Part 6

"Well, maybe," she said. She was accustomed to let her own fancy settle such questions for her. "Maybe I'll go. Maybe I shan't." There was a click at the front gate. "I expect that's Mr. Steering," she announced.

Madeira got out of his chair quickly. "If it is, I don't want to see him," he said, "he--oh, he irritates me, that man,--always wanting to dictate. I'll go in. Don't want ever to see him again,--and say, Pet?"

"Well, Dad?"

"I'd be glad if you would never see him again. Just stop where you are, will you?"

She drew a long sighing breath. "Just stop where I am? Well, I'll see," she said, laughing and flushing in the warm, rich fashion of her skin, but there was the faint far call of uneasiness in her laughter, like a wind-whisper of coming rain. "Tell Samson to bring Mr. Steering out here to me," she commanded, and Madeira went off toward the house and disappeared through the green-latticed porch.

Inside the house he retired to the room that was known as his office, locked the door and came over to his desk. As he did it a peculiar consciousness of himself suffused him like the first fumes of a deadly narcotic. He began to see that he was lifting his feet stealthily, advancing them stealthily, stealthily setting them down, with the soundless fall of a cat's foot on velvet. Reaching his desk, he half fell into a chair there, a thin line of white froth between his lips, his big face purplish. "Eh, God?" he cried, "what's this? what's this?"

The seizure passed as suddenly as it had come. By and by he heard Steering pass through the house under Samson's escort. When the sound of Steering's foot-steps had died away, Madeira took a letter from his pocket, spread it open before him and read it over and over.

"Dear Crit," [the letter said] "I have thought this thing to a finish. I want you to turn the Tigmores over to my cousin, Bruce Steering. Let him start at once on the jack trail, that primrose path of dalliance. As for me, my dear sir, by the time this reaches you, I shall be on the long trail. You needn't blow any trumpets about it, for B. G. will have no funeral. The name that I gave you as the name that I live here under is good enough to die here under. The certain fact for your consideration is that I die at once, and that the question of this property entail is now confided to you to arrange for my heir, young Steering. Write to the clerk of Snow Mountain County for the documents that I have left with him for you. They establish everything. Tell my cousin that, besides the Tigmores, I bequeath him my debts to you. This leaves me not at all envious of the job ahead of him, and, as ever,

"Your blindly devoted servant,

"BRUCE GRIERSON."

_Chapter Seven_

THE GARDEN OF DREAMS

Crittenton Madeira's daughter wandered down the garden path, singing softly, after her father had left her, but there was in her song, as there had been in her laughter, a little tremble of unrest. The garden was a delicious place, whose fragrance beat up in waves of sweetness at every turn. All the flowers were in their luxuriant last bloom. There were great roses and sweet elysium, mignonette, peppermint pinks, crêpe myrtle, riotous vines and creepers. Long ago she had taken everything out of the garden that was not sweet. She had a fancy that fragrance was one of the spirit's tremulous paths into heaven, and out in the garden she liked to shut her eyes and, with her little straight nose in the air, go drifting off toward what was infinitely good, fine, strong, imperishable. It sometimes seemed to her that the most intimate and exquisite happinesses of her life had come to her with her eyes shut in that garden. She called it the Garden of Dreams.

When Steering found her, she was waiting for him, her arms on an old vine-covered stump, that dusky-gold radiance of hers playing over her and from her, the most beautifully, glowingly alive woman in the world. What he said to her was "How-do-you-do?" But what he wanted to say was, "Oh, stand there so forever, and let every grace, every beauty burn into my brain, so that all my life I may carry you about with me, your wine-warm eyes, your sunlit hair, the whole sweet glow of you,--having you perfectly, knowing you perfectly everywhere, everyhow, near, far, in the sunshine, in the dark!" And when a man wants to talk like that "how-do-you-do" is as good a catchphrase as the next to keep his tongue discreet.

"I do very well," she told him, smiling at him, maddening him, "I always do well, here in my garden,--but you, you put my sense of well-being to shame. You look so glad!"

"I am the gladdest man on earth," Bruce told her, knowing chiefly that he had her hand in his. He barely remembered in time that she was rich in gold and lands and cattle, and that he was poor, and that the positivism of his personality had already incurred the ill-will of her father. "Still, I don't think there is any doubt in the world how it is all going to end," he said hazily. He still had her hand. She had the hardest hand to put down that he had ever taken up.

"I don't quite follow? All what?" She bit her lip; her eyes flashed off across the Di, bright and swift as mating birds, as she drew her hand gently away.

"I was only thinking that a man may go on and on through so many meaningless years, of no special significance to himself or to anybody else and then suddenly,--think everything is going to be all right some day." He clasped his hands and leaned on the other side of the vine-covered stump and looked at her wishfully, and she laughed at him, with her eyes still on the pale river.

"How do you like my garden?" she asked divertingly. For answer he shut his eyes and breathed deeply. "Oh, how good!" she cried, satisfied, "that's the only way really to follow the path of fragrance,--that's my own way!" He blessed his stars that he had sniffed at the roses. "Where did the path lead you?" she queried, as he opened his eyes dreamily upon her golden beauty. "Into heaven," he murmured with sublime conviction, and she clasped her slender hands, delighted at their mystical congeniality.

"I am so glad that we like the same thing," she continued, hurrying a little; "haven't you noticed?--we both like the garden,--and we both like Piney. When did you see Piney?"

"Piney? Oh, I see Piney often." He rather wished that she had not mentioned Piney. Since he had come to know the tramp-boy better his first ache for him had become sharper and sharper. "Piney and I were out on the hills together only yesterday. Poor Piney!"

"Why," she took his hand and led him forward through a tangle of rose-bushes; she would not look at him, but the bewildering sweetness of her hair, her gown, the curve of her cheek came back to him--"why _poor_ Piney?" She was guiding him to a bench of twisted grape-vines from which they might look down upon the river. "Sit down," she said, "and tell me why poor Piney?"

"Well," he sat down and looked at the river, half-frowning, "it has seemed to me--I've had a notion--oh, I don't know. I suppose it is not poor Piney after all."

"Tell me," she insisted, "tell me what you started to tell me."

"Well, it has seemed to me ever since I first met Piney that he was in the way of trouble," he dashed on more abruptly, thinking only of Piney for a moment--"I have come to love that boy. I find myself clinging to him. I think it is because he stands to me for the spirit of my own boyhood; perhaps that, perhaps because he stands for the spirit of the woods he loves; because he stands for simplicity, honesty, spontaneity. At any rate he is rare, what with his musical gift and his high melody of living--and--oh well, I've sometimes felt sorry that he is not all wood-spirit, that he is part human." The characteristics that had made Steering stand too determinedly to suit Crittenton Madeira made him forge ahead determinedly now. "Piney would be apt to suffer less if he were wholly the sylvan, irresponsible creature, the faun, he sometimes seems to be. But, alas, Piney has a man's heart, Miss Madeira. He will have to suffer for that, for he will have to love. That's why 'poor' Piney; because he will have to love."

"Would that be so terrible?" The flash from the amber eyes that she turned up to him made the world go zig-zagging through a long space while Steering looked on with a great tremulous intake of breath. Then he steadied again to what he wanted to say to her and could say to her for Piney's sake.

"It would be for Piney. Piney is going to love hopelessly," he saw that a little shiver caught her and he was glad of it. "Yes, it would be terrible to love hopelessly, wouldn't it?" he said, to strengthen his hidden appeal for Piney. He wanted to make her realise what she was doing for Piney, realise that for sheer kindness, kindness as to a dumb thing, she should never let the lad come near her. He had forgotten the woman in her when he began to formulate that appeal. She laughed a light, mocking laugh.

"I believe that you think that Piney loves me!" she cried. "Piney, the spirit of the oaks! the song of the night-wind! Piney suffer! Piney love!" Steering was sorry to hear the note of evasion in her voice. No woman, he remembered, too late, could be brought to treat man's love or boy's love quite honestly. His eyes clouded. He felt masculinely, sanely sympathetic with Piney.

"I wish," he said gloomily, "that you would sometimes put yourself in the place of a man who loves you, put yourself in Piney's place."

Her eyes crinkled up again. "I'll just do it," she said gaily, "I'll do it now. Presto," she shut her eyes. "Now I have his point of view. Now I'm seeing what he sees--that Miss Sally Madeira likes to hear him sing, and humours him and pets him because he is gay and glad to be alive, and because Uncle Bernique says that he needs somebody to mother him. I mother Piney. Can't you see that." She laughed again and arose and stood in front of him, gay, mocking, nonchalant. "Piney love! And if Piney could love, that you should fancy that he might dare love Salome Madeira!"

He forgot about Piney. She blocked his farther vision like a shaft of light. He could not see an inch beyond her. Madeira's voice rang down the garden walk. Steering did not hear it. "Salome! Salome!" he murmured, "Is that it, Salome?"

"Yes, that's it, Salome. Isn't it foolish? The Di down there is the Diaphanous, too. Some pioneer poet named it for its shimmer, but what good did it do? Missouri promptly called it the 'Di.' No more good is it to name a child Salome in the backwoods of Missouri. She's bound to grow up Sally. I've always been Sally, except at school. I'll always be Sally down here with my own people."

"No, you won't always be Sally--no you won't always be down here with your own people either,"--he leaned back on the bench and watched her, his eyes half shut, his whole sense of being illumined by her, his tongue playing audaciously with his discretion.

"Yes, I shall always be Sally, too." That bisque-warm skin of hers flushed wondrously and she seemed to talk out of a little confused audacity of her own. Madeira's voice rang down the walk again. "Yes, Father!--and down here with my own people, too. Yes, Father!"

"Company's here, Sally."

"All right, Father, coming."

"And I have to go?" asked Steering piteously.

"Oh no, come up to the house and meet our sixteen-to-one congressman, Quicksilver Sam."

"No--I'll go," chose Steering. "Say, can't I get through from the garden here, and go down the river road?"

"Yes, you can. Samson shall bring your horse around, if you like. There's a bridle-path down to the river; it's Piney's way."

"Well, if you will be so good as to have the horse brought, I'll take Piney's path. I'm going to the hills to try to find Piney and Uncle Bernique. Think I'll sleep in the hills with them to-night. I feel so sad. When may I come back?"

"Well, you see," the trouble crept into her voice again, misty, tremulous--"you see, I may go away."

"Oh!" he cried, and then again, "Oh!" a bitter wailing note.

"Yes, I may," she said hastily. "You see, your friend, Miss Gossamer, wants me to join her in Europe. She is very insistent about it."

"And you may go?"

"And I may go."

He knew that she said that she would see him again before going, if it came to pass that she decided to go, and that she pressed his hand, with the grateful look that she had bestowed upon him when she had tried to thank him for holding on to her father in the Joplin mine; and that afterwards she stole away through the garden, and a negro man-servant brought his horse around to the rear grounds and showed him a bridle-path to the river; but these things were hazy. The vivid thing was an imprecation that by and by took awful form, like a monster of the mist, hissingly, from between his clenched teeth:

"_Damn Miss--Europe!_"

_Chapter Eight_

WHEN A GIRL FINDS HERSELF

Sally Madeira went to her own room early that Sunday night. It was a large room, sheer and white, with its wall space broken here and there by cool, calm etchings, cows knee-deep in clover, sunsets on small rivers, old windmills, wheat fields in harvest, hills where the snow lay thick. When she had lit her lamp a rosy light suffused the room through the tinted globe. The pictures on the walls looked so tonefully tender, intimate, in the soft glow, that the girl, noticing them for the thousandth time, moved from one to another, admiring and loving them. They were, in a way, sign-posts of her development. She had begun to buy them when she had stopped working in colour with a man who had a famous studio in New York. One day she had gone with the man to an exhibition of oil paintings which were infused with a matchless poetry of colour.

"If I paint all my life am I ever going to be able to paint like that?" she had asked of the man earnestly.

"No, my child, you are not," he had answered, quite as earnestly.

"I wonder why I should try to do something poorly that someone else can do so well?" she had mused.

And then, because she had talent, and, finest of all, an exquisite temperament in whose pulses the sense of colour beat in veritable tides of joy, the man from the studio had encouraged her with warm words of praise. "You will some day paint well enough to win a high place," he had reminded her.

But she had stayed thoughtful, and a day or two later had talked to him again.

"I don't believe, since I have thought it all out, that I can get what's in life for me out of it in a high place," she had said, shy but eager. Then, on that line, she had forged on to a swift and comprehensive conclusion. "You have told me," she had continued to the studio man, "that what I have in me for painting is not the real thing, and since I have seen the real thing I know for myself that colour is too rich and assertive, too apt to run away with one, for any but master hands to use it. I feel that I don't want even to see poor colouring on canvas any more. I shan't ever even have poor colour pictures around me. I can get my colour stories outside. Inside, the stories shall all be told in light and shadow. And I am not going to paint bad pictures myself any more."

"Ah, but the work, the beautiful work!" cried the painter.

"Well, as for me, do you know, I've come to believe that my work is just living--for a time anyhow."

"Well, then, the fame!" cried the painter.

"I don't seem to care for the fame."

It had gone much like that with her music. She had a fine voice, and her New York teacher had told her over and over that she "must go on." She had been pleased with his praise and had worked hard for a time. Then she had gone to him, too, one day, open-eyed and inquiring.

"Go on to what?" she had asked.

"Why, to glory," the singer had said.

She had shaken her head, unconvinced. "I don't seem to care for the glory," she had said. And beyond learning to use her voice well she would not work with it. "It is not that I am lazy," she had protested to the singer, "but I couldn't get what's in life for me out of it by singing."

"What's in life for you?" queried the singer, interested, for the girl was beautiful and rich and aspirant.

"Ah, I don't quite know yet," said the girl, the pretty pathos of youth and waiting upon her, "but some day I shall find myself; then I shall know."

All through her college days she had been looking for herself. When the time had come that she had gone to Elsie Gossamer's house to visit, and there had met men--college boys at first and later on men of a larger world--she had still been looking for herself. But though in the meantime she had learned how to meet men and how to treat them--capably, Elsie Gossamer said--she had not found herself. During the past summer, since her return from college, she had idled on here through a little interim with her father, comfortable, dreamy, waiting, seeking. But she had not found herself.

As she began to make ready for bed that Sunday night she had, suddenly and subtly, a quiver of consciousness that the waiting and the seeking were nearly over. Just how she knew it she could not have told, or just what she meant by knowing it, or just what would happen because of knowing it. Moving about the large room softly, her harmonious strength and grace were revealed in the swing of her long lithe limbs, the reach of her satiny brown arms, the breadth of her sweet smooth breast, the straightness and firmness of her tall frame. Only a self-reliant girl could have moved as she moved, a girl made self-reliant by exuberant health and ideals and hope. When she stopped moving about and stood before her mirror, her hand on the great rope of shining hair that hung over her shoulder, her body assumed a rare natural poise, classically, ancestrally beautiful, Grecian. By and by she roused from the little reverie before the mirror, put out the light, and came over to the window.

"Oh," she cried at once, "that was what was the matter with me, that was why I felt that something was about to happen! It was the storm!"

Beyond the window a Missouri tempest was rising. The girl, responsive as a reed to the wind, sat down in a low chair, the subtle quiver of consciousness intensified within her, and watched the lightning that began to play over the hills, and the rain that began to beat through the trees. Strangely enough, as she sat there, in the flashes she could see little, but in the dark--a warm, wind-blown, sweet-smelling dark--she saw several things. For one thing, she saw that, most probably, she would never again in her life spend an evening with a sixteen-to-one congressman. It had been a very tiresome evening. For another thing, she saw that she was not going to Europe. Her father needed her; or if he didn't he ought to. For a third thing, she saw that, in some way, she was going to have to make her father like Bruce Steering again. Then she saw the fourth thing. There had not been a flash for some minutes. Seeing that fourth thing, in the intense dark, she gave a trembling sigh, put one of her hands on top of the other on her breast and pushed, as though she were pushing her heart down. Then presently the pressure of her hands relaxed, her head dropped down until her chin touched her fingers, and a great flush that was like a charge from something electric surged through her.

"Oh," she cried, "oh, is it you! Have you come!" It was a triumphant, shy, thrilling greeting to something, something that she had been waiting for, born for. The dark grew intenser, sweeter, warmer. She lifted her arms and held them out yearningly toward the Tigmore hills, half-leaning out the window, catching the rain on her eager young face, in her shining hair, on her broad low breast. "I am so glad of it!" she panted, in a singing whisper, "I am so glad----" A great sheet of lightning unrolled across the Tigmore hills and held steadily magnificent for a moment, revealing everything to everybody, so it seemed to Sally Madeira. She crept into bed shaking, ecstatic, afraid.

Next morning she made her toilet away from the mirror as much as was possible, not being quite ready to face her whole found self as yet. But before she went downstairs she crossed to the window and looked out at the tumbling Tigmore line, a kissing sigh on her lips.

When she reached the dining room she found that Madeira had not yet come down, so she walked out into the garden, where she stood for a little while by the vine-covered stump, her eyes closed, her little straight nose in the air, the broad daylight beating down on her. Then presently she opened her eyes determinedly. "Yes, I can stand it," she said, as though she had been afraid that she couldn't, and looked straight up into the rain of light over-head. "I can stand it, in the daytime as in the dark, from now on forever."

In the air was an autumn mellowness that had not been there the day before. It nipped, with a strong, winey flavour, as it went down. All around her lay drifts of petals, rain-beaten roses, ragged lilies. The storm had stolen the garden's glory. "To put it into my heart!" cried the girl, in her all-conquering joy. "Oh, you Garden of Dreams, you! See, my eyes are wide open, and this, _this_ is better than dreams!"

She went back to the house with her arms full of the very last roses. "For now, I must go bring my father around," she said.