What would his good friend say to him now when he asked for a chance to earn his bread? He had flouted the critics, the dramatic departments of all the papers. In his besotted self-confidence he had cast away all his best friends, and with these reflections came the complete revelation of Helen"s kindness--and her glittering power. Back upon him swept a realization of the paradise in which he had lived, in whose air his egotism had expanded like a mushroom.
Leagued with her, enjoying her bounty and sharing in the power which her success had brought her, he had imagined himself a great writer, a man with a compelling message to his fellows. It seemed only necessary to reach out his hand in order to grasp a chaplet--a crown. With her the world seemed his debtor. Now he was a thing cast off, a broken boy grovelling at the foot of the ladder of fame.
While he withered over his defeat the electric cars, gigantic insects of the dawn, began to howl and the trains on the elevated railway thundered by. The city"s voice, which never ceases, but which had sunk to a sleepy murmur, suddenly awoke, and with clattering, snarling crescendo roar announced the coming of the tides of toilers. "I am facing the day," he said to himself, "and the papers containing the contemptuous judgments of my critics are being delivered in millions to my fellow-citizens.
This thing I have gained--I am rapidly becoming infamous."
His weakness, his shuddering fear made his going forth a torture. Even the bell-boy who brought his papers seemed to exult over his misery, but by sternly sending him about an errand the worn playwright managed to overawe and silence him, and then, with the city"s leading papers before him, he sat down to his bitter medicine. As he had put aside the judgments of _Lillian"s Duty_, with contemptuous gesture, so now he searched out every line, humbly admitting the truth of every criticism, instructed even by the lash of those who hated him.
The play had closed unexpectedly well, one paper admitted, but it could never succeed. It was not dramatic of construction. Another admitted that it was a novel and pretty entertainment, a kind of prose poem, a fantasy of the present, but without wide appeal. Others called it a moonshine monologue--that a girl at once so nave and so powerful was impossible. All united in praise of Helen, however, and, as though by agreement, bewailed her desertion of the roles in which she won great renown. "Our advice, given in the friendliest spirit, is this: go back to the twilight of the past, to the costume play. Get out of the garish light of to-day. The present is suited only for a kind of cra.s.s comedy or Bowery melodrama. Only the past, the foreign, affords setting for the large play of human pa.s.sion which Helen Merival"s great art demands."
"You are cheating us," wrote another. "There are a thousand little _ingenues_ who can play acceptably this goody-goody _Enid_, but the best of them would be lost in the large folds of your cloak in _The Baroness Telka_."
Only one wrote in almost unmeasured praise, and his words, so well chosen, salved the smarting wounds of the dramatist. "Those who have seen Miss Merival only as the melodrama queen or the adventuress in jet-black evening dress have a surprise in store for them. Her _Enid_ is a dream of cold, chaste girlhood--a lily with heart of fire--in whose tender, virginal eyes the l.u.s.t and cruelty of the world arouse only pity and wonder. So complete was Miss Merival"s invest.i.ture of herself in this part that no one recognized her as she stepped on the stage. For a moment even her best friends sat silent." And yet this friend ended like the rest in predicting defeat. "The play is away over the heads of any audience likely to come to see it. The beringed and complacent wives of New York and their wine-befuddled husbands will find little to entertain them in this idyl of modern life. As for the author, George Dougla.s.s, we have only this to say: He is twenty years ahead of his time. Let him go on writing his best and be patient. By-and-by, when we have time to think of other things than money, when our wives have ceased to struggle for social success, when the reaction to a simpler and truer life comes--and it is coming--then the quality of such a play as _Enid"s Choice_ will give its author the fame and the living he deserves."
The tears came to Dougla.s.s"s eyes. "Good old Jim! He knows I need comfort this morning. He"s prejudiced in my favor--everybody will see that; and yet there is truth in what he says. I will go to him and ask for work, for I must get back to earning a weekly wage."
He went down and out into the street. The city seemed unusually brilliant and uncaring. From every quarter of the suburbs floods of people were streaming in to work or to shop, quite unknowing of any one"s misfortunes but their own, each intent on earning a living or securing a bargain. "How can I appeal to these motes?" he asked himself.
"By what magic can I lift myself out of this press to earn a living--out of this common drudgery?" He studied the faces in the coffee-house where he sat. "How many of these citizens are capable of understanding for a moment _Enid"s Choice_? Is there any subject holding an interest common to them and to me which would not in a sense be degrading in me to dramatize for their pleasure?"
This was the question, and though his breakfast and a walk on the avenue cleared his brain, it did not solve his problem. "They don"t want my ideas on architecture. My dramatic criticism interests but a few. My plays are a proved failure. What is to be done?"
Mingled with these gloomy thoughts, constantly recurring like the dull, far-off boom of a sombre bell, was the consciousness of his loss of Helen. He did not think of returning to ask forgiveness. "I do not deserve it," he repeated each time his heart prompted a message to her.
"She is well rid of me. I have been a source of loss, of trouble, and vexation to her. She will be glad of my self-revelation." Nevertheless, when he found her letter waiting for him in his box at the office he was smitten with sudden weakness. "What would she say? She has every reason to hate me, to cast me and my play to the winds. Has she done so? I cannot blame her."
Safe in his room, he opened the letter, the most fateful that had ever come to him in all his life. The very lines showed the agitation of the writer:
"MY DEAR AUTHOR,--Pardon me for my harshness last night, and come to see me at once. I was nervous and anxious, as you were. I should have made allowances for the strain you were under. Please forgive me. Come and lunch, as usual, and talk of the play. I believe in it, in spite of all. It must make its own public, but I believe it will do so. Come and let me hear you say you have forgotten my words of last night. I didn"t really mean them; you must have known that."
His throat filled with tenderness and his head bowed in humility as he read these good, sweet, womanly lines, and for the moment he was ready to go to her and receive pardon kneeling. But as he thought of the wrong he had done her, the misfortune he had brought upon her, a stubborn, unaccountable resolution hardened his heart. "No, I will not go back till I can go as her equal. I am broken and in disgrace now. I will not burden her generosity further."
The thought of making his peace with Hugh, of meeting Westervelt"s hard stare, aided this resolution, and, sitting at his desk, he wrote a long and pa.s.sionate letter, wherein he delineated with unsparing hand his miserable failure. He took a pride and a sort of morbid pleasure in punishing himself, in denying himself any further joy in her company.
"It is better for you and better for me that we do not meet again--at least till I have won the tolerance of your brother and manager and my own self-respect. The work I have done is honest work; I will not admit that it is wholly bad, but I cannot meet Hugh again till I can demand consideration. It was not so much the words he used as the tone. I was helpless in resenting it. That I am a beggar, a dangerous influence, I admit. I am appalled at the thought of what I have done to injure you. Cast me overboard. Not even your beauty, your great fame, can make my work vital to the public. I am too perverse, too individual. There is good in me, but it is evil to you. I no longer care what they say of me, but I feel every word derogatory of you as if it were a red-hot point of steel. I did not sleep last night; I spent the time in reconstructing myself. I confessed my grievous sins, and I long to do penance. This play is also a failure. I grew cold with hate of myself last night as I thought of the irreparable injury I had done to you. I here relinquish all claim to both pieces; they are yours to do with as you like. Take them, rewrite them, play them, or burn them, as you will.
"You see, I am very, very humble. I have put my foolish pride underfoot. I am not broken. I am still very proud and, I fear, self-conceited, in spite of my severe lesson. _Enid_ is beautiful, and I know it, and it helps me write this letter, but I have no right to ask even friendship from you. My proved failure as a playwright robs me of every chance of meeting you on equal terms. I want to repay you, I _must_ repay you, for what you have done. If I could write now, it would be not to please myself, but to please you, to help you regain your dominion. I want to see you the radiant one again, speaking to throngs of happy people. If I could by any sacrifice of myself call back the homage of the critics and place you where I found you, the acknowledged queen of American actresses, I would do it. But I am helpless. I shall not speak or write to you again till I can come with some gift in my hand--some recompense for your losses through me. I have been a malign influence in your life. I am in mad despair when I think of you playing to cold and empty houses. I am going back to the West to do sash factories and wheat elevators; these are my _metier_. You are the one to grant pardon; I am the malefactor. I am taking myself out of your world. Forgive me and--forget me. Hugh was right. My very presence is a curse to you. Good-bye."
XVII
This letter came to Helen with her coffee, and the reading of it blotted out the glory of the morning, filling her eyes with smarting tears. It put a sudden ache into her heart, a fierce resentment. At the moment his a.s.sumed humbleness, his self-derision, his confession of failure irritated her.
"I don"t want you to bend and bow," she thought, as if speaking to him.
"I"d rather you were fierce and hard, as you were last night." She read on to the end, so deeply moved that she could scarcely see the lines.
Her resentment melted away and a pity, profound and almost maternal, filled her heart. "Poor boy! What could Hugh have said to him! I will know. It has been a bitter experience for him. And is this the end of our good days?"
With this internal question a sense of vital loss took hold upon her.
For the first time in her life the future seemed desolate and her past futile. Back upon her a throng of memories came rushing--memories of the high and splendid moments they had spent together. First of all she remembered him as the cold, stern, handsome stranger of that first night--that night when she learned that his coldness was a.s.sumed, his sternness a mask. She realized once again that at this first meeting he had won her by his voice, by his hand-clasp, by the swiftness and fervor of his speech; he had dominated her, swept her from her feet.
And now this was the end of all their plans, their dreams of conquest.
There could be no doubt of his meaning in this letter: he had cut himself off from her, perversely, bitterly, in despair and deep humiliation. She did not doubt his ability to keep his word. There was something inexorable in him. She had felt it before--a sort of blind, self-torturing obstinacy which would keep him to his vow though he bled for every letter.
And yet she wrote again, patiently, sweetly, asking him to come to her.
"I don"t know what Hugh said to you--no matter, forgive him. We were all at high tension last night. I know you didn"t intend to hurt me, and I have put it all away. I will forget your reproach, but I cannot have you go out of my life in this way. It is too cruel, too hopeless. Come to me again, your good, strong, buoyant self, and let us plan for the future."
This message, so high, so divinely forgiving, came back to her unopened, with a line from the clerk on the back--"Mr. Dougla.s.s left the city this evening. No address."
This laconic message struck her like a blow. It was as if Dougla.s.s himself had refused her outstretched hand. Her nerves, tense and quivering, gave way. Her resentment flamed up again.
"Very well." She tore the note in small pieces, slowly, with painful precision, as if by so doing she were tearing and blowing away the great pa.s.sion which had grown up in her heart. "I was mistaken in you. You are unworthy of my confidence. After all, you are only a weak, egotistical "genius"--morbid, selfish. Hugh is right. You have proved my evil genius. You skulked the night of your first play. You alternately ignored and made use of me--as you pleased--and after all I had done for you you flouted me in the face of my company." She flung the fragments of the note into the fire. "There are your words--all counting for nothing."
And she rose and walked out to her brother and her manager, determined that no sign of her suffering and despair should be written upon her face.
The day dragged wearily forward, and when Westervelt came in with a sorrowful tale of diminishing demand for seats she gave her consent to a return to _Baroness Telka_ on the following Monday morning.
The manager was jubilant. "Now we will see a theatre once more. I tought I vas running a church or a school. Now we will see carriages at the door again and some dress-suits pefore the orchestra. Eh, Hugh?"
"I"m glad to see you come to your senses," said Hugh, ignoring Westervelt. "That chap had us all--"
She stopped him. "Not a word of that. Mr. Dougla.s.s was right and his plays are right, but the public is not yet risen to such work. I admire his work just as much now as ever. I am only doubting the public. If there is no sign of increasing interest on Sat.u.r.day we will take _Enid_ off. That is all I will say now."
It seemed a pitiful, a monstrous thing. Hugh made no further protest, but that his queenly sister, after walking untouched through swarms of rich and talented suitors, should fall a victim to a poor and unknown architect, who was a failure at his own business as well as a playwright.
Mrs. MacDavitt, who stood quite in awe of her daughter, and who feared the sudden, hot temper of her son, pa.s.sed through some trying hours as the days went by. Helen was plainly suffering, and the mother cautioned the son to speak gently. "I fear she prized him highly--the young Dougla.s.s," she said, "and, I confess, I had a kin" o" liking for the lad. He was so keen and resolved."
"He was keen to "do" us, mother, and when he found he couldn"t he pulled his freight. He could write, I"ll admit that, but he wouldn"t write what people wanted to hear. He was too badly stuck on his own "genius.""
Helen went to her task at the theatre without heart, though she pretended to a greater enthusiasm than ever. But each time she entered upon the second act of the play a mysterious and solacing pleasure came to her. She enjoyed the words with which _Enid_ questions the life of her richest and most powerful suitor. The mingled shrewdness, simplicity, and sweetness of this scene always filled her with a new sense of Dougla.s.s"s power of divination. Indeed, she closed the play each night with a sense of being more deeply indebted to him as well as a feeling of having been near him. Once she saw a face strangely like his in the upper gallery, and the blood tingled round her heart, and she played the remainder of the act with mind distraught. "Can it be possible that he is still in the city?" she asked herself.
XVIII
It was, indeed, the playwright. Each night he left his boarding-place, drawn by an impulse he could not resist, to walk slowly to and fro opposite the theatre entrance, calculating with agonized eye the meagre numbers of those who entered. At times he took his stand near the door in a shadowy nook (with coat-collar rolled high about his ears), in order to observe the pa.s.sing stream, hoping, exulting, and suffering alternately as groups from the crowd paused for a moment to study the displayed photographs, only to pa.s.s on to other amus.e.m.e.nt with some careless allusion to the fallen star.
This hurt him worst of all--that these motes, these cheap little boys and girls, could now sneer at or pity Helen Merival. "I brought her to this," he repeated, with morbid sense of power. "When she met me she was queen of the city; now she is an object of pity."
This feeling of guilt, this egotism deepened each night as he watched the city"s pleasure-seekers pace past the door. It was of no avail to say that the few who entered were of higher type than the many who pa.s.sed. "The profession which Helen serves cannot live on the wishes of the few, the many must be pleased. To become exclusive in appeal is to die of hunger. This is why the sordid, commonplace playwrights and the business-like managers succeed while the idealists fail. There is an iron law of limitation here."
"That is why my influence is destructive," he added, and was rea.s.sured in the justice of his resolution to take himself out of Helen"s life.
"Everything I stand for is inimical to her interests. To follow my path is to eat dry crusts, to be without comfort. To amuse this great, moiling crowd, to dance for them like a monkey, to pander to their base pa.s.sions, this means success, and so long as her acting does not smirch her own soul what does it matter?" In such wise he sometimes argued in his bitterness and wrath.
From the brilliant street, from the gay crowds rolling on in search of witless farce-comedy and trite melodrama, the brooding idealist climbed one night to the gallery to overlook a gloomy, empty auditorium.
Concealing himself as best he could, he sat through the performance, tortured by some indefinable appeal in Helen"s voice, hearing with cold and sinking heart the faint applause from the orchestra chairs which used to roar with bravos and sparkle with the clapping of white and jewelled hands.