspects, showing her neck and arms to perfection, and composing charmingly with her flesh and hair. She tried amethyst ear-rings and changed to topaz; she stockinged her legs in brown silk, and her feet were shod in brown slippers with red enamel buttons.

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