The "Genius"

The Blue family had heard a great deal of Eugene's success since Angela had come to New York. There had never been a week but at least one letter, and sometimes two, had gone the rounds of the various members of the family. It was written to Marietta primarily, but Mrs. Blue, Jotham, the boys and the several sisters all received it by turns. Thus the whole regiment of Blue connections knew exactly how it was with Angela and even better than it was; for although things had looked prosperous enough, Angela had not stayed within the limits of bare fact in describing her husband's success. She added atmosphere, not fictitious, but the seeming glory which dwelt in her mind, until the various connections of the Blue family, Marietta in particular, were convinced that there was nothing but dignity and bliss in store for the wife of so talented a man. The studio life which Angela had seen, here and in Paris, the picturesque descriptions which came home from London and Paris, the personalities of M. Charles, M. Arkquin, Isaac Wertheim, Henry L. Tomlins, Luke Severas – all the celebrities whom they met, both in New York and abroad, had been described at length. There was not a dinner, a luncheon, a reception, a tea party, which was not pictured in all its native colors and more. Eugene had become somewhat of a demi-god to his Western connections. The quality of his art was never questioned. It was only a little time now before he would be rich or at least well-to-do.

All the relatives hoped that he would bring Angela home some day on a visit. To think that she should have married such a distinguished man!

In the Witla family it was quite the same. Eugene had not been home to see his parents since his last visit to Blackwood, but they had not been without news. For one thing, Eugene had been neglectful, and somewhat because of this Angela had taken it upon herself to open up a correspondence with his mother. She wrote that of course she didn't know her but that she was terribly fond of Eugene, that she hoped to make him a good wife and that she hoped to make her a satisfactory daughter-in-law. Eugene was so dilatory about writing. She would write for him now and his mother should hear every week. She asked if she and her husband couldn't manage to come and see them sometime. She would be so glad and it would do Eugene so much good. She asked if she couldn't have Myrtle's address – they had moved from Ottumwa – and if Sylvia wouldn't write occasionally. She sent a picture of herself and Eugene, a sketch of the studio which Eugene had made one day, a sketch of herself looking pensively out of the window into Washington Square. Pictures from his first show published in the newspapers, accounts of his work, criticisms, – all reached the members of both families impartially and they were kept well aware of how things were going.

During the time that Eugene was feeling so badly and because, if he were going to lose his health, it might be necessary to economize greatly, it occurred to Angela that it might be advisable for them to go home for a visit. While her family were not rich, they had sufficient means to live on. Eugene's mother also was constantly writing, wanting to know why they didn't come out there for a while. She could not see why Eugene could not paint his pictures as well in Alexandria as in New York or Paris. Eugene listened to this willingly, for it occurred to him that instead of going to London he might do Chicago next, and he and Angela could stay awhile at Blackwood and another while at his own home. They would be welcome guests.

The condition of his finances at this time was not exactly bad, but it was not very good. Of the thirteen hundred dollars he had received for the first three pictures sold, eleven hundred had been used on the foreign trip. He had since used three hundred dollars of his remaining capital of twelve hundred, but M. Charles' sale of two pictures at four hundred each had swelled his bank balance to seventeen hundred dollars; however, on this he had to live now until additional pictures were disposed of. He daily hoped to hear of additional sales, but none occurred.

Moreover, his exhibition in January did not produce quite the impression he thought it would. It was fascinating to look at; the critics and the public imagined that by now he must have created a following for himself, else why should M. Charles make a feature of his work. But Charles pointed out that these foreign studies could not hope to appeal to Americans as did the American things. He indicated that they might take better in France. Eugene was depressed by the general tone of the opinions, but this was due more to his unhealthy state of mind than to any inherent reason for feeling so. There was still Paris to try and there might be some sales of his work here. The latter were slow in materializing, however, and because by February he had not been able to work and because it was necessary that he should husband his resources as carefully as possible, he decided to accept Angela's family's invitation as well as that of his own parents and spend some time in Illinois and Wisconsin. Perhaps his health would become better. He decided also that, if his health permitted, he would work in Chicago.

CHAPTER XI

It was in packing the trunks and leaving the studio in Washington Square (owing to the continued absence of Mr. Dexter they had never been compelled to vacate it) that Angela came across the first evidence of Eugene's duplicity. Because of his peculiar indifference to everything except matters which related to his art, he had put the letters which he had received in times past from Christina Channing, as well as the one and only one from Ruby Kenny, in a box which had formerly contained writing paper and which he threw carelessly in a corner of his trunk. He had by this time forgotten all about them, though his impression was that he had placed them somewhere where they would not be found. When Angela started to lay out the various things which occupied it she came across this box and opening it took out the letters.

Curiosity as to things relative to Eugene was at this time the dominant characteristic of her life. She could neither think nor reason outside of this relationship which bound her to him. He and his affairs were truly the sum and substance of her existence. She looked at the letters oddly and then opened one – the first from Christina. It was dated Florizel, the summer of three years before when she was waiting so patiently for him at Blackwood. It began conservatively enough – "Dear E – ," but it concerned itself immediately with references to an apparently affectionate relationship. "I went this morning to see if by chance there were any tell-tale evidences of either Diana or Adonis in Arcady. There were none of importance. A hairpin or two, a broken mother-of-pearl button from a summer waist, the stub of a lead-pencil wherewith a certain genius sketched. The trees seemed just as unconscious of any nymphs or hamadryads as they could be. The smooth grass was quite unruffled of any feet. It is strange how much the trees and forest know and keep their counsel.

"And how is the hot city by now? Do you miss a certain evenly-swung hammock? Oh, the odor of leaves and the dew! Don't work too hard. You have an easy future and almost too much vitality. More repose for you, sir, and considerably more optimism of thought. I send you good wishes. – Diana."

Angela wondered at once who Diana was, for before she had begun the letter she had looked for the signature on the succeeding page. Then after reading this she hurried feverishly from letter to letter, seeking a name. There was none. "Diana of the Mountains," "The Hamadryad," "The Wood-Nymph," "C," "C C" – so they ran, confusing, badgering, enraging her until all at once it came to light – her first name at least. It was on the letter from Baltimore suggesting that he come to Florizel – "Christina."

"Ah," she thought, "Christina! That is her name." Then she hurried back to read the remaining epistles, hoping to find some clue to her surname. They were all of the same character, in the manner of writing she despised, – top-lofty, make-believe, the nasty, hypocritical, cant and make-believe superiority of the studios. How Angela hated her from that moment. How she could have taken her by the throat and beaten her head against the trees she described. Oh, the horrid creature! How dare she! And Eugene – how could he! What a way to reward her love! What an answer to make to all her devotion! At the very time when she was waiting so patiently, he was in the mountains with this Diana. And here she was packing his trunk for him like the little slave that she was when he cared so little, had apparently cared so little all this time. How could he ever have cared for her and done anything like this! He didn't! He never had! Dear Heaven!

She began clenching and unclenching her hands dramatically, working herself into that frenzy of emotion and regret which was her most notable characteristic. All at once she stopped. There was another letter in another handwriting on cheaper paper. "Ruby" was the signature.

"Dear Eugene: " – she read – "I got your note several weeks ago, but I couldn't bring myself to answer it before this. I know everything is over between us and that is all right I suppose. It has to be. You couldn't love any woman long, I think. I know what you say about having to go to New York to broaden your field is true. You ought to, but I'm sorry you didn't come out. You might have. Still I don't blame you, Eugene. It isn't much different from what has been going on for some time. I have cared, but I'll get over that, I know, and I won't ever think hard of you. Won't you return me the notes I have sent you from time to time, and my picture? You won't want them now. – Ruby."

"I stood by the window last night and looked out on the street. The moon was shining and those dead trees were waving in the wind. I saw the moon on that pool of water over in the field. It looked like silver. Oh, Eugene, I wish that I were dead."

Angela got up (as Eugene had) when she read this. The pathos struck home, for somehow it matched her own. Ruby! Who was she? Where had she been concealed while she, Angela, was coming to Chicago? Was this the fall and winter of their engagement? It certainly was. Look at the date. He had given her the diamond ring on her finger that fall! He had sworn eternal affection! He had sworn there was never another girl like her in all the world and yet, at that very time, he was apparently paying court to this woman if nothing worse. Heaven! Could anything like this really be? He was telling her that he loved her and making love to this Ruby at the same time. He was kissing and fondling her and Ruby too!! Was there ever such a situation? He, Eugene Witla, to deceive her this way. No wonder he wanted to get rid of her when he came to New York. He would have treated her as he had this Ruby. And Christina! This Christina!! Where was she? Who was she? What was she doing now? She jumped up prepared to go to Eugene and charge him with his iniquities, but remembered that he was out of the studio – that he had gone for a walk. He was sick now, very sick. Would she dare to reproach him with these reprehensible episodes?

She came back to the trunk where she was working and sat down. Her eyes were hard and cold for the time, but at the same time there was a touch of terror and of agonized affection. A face that, in the ordinary lines of its repose, was very much like that of a madonna, was now drawn and peaked and gray. Apparently Christina had forsaken him, or it might be that they still corresponded secretly. She got up again at that thought. Still the letters were old. It looked as though all communication had ceased two years ago. What had he written to her? – love notes. Letters full of wooing phrases such as he had written to her. Oh, the instability of men, the insincerity, the lack of responsibility and sense of duty. Her father, – what a different man he was; her brothers, – their word was their bond. And here was she married to a man who, even in the days of his most ardent wooing, had been deceiving her. She had let him lead her astray, too, – disgrace her own home. Tears came after a while, hot, scalding tears that seared her cheeks. And now she was married to him and he was sick and she would have to make the best of it. She wanted to make the best of it, for after all she loved him.

But oh, the cruelty, the insincerity, the unkindness, the brutality of it all.

The fact that Eugene was out for several hours following her discovery gave her ample time to reflect as to a suitable course of action. Being so impressed by the genius of the man, as imposed upon her by the opinion of others and her own affection, she could not readily think of anything save some method of ridding her soul of this misery and him of his evil tendencies, of making him ashamed of his wretched career, of making him see how badly he had treated her and how sorry he ought to be. She wanted him to feel sorry, very sorry, so that he would be a long time repenting in suffering, but she feared at the same time that she could not make him do that. He was so ethereal, so indifferent, so lost in the contemplation of life that he could not be made to think of her. That was her one complaint. He had other gods before her – the god of his art, the god of nature, the god of people as a spectacle. Frequently she had complained to him in this last year – "you don't love me! you don't love me!" but he would answer, "oh, yes I do. I can't be talking to you all the time, Angel-face. I have work to do. My art has to be cultivated. I can't be making love all the time."

"Oh, it isn't that, it isn't that!" she would exclaim passionately. "You just don't love me, like you ought to. You just don't care. If you did I'd feel it."

"Oh, Angela," he answered, "why do you talk so? Why do you carry on so? You're the funniest girl I ever knew. Now be reasonable. Why don't you bring a little philosophy to bear? We can't be billing and cooing all the time!"

"Billing and cooing! That's the way you think of it. That's the way you talk of it! As though it were something you had to do. Oh, I hate love! I hate life! I hate philosophy! I wish I could die."

"Now, Angela, for Heaven's sake, why will you take on so? I can't stand this. I can't stand these tantrums of yours. They're not reasonable. You know I love you. Why, haven't I shown it? Why should I have married you if I didn't? I wasn't obliged to marry you!"

"Oh, dear! oh, dear!" Angela would sob on, wringing her hands. "Oh, you really don't love me! You don't care! And it will go on this way, getting worse and worse, with less and less of love and feeling until after awhile you won't even want to see me any more – you'll hate me! Oh, dear! oh, dear!"

Eugene felt keenly the pathos involved in this picture of decaying love. In fact, her fear of the disaster which might overtake her little bark of happiness was sufficiently well founded. It might be that his affection would cease – it wasn't even affection now in the true sense of the word, – a passionate intellectual desire for her companionship. He never had really loved her for her mind, the beauty of her thoughts. As he meditated he realized that he had never reached an understanding with her by an intellectual process at all. It was emotional, subconscious, a natural drawing together which was not based on reason and spirituality of contemplation apparently, but on grosser emotions and desires. Physical desire had been involved – strong, raging, uncontrollable. And for some reason he had always felt sorry for her – he always had. She was so little, so conscious of disaster, so afraid of life and what it might do to her. It was a shame to wreck her hopes and desires. At the same time he was sorry now for this bondage he had let himself into – this yoke which he had put about his neck. He could have done so much better. He might have married a woman of wealth or a woman with artistic perceptions and philosophic insight like Christina Channing, who would be peaceful and happy with him. Angela couldn't be. He really didn't admire her enough, couldn't fuss over her enough. Even while he was soothing her in these moments, trying to make her believe that there was no basis for her fears, sympathizing with her subconscious intuitions that all was not well, he was thinking of how different his life might have been.

"It won't end that way," he would soothe. "Don't cry. Come now, don't cry. We're going to be very happy. I'm going to love you always, just as I'm loving you now, and you're going to love me. Won't that be all right? Come on, now. Cheer up. Don't be so pessimistic. Come on, Angela. Please do. Please!"

Angela would brighten after a time, but there were spells of apprehension and gloom; they were common, apt to burst forth like a summer storm when neither of them was really expecting it.

The discovery of these letters now checked the feeling, with which she tried to delude herself at times, that there might be anything more than kindness here. They confirmed her suspicions that there was not and brought on that sense of defeat and despair which so often and so tragically overcame her. It did it at a time, too, when Eugene needed her undivided consideration and feeling, for he was in a wretched state of mind. To have her quarrel with him now, lose her temper, fly into rages and compel him to console her, was very trying. He was in no mood for it; could not very well endure it without injury to himself. He was seeking for an atmosphere of joyousness, wishing to find a cheerful optimism somewhere which would pull him out of himself and make him whole. Not infrequently he dropped in to see Norma Whitmore, Isadora Crane, who was getting along very well on the stage, Hedda Andersen, who had a natural charm of intellect with much vivacity, even though she was a model, and now and then Miriam Finch. The latter was glad to see him alone, almost as a testimony against Angela, though she would not go out of her way to conceal from Angela the fact that he had been there. The others, though he said nothing, assumed that since Angela did not come with him he wanted nothing said and observed his wish. They were inclined to think that he had made a matrimonial mistake and was possibly artistically or intellectually lonely. All of them noted his decline in health with considerate apprehension and sorrow. It was too bad, they thought, if his health was going to fail him just at this time. Eugene lived in fear lest Angela should become aware of any of these visits. He thought he could not tell her because in the first place she would resent his not having taken her with him; and in the next, if he had proposed it first, she would have objected, or set another date, or asked pointless questions. He liked the liberty of going where he pleased, saying nothing, not feeling it necessary to say anything. He longed for the freedom of his old pre-matrimonial days. Just at this time, because he could not work artistically and because he was in need of diversion and of joyous artistic palaver, he was especially miserable. Life seemed very dark and ugly.

Eugene, returning and feeling, as usual, depressed about his state, sought to find consolation in her company. He came in at one o'clock, their usual lunch hour, and finding Angela still working, said, "George! but you like to keep at things when you get started, don't you? You're a regular little work-horse. Having much trouble?"

"No-o," replied Angela, dubiously.

Eugene noted the tone of her voice. He thought she was not very strong and this packing was getting on her nerves. Fortunately there were only some trunks to look after, for the vast mass of their housekeeping materials belonged to the studio. Still no doubt she was weary.

"Are you very tired?" he asked.

"No-o," she replied.

"You look it," he said, slipping his arm about her. Her face, which he turned up with his hand, was pale and drawn.

"It isn't anything physical," she replied, looking away from him in a tragic way. "It's just my heart. It's here!" and she laid her hand over her heart.

"What's the matter now?" he asked, suspecting something emotional, though for the life of him he could not imagine what. "Does your heart hurt you?"

"It isn't my real heart," she returned, "it's just my mind, my feelings; though I don't suppose they ought to matter."

"What's the matter now, Angel-face," he persisted, for he was sorry for her. This emotional ability of hers had the power to move him. It might have been acting, or it might not have been. It might be either a real or a fancied woe; – in either case it was real to her. "What's come up?" he continued. "Aren't you just tired? Suppose we quit this and go out somewhere and get something to eat. You'll feel better."

"No, I couldn't eat," she replied. "I'll stop now and get your lunch, but I don't want anything."

"Oh, what's the matter, Angela?" he begged. "I know there's something. Now what is it? You're tired, or you're sick, or something has happened. Is it anything that I have done? Look at me! Is it?"

Angela held away from him, looking down. She did not know how to begin this but she wanted to make him terribly sorry if she could, as sorry as she was for herself. She thought he ought to be; that if he had any true feeling of shame and sympathy in him he would be. Her own condition in the face of his shameless past was terrible. She had no one to love her. She had no one to turn to. Her own family did not understand her life any more – it had changed so. She was a different woman now, greater, more important, more distinguished. Her experiences with Eugene here in New York, in Paris, in London and even before her marriage, in Chicago and Blackwood, had changed her point of view. She was no longer the same in her ideas, she thought, and to find herself deserted in this way emotionally – not really loved, not ever having been really loved but just toyed with, made a doll and a plaything, was terrible.

"Oh, dear!" she exclaimed in a shrill staccato, "I don't know what to do! I don't know what to say! I don't know what to think! If I only knew how to think or what to do!"

"What's the matter?" begged Eugene, releasing his hold and turning his thoughts partially to himself and his own condition as well as to hers. His nerves were put on edge by these emotional tantrums – his brain fairly ached. It made his hands tremble. In his days of physical and nervous soundness it did not matter, but now, when he was sick, when his own heart was weak, as he fancied, and his nerves set to jangling by the least discord, it was almost more than he could bear. "Why don't you speak?" he insisted. "You know I can't stand this. I'm in no condition. What's the trouble? What's the use of carrying on this way? Are you going to tell me?"

"There!" Angela said, pointing her finger at the box of letters she had laid aside on the window-sill. She knew he would see them, would remember instantly what they were about.

Eugene looked. The box came to his memory instantly. He picked it up nervously, sheepishly, for this was like a blow in the face which he had no power to resist. The whole peculiar nature of his transactions with Ruby and with Christina came back to him, not as they had looked to him at the time, but as they were appearing to Angela now. What must she think of him? Here he was protesting right along that he loved her, that he was happy and satisfied to live with her, that he was not interested in any of these other women whom she knew to be interested in him and of whom she was inordinately jealous, that he had always loved her and her only, and yet here were these letters suddenly come to light, giving the lie to all these protestations and asseverations – making him look like the coward, the blackguard, the moral thief that he knew himself to be. To be dragged out of the friendly darkness of lack of knowledge and understanding on her part and set forth under the clear white light of positive proof – he stared helplessly, his nerves trembling, his brain aching, for truly he was in no condition for an emotional argument.

And yet Angela was crying now. She had walked away from him and was leaning against the mantel-piece sobbing as if her heart would break. There was a real convincing ache in the sound – the vibration expressing the sense of loss and defeat and despair which she felt. He was staring at the box wondering why he had been such an idiot as to leave them in his trunk, to have saved them at all.