The Project Gutenberg eBook ofAriel DancesThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Ariel DancesAuthor: Ethel Cook EliotRelease date: December 5, 2018 [eBook #58412]Language: EnglishCredits: Produced by Stephen Hutcheson and the Online DistributedProofreading Team at http://www.pgdp.net*** START OF THE PROJECT GUTENBERG EBOOK ARIEL DANCES ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Ariel DancesAuthor: Ethel Cook EliotRelease date: December 5, 2018 [eBook #58412]Language: EnglishCredits: Produced by Stephen Hutcheson and the Online DistributedProofreading Team at http://www.pgdp.net
Title: Ariel Dances
Author: Ethel Cook Eliot
Author: Ethel Cook Eliot
Release date: December 5, 2018 [eBook #58412]
Language: English
Credits: Produced by Stephen Hutcheson and the Online DistributedProofreading Team at http://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK ARIEL DANCES ***
Ariel DancesbyEthel CookEliotBostonLittle, Brown,and Company1931
byEthel CookEliot
BostonLittle, Brown,and Company1931
Copyright, 1931,BY ETHEL COOK ELIOT
All rights reserved
Published February, 1931Reprinted February, 1931 (three times)
PRINTED IN THE UNITED STATES OF AMERICA
FORMY MOTHER
Ariel, quiet but alert, lay in her steamer chair, one of the most inconspicuous of the several hundred passengers theBermudawas bringing to New York. No one would be likely to look at her twice or give her a second thought, as she crouched away from the March wind, insufficiently protected from the cold by her nondescript tweed coat, and carelessly, casually bare-headed. All about her on the deck were people of outstanding, vivid types. The thing that had impressed Ariel about these fellow passengers during the two days of the voyage was their apparent self-sufficiency,—a gay, bright assurance of their own significance, and the reasonableness, even the inevitableness, of their being what and where they were. The very children appeared to take it quite as a matter of course that they should come skimming over the Atlantic in a mammoth boat-hotel while they played their games, read their books and ate their meals,—just like that.
Ariel took nothing as a matter of course, and she never had from the minute of earliest memory. Her proclivity to wonder and to delight was as organic as her proclivity to breathe. But now it was neither delight nor wonder but an aching suspense that quivered at the back of her mind. She thought, “If Father were here! If it weren’t alone, this adventure! New York Harbor at last!I—Ariel! But it isn’t real. There’s no substance. Itwasto have happened and been wonderful, but this is paler than our imagining of it. The shadow of our imagining. Oh, it’s I who have died and not Father. Where he is, whatever he is doing, it’s still real with him. With Father it would be always real,—alive.”
A steward came up the deck, carrying rugs and a book for the woman who had occupied the chair next to Ariel’s during the two days’ voyage. Two children with their nurse trailed behind. Ariel’s glance barely touched the group and returned to New York’s terraced, dream-world sky line. But she was glad that these people had come up on deck and would be near her during the little while left of ship life. It did not matter that they would remain unaware of her until the very end. It was more interesting, being interested in them, than having them interested in her. And there was no reason on earth why they should be interested in her. It never entered Ariel’s head that there was.
Joan Nevin, the woman, was tall, copper haired and eyelashed, and graceful with a lithe, body-conscious kind of gracefulness, of fashion, perhaps, more than of nature. Her sleek fur coat, her high-heeled, elegant pumps—even the close dark hat, flaring back from her copper eyebrows—these seemed to motivate her gait and her postures. She was, perhaps, more pliable to them than they to her. But Ariel did not mind this, although she realized it. It was wonderful, in its way, fascinating by strangeness.
To tell the truth, Mrs. Nevin interested her more at the moment than the unknown, beautiful harbor at which she appeared to be gazing. And no aching longing for her father’s sharing of this interest could turn it dreamlike, for her father could never share it, alive or dead. Fashionable women, even at a distance, bored him. But how did a woman like that feel, Ariel wondered, about her so finished and catered-to beauty, and her easy self-sufficiency? And how did it feel to have two burnished, curled children that were one’s very own, to love, to live for, to play with? How wonderful if Ariel herself had had children of her own to play with and dance with on their beach, while her father was alive and she could still have gloried in them, before the sense of unreality had settled like a thin dust over unshared happiness!
The Nevins and the nurse had come the length of the deck now, and were standing near her, but not taking their chairs, and oddly silent. Still, she would not look directly at them to discover the reason. If she looked into their faces she might become visible to them. So far, these two past days, Ariel had kept herself wrapped in a cloud of invisibility, she felt, merely by not meeting other eyes. She was shy of contacts, ever since her father’s death; and the aching, hurting suspense at the back of her mind, which was caused by dread of the near approaching meeting with her father’s friend, had only intensified her desire for invisibility.
As for Mrs. Nevin, until this instant she had been nearly as unaware of Ariel as Ariel supposed her to be. She had looked at her once or twice in the beginning, to wonder whether it was a child, a girl or a woman who occupied the neighboring chair, but quickly decided that such speculation was waste of time since the one thing certain was that Ariel’s age didn’t matter, since she was obviously—nobody. From that decision she had returned to social obliviousness, lying back for hours at a time, wrapped up preciously by her eager cabin steward in two fur-lined rugs, which could not have been hired for the passage but must be her own expensive property, following with absorption the fine print of a thick novel by some one named Aldous Huxley. Now and then she would lift languid but brilliant eyes and gaze for a while at the flying sea. That was all, for after the first half hour on board she had not thought it worth her while to waste that brilliant languid gaze on any other fellow-passenger more than on Ariel.
But now she remained standing by Ariel’s chair, as though with some intention, and Ariel had finally to look up and meet, for the first time, in a direct exchange of glance, those brilliant, mahogany-colored eyes set wide apart under their strongly arched coppery brows, and it was, without doubt, a breathtaking moment. But it was the steward who was speaking, and his tone was seriously accusatory. “You are occupying the lady’s chair.”
He was right. In the excitement of at last being almost in, so near the landing, Ariel had neglected to make sure of her own name—Ariel Clare—on the slip of pink cardboard stuck into the holder on the chair’s back. “I’m sorry,” she muttered, rose and was off like a bird. The steward’s eyelids just flickered as she brushed past him in exquisite, smooth flight. But the flicker was not because the steward had recognized that the nondescript, pale, young girl had turned exquisite with motion. He blinked merely because her decision to depart and the departure had been so strangely, almost weirdly, simultaneous.
“Tuck it in at the foot more, please. Very well. That will do. Thank you.” Ariel, out by the deck rail, heard Mrs. Nevin’s low, but carrying voice directing and dismissing her eager slave. “It was unkind and perfectly needless,” she thought. “Any chair would have done her just as well for the next few minutes until we land. It doesn’t matter, though. I won’t care.”
But she decided to go for a last time up to the sun deck. She could watch the boat docking from there just as well—better than from here—and discover her father’s friend among the crowds on the dock just as easily. She was through with deck chairs and pink cards and haughty neighbors, for this voyage, anyway. But she wished she could wipe out from her memory forever those brilliant, indifferent eyes.
She found the sun deck surprisingly clear of passengers. The deck chairs there had been almost all gathered up and were now being stacked into corners to wait for the return voyage and new voyagers. Ariel crossed to the rail and began to search, eyes narrowed against the cold sunlight glinting from cold waves, for her father’s friend in the dark mass at the edge of the pier over there, which only now was beginning to show itself as separate individuals waiting for the docking of theBermuda.
“When I care so much that just a stranger scorns me and finds me in the way, how am I going to help caring terribly if the Weymans don’t like me?” she asked herself, baffled that by no act of will could she slow the beating of her excited heart or cool the fire she felt in her cheeks. “Hugh’s so tall I must soon make him out, if he’s really come to meet me. I’ll wave when he catches sight of me.... Forget myself.... Wave for Father.... Pretend it’s Father seeing Hugh after all these years, and not I.I will not be strange and shy.”
She imagined her father in her place, leaning on the rail,—blond, blue-eyed, chuckling softly and searching with anticipatory eagerness for the high-held dark head of his friend which would stand out any minute now above the crowd of people. And Gregory Clare was so living, so vibrant with life and joy in life, that when the people on the pier, looking up, first caught sight of him, not a soul of them but would ask himself “Who’s that rather wonderful-looking person?” and an involuntary light, a contagion of life, would ripple answeringly in the lifted faces.
The wind whipped a strand of Ariel’s hair smartingly across her eyes. She shut them against the pain for an instant, and when she opened them again her father had gone. She was alone. She was only herself now, shy, trivial, pale,—a worm that wondered about the impression she was going to make on her father’s friend and his family. And all the time there was New York’s sky line to glory in.
Well, even though she was so mean a person, so little and mean in her hidden self, perhaps she could do something to improve the outward girl. She could at least put on her hat, stand straight—not flattened against the rail like a weak piece of straw in the wind,—hold her chin up—her chin that was like her father’s, pointed, but firm. She pulled out the hat from one of the pockets of the tweed coat, pushed her blown hair up under its brim and pulled it well down on her head. It was a notable hat, once well on, and whatever it did for the inner girl, it certainly changed the whole air of the outer, visible girl. It was French felt of an exceptionally fine quality, and green, the shade of Bermuda waters when they are stillest. Her father had bought it for her one day in St. George’s. He said he had got it for a song at a stupid sale. It was one of the very few hats of her life, as it happened, because her father thought hats in general ridiculous and more suitable for monkeys than for men and women. But this hat was different. He realized that, when he caught it from the corner of his eye, passing the shop window. It sang Ariel. And he had got it for a “song.” But not the feather that was tacked to the brim, ruffling jewel notes in the wind. That had droppedfroma song, not been bought at all. He had picked it up on the beach almost at their door as he came back one afternoon, not many weeks ago, from what was to prove his last swim. No bird from which this feather could have dropped had ever been seen on the island, so far as any ornithologist knew. But here was the feather, in spite of that. It was magic, then. And it magic’d the hat. It pointed the fact that Ariel’s eyes, rather narrow, but nice friendly eyes, and free as the day from the malice that one sometimes detects even in the pleasantest children’s eyes, were as green as itself,—as green as Bermuda waters.
Now those eyes had discerned one head that did top all the other heads on the approaching pier, and it very probably was Hugh’s. But she had decided last night, or early this morning—she had slept very little—that she would begin, at least, by calling him “Mr. Weyman.” For it was five years and a few months over since they had seen each other. His father too had died, since that far-away time, and he had left law school to become the support of his mother and younger brother and sister. At twenty-five, still a student without responsibilities, when they had entertained him at the studio, he had seemed a boy. But at thirty now, and having, as she had, encountered death, could he be the same at all, any more than she was the same fourteen-year-old girl that he must be remembering? She thought not; and whether she was shaking with chill from the March wind or from apprehension of change in her father’s friend, she did not know. But she was shaking, miserably, and a strand of hair had escaped again and was stinging her eyes.
He had been in Bermuda that time for part of his Christmas holidays, along with his mother and young sister. But the mother and sister had never appeared on the Clares’ beach, never come with Hugh to the studio. Hugh’s own arrival there was the merest accident. One mid-morning he came pushing his rented bicycle across the fields to their beach, which he had glimpsed from a high spot on the road to St. George’s, intending a solitary swim in the shadow of their rocks. Only he did not know that they were their rocks or that there was a house at all, hidden away on the slope of purple cedars. He passed within a few yards of the studio, without sensing its presence, and went coolly down to the beach with the intention of undressing for his swim in the very seclusion where Gregory Clare was at the moment in the middle of painting a picture.
The artist, hearing the careless approach to the sacred privacy of his working place, rose wrathfully to drive the intruder away. But it turned out that he did not resume his brushes and his palette again until he had joined the young man in a noon-hour swim in the emerald waters. For Hugh had succeeded in doing more that morning than blunder on to private property and interrupt the creation of a picture; he had blundered into a friendship with Gregory Clare, the artist, Ariel’s father.
The sudden friend knew next to nothing about painting. That was evidenced by his awkward silences once he had come into the studio and stood looking with unconcealed bewilderment at the dozens of canvases stacked around the walls and against the chairs and tables. But the young man’s ignorance did not hinder Gregory Clare from talking art to him. He dragged forward the canvases, one after another, making rapid and brilliant criticisms of them himself in the face of Hugh’s blank silences, propounding exactly what it was that made each picture’s strength or weakness in its stab at beauty. And all the while Hugh looked from the artist to his paintings and listened, dark head slightly bent, but with a hawklike alertness in its poise that gave Clare, and even Ariel, watching, a sense of balanced keenness.
Ariel and her father prepared the studio meals by turns, and this day of Hugh’s appearance happened to be Ariel’s day as cook. Hugh was more articulate about food, it soon transpired, than about art, and had intelligent praise for pungent soup and crisp salad. But though that was what he was at ease about and could speak of, his real interest was, Ariel saw, all in Gregory Clare and his rushing passionate talk concerning the paintings. He seemed scarcely conscious of Ariel, the lanky young girl in a faded green smock, with hair a pale wave on her shoulders, who had cooked the luncheon and soon so quietly cleared the table and then disappeared, dissolving, so far as he was concerned, perhaps, into the white, hot Bermuda afternoon. She knew that he was glad to be left alone with her wonderful father.
After that, for the remaining days of his vacation on the island, Hugh was constantly at the studio. He must have entirely deserted his mother and sister, and he never bothered to speak of them again, after his first mention of the fact that there were such persons with him at the hotel in Hamilton. Even the morning that his boat was to sail he appeared at the studio, inviting himself to breakfast with the Clares, in spite of having had a farewell dinner with them the night before. And that morning, at last, he commented on Gregory Clare’s work, or at least on one of his canvases. It was time for him to go, they had told him, if he was to make his boat; but he delayed. And suddenly, in an embarrassed manner he turned back from the door, when they really thought he was off, and standing in front of an easel with a just finished painting on it blurted, “I really like this one, ‘Noon,’ the best of the lot, Clare, if you don’t mind my saying so. It’s the light that makes it so extraordinary, isn’t it? It beats out on you. Makes you squint. It’s the first time I ever saw light, or even felt it; I’m sure of that. Your picture has taught me what the sun hasn’t!” He laughed, self-depreciatively, and added almost defiantly, “It’s great stuff, I think!”
Ariel’s father said nothing. He stood by the table in the wide window where they had just breakfasted, jingling some coin in the pockets of his white duck trousers, and kept a smiling silence. Ariel wanted to cry, “Oh, do go; hurry, Hugh, now, or you’ll miss your boat!” But Hugh seemed to be waiting for something, wanting to say more, and she kept still. After a minute he got it out, “I’d like awfully to take this picture home with me, Clare. Now. I’ve written out a check for a thousand dollars—did it last night—just on the chance you’d sell. I don’t know anything, of course, about the prices you put on your stuff. But this is exactly one quarter of my year’s allowance, and all the actual cash I can put my hands on now. If youwillsell, and the price is higher—and you can wait for the rest—”
Hugh was not looking at the artist or at Ariel or even at the picture by this time. His abashed gaze was toward the sea, while he waited for Gregory Clare to answer.
The painting was the one that Hugh’s intrusion on their beach had interrupted. It was a bit of a corner of the beach seen at high noon. Everything was sun-stilled, even the water, except for the figure of Ariel herself, who was dancing in the violet heat-glow above the rocks. But although it was Clare’s daughter, the artist had not seen her as human, since he placed her dancing feet on air, not earth. And the faded smock—the smock she was wearing the day Hugh had first come to the studio—in the painting had found its vanished color at the same time that the hot sunlight struck all color from her partly averted face. Gregory Clare might have called this painting “Ariel Dances,” but instead he called it “Noon.” And it was Noon, actually. Ariel was only the heart-pulse at the center of the otherwise still, white light.
But one thousand dollars! The listening girl was stunned, strangely taken aback. Her father, however, did not show even surprise. He merely chuckled and jingled the coins in his pockets like music.
“I congratulate you, Hugh,” he murmured, after a minute. “You show your taste. ‘Noon’ is my best, quite easily my best, so far. I’m awfully glad that you see it. I’ve felt all along, though, that you were seeing an awful lot, really. And to sacrifice one fourth of your year’s income to beauty won’t hurt you. Indeed, it might very well happen to save your soul. Even so, I advise you to take more time. Think it over. Write me. I can always ship you the thing. I won’t part with it for less than the thousand, though.”
But the fledgling art connoisseur was not to be put off. Until now he had been in regard to the studio, the people in it, and the paintings, the soaring, silent hawk. This, however, was his instant of darting and seizing. He had carried ‘Noon’ off with him, under his arm, unwrapped, and made the boat without a second to lose. And amazingly soon thereafter Gregory Clare and his daughter had got themselves to Europe, which meant Paris; and once in Paris, Gregory swept Ariel straight to the Louvre, where she sat or promenaded with him as long as Hugh’s thousand dollars lasted, gazing on cold, dim old pictures, but with her father’s warm, vibrant artist’s hand often on hers. It had been Ariel’s one adventure beyond Bermuda, until this present adventure: alone, and her father dead.
Hugh had never come back to Bermuda and his letters were infrequent. Gregory Clare’s own letters were, from the beginning, almost non-existent, because that was his casual way with friends. One of Hugh’s first letters told them of the sudden death of his father, and that Hugh’s plan for making himself a lawyer was frustrated by the necessity of getting as quickly as was possible into his father’s niche in the business world. But Hugh did not use the term “frustration,” and there was, indeed, no touch of bitterness in the communication. The hint of a real grief was there, and a suggestion, somehow, that his father could not have been so exceptional in business capacity as in personality and character, since at the time of his death he had pretty well gone through his inheritance and was leaving his family little but a name. The name, however, was not clouded by his purely financial inability and was now of invaluable assistance to Hugh, who was being quite spoiled—according to his own account—by Wall Street associates of his father who had taken him into a big bond house on a floor several stories removed from the bottom.
After that the studio heard from Hugh Weyman, bond salesman, at longer and longer intervals. Clare was afraid that his friend was absorbed by business, a dire calamity to befall a young man who had once been rejoiced to spend one fourth of his year’s income on the pigment splashed on a four foot by three foot bit of canvas. And now, for a year past, no word of any sort had come from Hugh, until the morning of the artist’s death. And although her father seemed actually to have held his death at bay those last few days, merely in the hope of that last letter, he did not show it to Ariel. But he explained to her, faintly and with an odd, smiling satisfaction, after he had read it to himself, and she had carefully burned it under his direction in the studio fireplace, that it was an answer to a letter from himself written within the week.
His letter had told Hugh that he was near death, and asked him to invite Ariel to visit the Weymans for the latter part of the winter, while Charlie Frye, a young disciple of Clare’s, who had spent the last few months in Bermuda working with him, was arranging for an exhibition and sale of Clare’s paintings in New York. Ariel was being left only a very few hundred dollars, but the sale of the pictures ought to carry her through any number of farther years, until, in any case, she should either have married or have prepared herself for some profession. Their doctor, here in Bermuda, would be Ariel’s actual guardian in law. Charlie Frye would be her business manager in a practical sense. Would Hugh make himself her host and friend for the coming difficult period? Neither the kindly doctor, nor the young and enthusiastic Frye seemed to Clare quite the man to do precisely this for his girl.
That was the substance of the artist’s letter as told to Ariel, and Hugh’s reply had been an instant promise to receive Ariel and with his mother’s help do anything for her that was in his power. Gregory could rely on his friend. Only, the doctor must keep him informed of his patient’s health, and it had better be the doctor who should arrange for Ariel’s coming to New York if the end that Clare had prophesied did transpire.
That was the substance of Hugh’s letter. And Gregory Clare had finished explaining it all to Ariel as she stood watching the last scraps of it curl into charred blackness in the grate.
“You mustn’t worry, darling,” he gasped, when her silence had become prolonged, “for when you remember that the only picture I ever even thought of selling brought us one thousand dollars ... and now there are two hundred of them soon to be up for sale in New York ... where there’s so much wealth ... I’ve marked those Charlie’s to drown out beyond the reef to-morrow—the ones that aren’t really good enough, you know—and it leaves, even at that,two hundredpictures. Suppose they only bring half the price of the first one each.... Why, even that is wealth, my dear....”
“Oh, don’t, Father! What does it matter?” She was dismayed that his last strength was being given to such trivialities.
But he struggled on, with harshly drawn breaths. “Funny why I’m trusting you to Hugh, beyond every one else! I suppose it’s because he saw that ‘Noon’ was the best of the lot.... He did see, remember? And he sacrificed something for that seeing. A quarter of his income, wise boy! He understood ‘Noon’—so he’ll understand you, Ariel, darling, my dearest—sweetest. He may have changed, but hardly so much—for
‘... Fortunate theyWho, though once only and then far away,Have heard her massive sandal set on stone.’
‘... Fortunate they
Who, though once only and then far away,
Have heard her massive sandal set on stone.’
Beauty’s sandal, that was. Do you remember the sonnet? Well—Hugh’s one of those Fortunate.... I’ve never seen in any one else’s face what I saw in his that morning when he stood, looking at ‘Noon’ and saying it showed him what the sun hadn’t....”
“Oh, Father! Hush! Don’t try to speak any more. Rest!” Ariel was kneeling by his bed, pressing his hands, hot with her tears for all their waning life, against her cheeks. “Everything will be all right. There isnothing, nothing at all to worry about. Only never forget me. Don’t go so far that you forget me. Don’t go far. Not far....”
He understood all that she meant, all that was beyond saying, and he promised with a gesture never to let death’s freedom intrigue him into adventure that would leave the memory and the love of his girl out. But he looked over her head at the doctor who had been standing all these minutes in the window, and the doctor nodded. The nod seemed a signal for something the two men had previously agreed on, as it was. And Gregory Clare, acting on the signal, which had come finally and at last, said to Ariel in the voice of authority which he so seldom had used during their life together, “Now, beloved, it is time you went away. Go down to the beach, please. Give my love and my farewell to the light, to earth light, and to our beach. I shall be gone when you come back, and you are not to see me die.”
Ariel rose to obey. There was no question about obedience for it was the voice of Death itself which had commanded her. But at the door her father spoke again, and she had thought never to hear him speak again, and it was the voice of Life.
“No— No. I was wrong. We made a mistake, Doctor. A woman is bound to have plenty to do with pain—before she’s through. I think, Ariel, we’ll have this pain together.... If you like—darling. I won’t send you out of it. Doctor, I want to be with my girl when she bears her first anguish—which will be my agony, as it happens. It’s yourself, Friend, I want away. No more need of you till it’s over. Ariel will help me. Your arm under my shoulder, dear. That’s—that’s—right....” But he had not sent the doctor with his love and his farewell to their beach and the earth light, for not every one can take such a message, and Ariel would do it later.
The doctor sat down in the loggia, within hearing if Ariel should cry out for him. He smoked cigarettes for an hour, throwing their stubs angrily one after another out into the roses, and did not approve; for Ariel seemed only a child to him, and this was terrible. Perhaps she had been a child when he, the doctor, had been made to leave her face to face with physical agony and final death in the studio. But when, at last, he saw her coming out into the strong white sunlight and knew that she brought with her the stark word he waited, she was a woman. The doctor would have been blind not to have recognized the mark of that maturity on her face. And this forced and sudden growth had happened to the girl because of her father’s colossal selfishness, he believed, stumbling forward to his feet and reaching both his hands for hers. But when they were close in his, those young, live hands, the doctor knew nothing for certain any more about the business; it might be imagination in Clare—colossal imagination—that had made him act so, not a grain of selfishness in it. For to his amazed relief the slight hands he held were steadier, stronger, at the moment, than his own.
She would certainly call him Mr. Weyman, not Hugh. And the first thing she would say would be a “thank you” for his invitation to visit him; for she had not written the note of acceptance herself but left it to Doctor Hazzard. And now she thought that if only she had written herself, it would somehow have prepared the way better for the instant, almost reached now, when the boat would be close enough to the pier for the tall man to discern her, to meet her eyes, and for her to wave a greeting.
And then, suddenly, she woke to the fact that that was not Hugh at all. The sun on the water had dazzled her. It was an older man, heavily bearded, foreign looking. He was taller, and certainly much broader than Hugh would ever be. She had never seen any one, except perhaps her father, stand out from a crowd as this man was standing out from it. Even from a distance his personality had reached her, impressed itself, and this had nothing to do with his unusual bulk and height. No, it was personality, bodiless, that reached across the water, and absorbed her attention.
The big man had pushed his way through the crowd and soon stood right out at the edge of the pier, his head thrown back, eagerly scanning theBermuda’sdecks. Then, as the ship sidled a few yards nearer, he raised his big, long arms straight above his head in sudden cyclonic greeting, and laughed up a big laugh of gleaming white teeth almost into Ariel’s face. But it couldn’t be herself he was so ardently saluting, and she turned quickly to see who was near her, here on the sun deck.
It was Mrs. Nevin again. She was there, with her children, almost at Ariel’s shoulder. And she was smiling down at the bearded man. But the children were looking at Ariel. She had so plainly refrained from inviting their acquaintance during the voyage that they had not once tried to force a contact. She had seemed to their sensitive child perceptions to be out with the flying fish and the dip of the waves, more than in her steamer chair beside their mother, for that was where her gaze had lived. But the small green feather, which fluttered its down incessantly against the brim of her hat, had all the while had a life, they felt, quite apart from its wearer’s. It had been a veritable fairy flag, waving recognition and good will to them whenever their play brought them near. And now Ariel had turned so quickly that she had caught the children’s glances of camaraderie with the feather. And suddenly she took intheirmagic, realized it, as they had from the very first recognized and taken in the magic of the feather her father had found and given her. She was aware of the children—really aware—at last.
That was all that it needed. They saw her face lose its abstraction, come as alive as the wind-dancing feather. Ariel’s eyes and lips smiled. Everything went golden. The children’s hearts fluttered as thoughtheywere magic feathers.
But even now when Ariel’s smile had taught them all that there was to know about her the children did not rush upon her. They came slowly, with sensitive delicacy, as children will,—but for all the delicacy, with an air of deep, almost frightening assurance. Each child, taking one of Ariel’s cold, ungloved hands, pressed close.
“We’ll be in, in another minute,” Ariel faltered, tremulously and almost beneath her breath, as if to warn them of the unreasonableness of this sudden, overwhelming intimacy which must be lost almost as soon as consummated. “Look. There goes the gangplank. And there’s some one—some one I know.” Suddenly, and when she had really forgotten his very existence, she had seen Hugh.
To her relief this first sight assured her that he had not changed in the five years. He was the same Hugh, her father’s eager, quiet friend of the hawklike dark head, poised, alert, on shoulders that for all their breadth had an indefinable air of elegance about them. In his darkness and poise he was in direct contrast to the blond-bearded person gesticulating to Mrs. Nevin. Hugh stood beside this giant, looking up at the decks of theBermudaas he was looking up, but with a difference. Without excitement, but rapidly, his eyes were traveling along the tiers of decks and the bending faces. In another minute he would get to the last deck and find what he sought, Ariel. Their eyes would meet and in the meeting remember everything of that sunlit week of five years ago. Under one arm she saw that he was carrying, tucked there as though it might be any ordinary parcel, a big bunch of English violets. They were for her, of course. So why had she ever been shy, afraid? She had forgotten the children and was bending forward over the rail, waiting with genuine gayety now the moment of his recognition.
But just before his glance, in its methodical journey, came to her deck, she had her first sense of change in him. After all, he was different, a little, from the Bermuda days. There was a moody hunger in his eyes, and something gaunt, unfed, in the face that she had remembered only as keen, without shadows. But his face would light up in the old way when he discovered her. This might be his look when alone and unaware of friends near.
The light, however, when it came, was not for Ariel. It was Mrs. Nevin his searching glance was halted by, and the glory that transfigured the dark, uplifted face took away Ariel’s breath.
Mrs. Nevin laughed down a greeting, and murmured above her breath, so that Ariel caught the words, “Now how’d he know I was coming?”
It flashed through Ariel’s mind that much reading of Aldous Huxley during the voyage, if that was the author’s name, must have dulled Mrs. Nevin’s perceptions, if she did not see that it had needed surprise as well as joy, so to shatter Hugh’s reserve.
Mrs. Nevin called to her children, who still pressed against Ariel, holding her hands, “There’s Uncle Hugh, darlings. Wave to him. See, he has found us. Isn’t it nice of him to meet our boat!”
Hugh returned the children’s obedient salutes, but the light was gone. Was it merely habitual reserve returning to duty, or had the sudden delight really as suddenly died? Ariel knew instantly and intuitively that these children were not related to Hugh, although Mrs. Nevin had called him uncle. Now he had to see herself, wedged in between the children. She tried to smile down at him, to help him to his recognition, but her lips were as cold as the wind in her face. She could not smile. His glance was passing her by as casually as it had passed a hundred other bending faces above the deck rails. After a little farther search it returned to Mrs. Nevin who bent forward, held out her gloved hands, and called down, “Toss, Hugh! Toss! I can catch!”—laughing.
For just an instant Hugh appeared puzzled. Then he remembered the violets jammed under his arm, and tossed them up to the waiting hands. It was an expert toss, and Ariel remembered how her father had once drawn her attention to the fact that all Hugh’s motions were expert, effective. The smell of the violets, so near now, was dizzying her with nostalgia. She wanted to cry out, “They are mine, not yours. He brought them for me. He never even knew you were on the boat!” But instead, she loosened the children’s hands from hers and turned her back to the pier. Through the darkness of tears she moved away toward the stairs, with the intention of making sure that her baggage had left her stateroom. It would be time enough to identify herself to Hugh, who had forgotten her, when she came off the ship.
She was almost the last person down the gangway. Hugh was there at the foot, looking anxious, for he had begun to be afraid he had missed Ariel Clare in the disembarking crowd. But even when she stopped by him and with head back, so that he might see her face plainly under the brim of her green hat, said, “I’m Ariel, Mr. Weyman. It’s kind of you to have me and to meet me,” he looked doubtful.
“You!” he murmured, obviously taken aback and surprised. “Why, I thought you were the twins’ nurse!” But even as he spoke he saw that it was indeed Ariel, standing with the look that she used to wear sometimes before vanishing away into hot, white sunlight, years and years ago when he was young and she was an unreal fairy creature, hovering almost unnoticed somewhere on the edges of his first deep experience of friendship. Of course this was she; how hadn’t he known? “But the twins were clinging to you like burrs, weren’t they!” he insisted, explaining his stupidity. “It looked, you know, as if you belonged, body and soul, to Persis and Nicky. But of course it’s you.”
Yet even now when he was at last shaking hands with her Hugh was looking over her head at a group of people a few yards away, with Mrs. Nevin at its center. The big man, the foreign-looking, bearded personage who had come to meet Mrs. Nevin, was beside her, his hand on her arm. He was possessive in his bearing, and openly exuberant that the lady had landed and was for the moment, at least, under his protection. And now a great sheaf of yellow roses in Mrs. Nevin’s arms quite obscured the violets, if, indeed, she still had them. Ariel was conscious that Hugh returned his attention to herself with an almost painful effort.
“Your luggage will be under C,” he unnecessarily informed her, and then added with a sudden access of responsibility, “This is the way. We’ll do our best to speed things up in spite of the unlucky popularity of your letter. We’ll grab tea somewhere then, and get right along to Wild Acres, where Mother and Anne are waiting for us. They would have come in to meet you with me—Anne would, anyway—but we’ve got another visitor with us—Prescott Enderly, the novelist. Know his stuff?” And all the while he was skillfully guiding her through a milling crowd of over-anxious people.
The younger Weymans had been skiing most of that afternoon with their guest, Prescott Enderly. Although Enderly was Glenn Weyman’s intimate at Yale and only a year or so older, he was a novelist of some notoriety. He had written only one novel, it is true, but during the past summer—the book was published in the spring—it had skyrocketed to fame. Its publishers described it in their advertising as an honest and fearless description of the private life of almost any averagely intelligent college man. Its author was now—except for the necessity of doing some classwork if he were to graduate this year, and taking time out for being a lion—working on a second novel.
It was late in the afternoon when they returned home from their skiing in the snowy country around the Weymans’ estate on the Hudson. Glenn went up to his room to lounge and read until dinner time, but Anne staggered with an exaggerated air of fatigue into the library, and Enderly followed her. A fire, recently lighted, blazed its invitation from the far end of the long room, and although it was not yet quite dark outside, the heavy velvet curtains had already been drawn across the windows and several table lamps were glowing through rich, soft-colored shades. Enderly, without asking Anne’s leave, went the round of the lamps, turning off their lights. But even without the lamps the freshly lighted fire kept the room alive and awake. Anne threw herself into the exact center of the deep divan which was drawn up before the fireplace, and Enderly, without hesitation or a word, settled himself close at her side. She leaned her head against the back of the divan, shut her eyes, and murmured “Hello. Where’d you come from?” as though already half asleep. Her voice was oddly, boyishly deep, but with a slight catch in it which turned it thrillingly feminine. Enderly liked Anne’s voice: it was the thing that had attracted him to her in the beginning, when he had met her at a house party in New Haven.
“Why, I’ve been tobogganing, darling.”
“So’ve I. Funny. There was a creature along with us,—name of Prescott Enderly. Thinks he’s a novelist and quite important, you know. Perhaps he can write, but he’s not so good in the snow.”
“Really? Well, darling, you are magnificent in the snow, so it doesn’t matter about me. You were a gorgeous red bird, always flying somewhere ahead in the face of a dead, white world. Beautiful!”
Anne opened her eyes and glanced down at her flannel skirt, ruby in the firelight. “But yesterday, Pressy, you insisted I was a flame. I’d really rather be a flame than a bird. Aren’t I more a flame? Say, ‘yes’!”
He laid his hand over her two hands which were clasped on her crossed knees. But he laid it casually, looking into the fire. Her eyelids flickered at the contact, but her hands did not stir or tremble. “You’re a flame in the house—now. Close like this.... But a bird in the open. How’s that? Satisfied?” His cheek just brushed hers.
“No, not satisfied,” she insisted huskily,—and then pretended to yawn, because huskiness was a symptom of feeling with her, and Prescott knew it. “They all say ‘flame.’ It isn’t because it’s original with you that I like it. Think it was?”
His hand pressed harder on her clasped hands. “Why do you want to remind me there are others?” he asked. “One takes that for granted with a—flame, you know. It’s been some time, darling, though, since there were others for me. Perhaps I’d better look around. If there were a little competition you might be nicer. How about Ariel Clare?”
Anne threw off his hand, sat bolt upright and cried “Ariel Clare! Good Heavens! I’d forgotten all about the creature. Hugh was bringing her out after lunch. Where’s she now, do you s’pose?”
“I heard your mother telling some one on the telephone, I think, that theBermudawas several hours late. But I wonder whether she’ll have any—flaming qualities!”
“Nobody knows anything about that in this household, except Hugh, and he’s been persistently uncommunicative ever since Mother hit the ceiling the morning he informed us that such a person was about to descend upon us to be a second daughter of the house for an indefinite period. Mother came down—from the ceiling, you know—almost at once, but she’d said enough to shut Hugh’s mouth. He merely says we’ll see for ourselves when Ariel gets here what she’s like. But he’s justified in his high-handedness. It’s he who runs the house—his money, I mean. So if he wants to have a guest, he’s a perfect right. Any kind of a guest, even the awfullest.”
“But she may be all right. Why not? I don’t see—”