The Philistines Part 6

Fenton told me when I met her at the Paint and Clay Exhibition last night."

Ninitta folded her hands on the edge of the table, with a gesture of childish pleasure.

"I wonder what she will say to Nino," she said musingly, her voice taking a new softness.

A sudden spasm contracted the sculptor's throat. His whole being was shaken by the return of the woman to whom all the pa.s.sionate devotion of his manhood was given, and he never heard that soft, maternal note with which his wife spoke of his boy without emotion.

"She may say that the young rascal ought to be out of his bed in time for breakfast," he retorted with affected brusqueness. "He has all the Italian laziness in him."

He pushed back his chair as he spoke, and rose from the table. He hesitated a moment, as if some sudden thought absorbed him, then he went to his wife and kissed her forehead.

"Good-by," he said. "I sha'n't come up for lunch. Don't coddle the boy too much."

"But when," his wife persisted, as he turned away, "shall I see Mrs.

Greyson? I want to show her the _bambino_."

She always spoke in Italian to her husband and her child, and indeed her English had never been of the most fluent.

"The _bambino_" the father repeated, smiling. "He will be a _bambino_ to you when he is as big as I am, I suppose. I do not know about Mrs.

Greyson, but I will find out, if I can."

He left the room and went to the chamber where his swarthy boy of five lay still luxuriously in his crib, although he was fully awake. Nino gave a soft cry of joy at the sight of his father, and greeted him rapturously.

"Papa," he asked in Italian, "does the kitty know how much she hurts when she scratches? she made a long place on my arm, and it hurt like fire."

"Do you know how much you hurt her to make her do it?" his father returned, smiling fondly.

"Oh, but she is so soft and so little, of course I don't hurt her,"

Nino answered, with boyish logic. "Anyway, she ought not to hurt me. I don't like to be hurt."

The foolish, childish words came back to Herman's mind a couple of hours later, as he waited in the boarding-house parlor for Helen Greyson. He smiled with bitterness to think how perfectly they represented his own state of mind. He said to himself that he was tired of being hurt, and rose at the moment to take in both his hands the hands of a beautiful woman, to his eyes no older and no less fair than when he had said good-by to her on his wedding morning, six years before. He tried to speak, but tears came instead of words; choked and blinded, he turned away abruptly, struggling to regain his composure.

The meeting after long years of those who have loved and been separated, may, for the moment, carry them back to the time of their parting so completely that all that lies between seems annihilated. The old emotion rea.s.serts itself so strongly, the past lives again so vividly, that there seems to have been no break in feeling, and they stand in relation to one another as if the parting were yet to come.

When they had been together a little, the time which lay between them would once more become a reality; but at the first touch of their hands those bitter days of loneliness ceased to exist, and they seemed to stand together again, as when they were saying good-by six years before.

With her old time self-control, it was Helen who spoke first, and her words recalled him from the past and its pa.s.sion, to the present and its duty.

"Tell me how Ninitta is," she said, "and the boy. I do so want to see that wonderful boy."

The sculptor commanded his voice by a powerful effort.

"They are both well," he answered. "The boy is a wonderful little fellow, although perhaps I am not an unprejudiced judge. Ninitta is crazy to show him to you. She has pretty nearly effaced herself since he came, and only lives for his benefit."

"She is a happy woman," Helen said, a.s.suming that air of cheerfulness which is one of the first accomplishments that women are forced by life to learn. "I should know she would be devoted to her children."

There were a few moments of silence. Both cast down their eyes, and then each raised them to study whatever changes time might have made in the years that lay between them. Helen's heart was beating painfully, but she was determined not to lose her self-control. She knew of old how completely she could rule the mood of her companion, and she felt that upon her calmness depended his. She had been schooling herself for this interview from the moment she began to consider whether she might return to America, and she was therefore less unprepared than was Herman for the trying situation in which she now found herself; yet it required all her strength of mind and of will not to give way to the tide of love and emotion which surged within her breast.

Herman fixed his eyes resolutely on an ungainly group in pinkish clay which represented an American commercial sculptor's idea of Romeo and Juliet at the moment when the Nurse separates them with a message from Lady Capulet. With artistic instinct he noted the stupidity of the composition, the vulgarity of the lines, the cheap ugliness of the group. In that singular abstraction which comes so frequently in moments of high emotion, he let his glance wander to the pictures on the wall, the enormities in embroidery which adorned the chair backs, the garish hues of the rug lying before the open grate. Then it occurred to him, with a vague sense of amus.e.m.e.nt, how great was the incongruity between such a setting as this vulgar boarding-house reception-room, and the woman before him. The idea brought to his mind the contrast between the life to which Helen had come, and the life at Rome, artistic, rich, and full of possibilities, which she had left.

The thought of Rome recalled instantly the old days there, almost a score of years ago, when he had first known Ninitta. So vivid were the memories which awakened, that he seemed to see again the Roman studio, the fat old aunt, voluble and sharp eyed, who always accompanied her niece when the girl posed; and most clearly of all did his inner vision perceive the fresh, silent maiden whose exquisite figure was at once the admiration and the despair of all the young artists in Rome. He remembered how Hoffmeir had discovered the girl drawing water from an old broken fountain he had gone out to sketch; and the difficulties that had to be overcome before she could be persuaded to pose. The Capri maidens are brought up to be averse to posing, and Ninitta had not long enough breathed the air of Rome to have overcome the prejudices of her youth. He reflected, with a bitterness rendered vague by a certain strange impersonality of his mood, how different would have been his life had Hoffmeir been unable to overcome the girl's scruples. He wondered whether the fat old aunt, and the greasy, good-natured little priest with whom she had taken counsel, would have urged Ninitta to take up the life of a model, could they have foreseen all the results to which this course was to lead in the end.

Then, with a sudden stinging consciousness, the thought came of all that her decision had meant to his life. The old question whether he had done right in marrying Ninitta forced itself upon him as if it were some enemy springing up from ambush. He raised his eyes, and his glance met that of Mrs. Greyson.

"It is no use, Helen," he broke out, impulsively, "we must talk frankly. It is idle to suppose that we can go on in an artificial pretence that we have nothing to say."

She put up her hand appealingly.

"Only do not drive me away again," she pleaded. "Don't say things that I have no right to hear!"

A dark red stained Herman's cheek, and the tears came into his eyes.

"No," he returned. "If any one is to be driven away it shall not be you."

"But why need we trouble the things that are past," she went on, with wistful eagerness. "Why cannot we accept it all in silence, and be friends."

He looked at her with a pa.s.sionate, penetrating glance. She felt a wild and foolish longing to fling herself upon the floor and embrace his feet; but the old Puritan training, the resistant fibre inherited from st.u.r.dy ancestors, still did not fail her.

"You have your wife," she hurried on, "your home, your boy. That is enough. That"--

"That is not enough," he interrupted, with an emphasis, which seemed stern. "Helen, I shall not talk love to you. I am another woman's husband. I made a ghastly mistake when I married Ninitta, but it is done. She loves me; she is happy, and I love"--his voice faltered into a wonderful softness more eloquent than words,--"I love Nino."

She would not let him go on. She sprang up and ran to him, taking his hands in hers with a touch that made his blood rush tingling through his veins.

"Yes," she cried, "you love Nino! Think of that! Think most of all that whatever you are, good or bad, you are for your son, for Nino! Come!

There is safety for us in that. We will go and talk with Nino between us. Then we shall say nothing of which we can be ashamed or regret."

There came to Herman a vision of his boy clasped in Helen's arms which made him feel as if suffocating with the excess of his emotion. He rose blindly, only half conscious of what he was doing; and without giving time for objections Helen hastened to dress herself for the street, and in a few moments they were walking together toward the sculptor's house.

To Herman's surprise, his wife was absent when he reached home. The maid did not know where she had gone. She often went out in the morning without saying where she was going, and of course the servant did not ask.

"That is odd," Herman said; "but she has probably gone shopping or something of the sort. It is too bad, she had so set her heart on showing you the _bambino_, as she calls him, herself."

But it proved that Nino also was out, having been taken for a walk; and so Helen, who returned home at once, saw neither of them.

VII

THIS DEED UNSHAPES ME.

Measure for Measure; iv.--4.

Ninitta had not gone shopping. She was posing for Arthur Fenton, at his studio. Even the presence of her boy could not wholly make up to the Italian for the loss of all the old interest and excitement of her life as a model. The boy was with his nurse or at the kindergarten for long hours during which Ninitta, who had few of the resources with which an educated woman would have filled her time, mingled longings for her old life with blissful gloatings over Nino's beauty and cleverness. Her husband was always kind, but since his marriage delicacy of sentiment had made him shrink from having his wife pose even for himself, while naturally no thought of her doing so for another would have been entertained for a moment.

Ninitta had been so long in the life, to pose had been so large a part of her very existence, that she hardly knew how to do without the old-time flavor. Mrs. Fenton had perceived something of this without at all appreciating the strength of the feeling of the sculptor's wife, and she had at one time tried to interest Ninitta in what might perhaps be called missionary work among the models of Boston, a cla.s.s of whose calling Edith held views which her husband was not wholly wrong in calling absurdly narrow. She was met at once by the difficulty that it was impossible to make Ninitta see that missionary work was needed among the models, and the effort resulted in nothing except to convince Mrs. Fenton that she could do little with the Italian.

Just how Arthur Fenton had persuaded her to pose without her husband's knowledge, Ninitta could not have told; and the artist himself would have a.s.sured any investigator, even that speculative spirit which held the place left vacant by the dismissal of his conscience, that he had never deliberately tried to entice her. He had talked to her of the picture he was painting for a national compet.i.tive exhibition, it is true, and dwelt upon the difficulty of procuring a proper model; he had met her on the street one day and taken her into his studio to see it; he had regretted that it was impossible to ask her; and of a hundred apparently blameless and trivial things, the result was that this morning, while Helen and Herman were walking across the Common to find her, Ninitta was lying amid a heap of gorgeous stuffs and cushions in Fenton's studio, while he painted and talked after his fashion.

It is as impossible to trace the beginnings of any chain of events as it is to find the mystery of the growth of a seed. Whatever Arthur Fenton's faults, he certainly believed himself to be one who could not betray a friend. The ideal which he vaguely called honor, and which served him as that ultimate ethical standard which in one shape or another is necessary to every human being, forbade his taking advantage of any one whose friendship he admitted. His instinct of self-indulgence had, however, made him so expert a casuist that he was able to silence all inner misgivings by arguing that the demands of art were above all other laws. He reasoned that Ninitta's posing could do no possible harm to Grant Herman, while the success of his _Fatima_ depended upon it; and since art was his religion, he came at last to feel as if he were n.o.bly sacrificing his prejudices to his highest convictions in violating for the sake of art his principle which forbade his deceiving her husband.