The Mystery of Murray Davenport Part 5

The lower part of Fifth Avenue, the part between Madison and Washington Squares, the part which alone was "the Fifth Avenue" whereof Thackeray wrote in the far-off days when it was the abode of fashion,--the far-off days when fashion itself had not become old-fashioned and got improved into Smart Society,--this haunted half-mile or more still retains many fine old residences of brown stone and of red brick, which are spruce and well-kept. One such, on the west side of the street, of red brick, with a high stoop of brown stone, is a boarding-house, and in it is an apartment to which, on a certain clear, cold afternoon in October, the reader's presence in the spirit is respectfully invited.

The hallway of the house is prolonged far beyond the ordinary limits of hallways, in order to lead to a secluded parlor at the rear, apparently used by its occupants as a private sitting and dining room. At the left side of this room, after one enters, are folding doors opening from what is evidently somebody's bed-chamber. At the same side, further on, is a large window, the only window in the room. As the ceiling is so high, and the wall-paper so dark, the place is rather dim of light at all times, even on this sunny autumn afternoon when the world outside is so full of wintry brightness.

The view of the world outside afforded by the window--which looks southward--is of part of a Gothic church in profile, and the backs of houses, all framing an expanse of gardens. It is a peaceful view, and this back parlor itself, being such a very back parlor, receives the city's noises dulled and softened. One seems very far, here, from the clatter and bang, the rush and strenuousness, really so near at hand.

The dimness is restful; it is relieved, near the window, by a splash of sunlight; and, at the rear of the room, by a coal fire in the grate. The furniture is old and heavy, consisting largely of chairs of black wood in red velvet. Half lying back in one of these is a fretful-looking, fine-featured man of late middle age, with flowing gray hair and flowing gray mustache. His eyes are closed, but perhaps he is not asleep. There is a piano near a corner, opposite the window, and out of the splash of sunshine, but its rosewood surface reflects here and there the firelight.

And at the piano, playing a soft accompaniment, sits a tall, slender young woman, with a beautiful but troubled face, who sings in a low voice one of Tosti's love-songs.

Her figure is still girlish, but her face is womanly; a cla.s.sic face, not like the man's in expression, but faintly resembling it in form, though her features, clearly outlined, have not the smallness of his. Her eyes are large and deep blue. There is enough rich color of lip, and fainter color of cheek, to relieve the whiteness of her complexion. The trouble on her face is of some permanence; it is not petty like that of the man's, but is at one with the n.o.bility of her countenance. It seems to find rest in the tender sadness of the song, which, having finished, she softly begins again:

"'I think of what thou art to me, I think of what thou canst not be'"--

As the man gives signs of animation, such as yawning, and moving in his chair, the girl breaks off gently and looks to see if he is annoyed by the song. He opens his eyes, and says, in a slow, complaining voice:

"Yes, you can sing, there's no doubt of that. And such expression!--unconscious expression, too. What a pity--what a shame--that your gift should be utterly wasted!"

"It isn't wasted if my singing pleases you, father," says the girl, patiently.

"I don't want to keep the pleasure all to myself," replies the man, peevishly. "I'm not selfish enough for that. We have no right to hide our light under a bushel. The world has a claim on our talents. And the world pays for them, too. Think of the money--think of how we might live!

Ah, Florence, what a disappointment you've been to me!"

She listens as one who has many times heard the same plaint; and answers as one who has as often made the same answer:

"I have tried, but my voice is not strong enough for the concert stage, and the choirs are all full."

"You know well enough where your chance is. With your looks, in comic opera--"

The girl frowns, and speaks for the first time with some impatience: "And you know well enough my determination about that. The one week's experience I had--"

"Oh, nonsense!" interrupted the man. "All managers are not like that fellow. There are plenty of good, gentle young women on the comic opera stage."

"No doubt there are. But the atmosphere was not to my taste. If I absolutely had to endure it, of course I could. But we are not put to that necessity."

"Necessity! Good Heaven, don't we live poorly enough?"

"We live comfortably enough. As long as d.i.c.k insists on making us our present allowance--"

"Insists? I should think he would insist! As if my own son, whom I brought up and started in life, shouldn't provide for his old father to the full extent of his ability!"

"All the same, it's a far greater allowance than most sons or brothers make."

"Because other sons are ungrateful, and blind to their duty, it doesn't follow that d.i.c.k ought to be. Thank Heaven, I brought him up better than that. I'm only sorry that his sister can't see things in the same light as he does. After all the trouble of raising my children, and the hopes I've built on them--"

"But you know perfectly well," she protests, softly, "that d.i.c.k makes us such a liberal allowance in order that I needn't go out and earn money.

He has often said that. Even when you praise him for his dutifulness to you, he says it's not that, but his love for me. And because it is the free gift of his love, I'm willing to accept it."

"I suppose so, I suppose so," says the man, in a tone of resignation to injury. "It's very little that I'm considered, after all. You were always a pair, always insensible of the pains I've taken over you. You always seemed to regard it as a matter of course that I should feed you, and clothe you, and educate you."

The girl sighs, and begins faintly to touch the keys of the piano again.

The man sighs, too, and continues, with a heightened note of personal grievance:

"If any man's hopes ever came to shipwreck, mine have. Just look back over my life. Look at the professional career I gave up when I married your mother, in order to be with her more than I otherwise could have been. Look how poorly we lived, she and I, on the little income she brought me. And then the burden of you children! And what some men would have felt a burden, as you grew up, I made a source of hopes. I had endowed you both with good looks and talent; d.i.c.k with business ability, and you with a gift for music. In order to cultivate these advantages, which you had inherited from me, I refrained from going into any business when your mother died. I was satisfied to share the small allowance her father made you two children. I never complained. I said to myself, 'I will invest my time in bringing up my children.' I thought it would turn out the most profitable investment in the world,--I gave you children that much credit then. How I looked forward to the time when I should begin to realize on the investment!"

"I'm sure you can't say d.i.c.k hasn't repaid you," says the girl. "He began to earn money as soon as he was nineteen, and he has never--"

"Time enough, too," the man breaks in. "It was a very fortunate thing I had fitted him for it by then. Where would he have been, and you, when your grandfather died in debt, and the allowance stopped short, if I hadn't prepared d.i.c.k to step in and make his living?"

"_Our_ living," says the girl.

"Our living, of course. It would be very strange if I weren't to reap a bare living, at least, from my labor and care. Who should get a living out of d.i.c.k's work if not his father, who equipped him with the qualities for success?" The gentleman speaks as if, in pa.s.sing on those valuable qualities to his son by heredity, he had deprived himself. "d.i.c.k hasn't done any more than he ought to; he never could. And yet what _he_ has done, is so much more than nothing at all, that--" He stops as if it were useless to finish, and looks at his daughter, who, despite the fact that this conversation is an almost daily repet.i.tion, colors with displeasure.

After a moment, she gathers some spirit, and says: "Well, if I haven't earned any money for you, I've at least made some sacrifices to please you."

"You mean about the young fellow that hung on to us so close on our trip to Europe?"

"The young man who did us so many kindnesses, and was of so much use to you, on our trip to Europe," she corrects.

"He thought I was rich, my dear, and that you were an heiress. He was a n.o.body, an adventurer, probably. If things had gone any further between you and him, your future might have been ruined. It was only another example of my solicitude for you; another instance that deserves your thanks, but elicits your ingrat.i.tude. If you are fastidious about a musical career, at least you have still a possibility of a good marriage.

It was my duty to prevent that possibility from being cut off."

She turns upon him a look of high reproach.

"And that was the only motive, then," she cries, "for your tears and your illness, and the scenes that wrung from me the promise to break with him?"

"It was motive enough, wasn't it?" he replies, defensively, a little frightened at her sudden manner of revolt. "My thoughtfulness for your future--my duty as a father--my love for my child--"

"You pretended it was your jealous love for me, your feeling of desertion, your loneliness. I might have known better! You played on my pity, on my love for you, on my sense of duty as a daughter left to fill my mother's place. When you cried over being abandoned, when you looked so forlorn, my heart melted. And that night when you said you were dying, when you kept calling for me--'Flo, where is little Flo'--although I was there leaning over you, I couldn't endure to grieve you, and I gave my promise. And it was only that mercenary motive, after all!--to save me for a profitable marriage!" She gazes at her father with an expression so new to him on her face, that he moves about in his chair, and coughs before answering:

"You will appreciate my action some day. And besides, your promise to drop the man wasn't so much to give. You admitted, yourself, he hadn't written to you. He had afforded you good cause, by his neglect."

"He was very busy at that time. I always thought there was something strange about his sudden failure to write--something that could have been explained, if my promise to you hadn't kept me from inquiring."

The father coughs again, at this, and turns his gaze upon the fire, which he contemplates deeply, to the exclusion of all other objects. The girl, after regarding him for a moment, sighs profoundly; placing her elbows on the keyboard, she leans forward and buries her face in her hands.

This picture, not disturbed by further speech, abides for several ticks of the French clock on the mantelpiece. Suddenly it is broken by a knock at the door. Florence sits upright, and dries her eyes. A negro man servant with a discreet manner enters and announces two visitors. "Show them in at once," says Florence, quickly, as if to forestall any possible objection from her father. The negro withdraws, and presently, with a rapid swish of skirts, in marches a very spick and span young lady, her diminutive but exceedingly trim figure dressed like an animated fashion-plate. She is Miss Edna Hill, and she comes brisk and dashing, with cheeks afire from the cold, bringing into the dull, dreamy room the life and freshness of the wintry day without. Behind her appears a stranger, whose name Florence scarcely heeded when it was announced, and who enters with the solemn, hesitant air of one hitherto unknown to the people of the house. He is a young man clothed to be the fit companion of Miss Hill, and he waits self-effacingly while that young lady vivaciously greets Florence as her dearest, and while she bestows a touch of her gloved fingers and a "How d'ye do, Mr. Kenby," on the father. She then introduces the young man as Mr. Larcher, on whose face, as he bows, there appears a surprised admiration of Florence Kenby's beauty.

Miss Hill monopolizes Florence, however, and Larcher is left to wander to the fire, and take a pose there, and discuss the weather with Mr. Kenby, who does not seem to find the subject, or Larcher himself, at all interesting, a fact which the young man is not slow in divining. Strained relations immediately ensue between the two gentlemen.

As soon as the young ladies are over the preliminary burst of compliments and news, Edna says:

"I'm lucky to find you at home, but really you oughtn't to be moping in a dark place like this, such a fine afternoon."

"Father can't go out because of his rheumatism, and I stay to keep him company," replies Florence.

"Oh, dear me, Mr. Kenby," says Edna, looking at the gentleman rather skeptically, as if she knew him of old and suspected a habit of exaggerating his ailments, "can't you pa.s.s the time reading or something? Florence _must_ go out every day; she'll ruin her looks if she doesn't,--her health, too. I should think you could manage to entertain yourself alone an hour or two."

"It isn't that," explains Florence; "he often wants little things done, and it's painful for him to move about. In a house like this, the servants aren't always available, except for routine duties."

"Well, I'll tell you what," proposes Edna, blithely; "you get on your things, dear, and we'll run around and have tea with Aunt Clara at Purcell's. Mr. Larcher and I were to meet her there, but you come with me, and Mr. Larcher will stay and look after your father. He'll be very glad to, I know."