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McClure's Magazine

by Willa Sibert Cather

From McClure's Magazine, 47 (October 1916):  7-11; 66-70.
Illustration of a man and a woman seated with a book in their laps but looking at each other. Cressida sat down with Bouchalka upon the window seat, the book open between them, though neither of them looked at it again

The Diamond Mine

Another of McClure's Big Little Novels—Complete in This Number

Illustrations by Gardner Soper
Photograph of Willa Cather wearing a western-style hat and holding a large stick of wood.Miss Cather

I FIRST became aware that Cressida Garnet was on board when I saw young men with cameras going up to the boat deck. In that exposed spot she was good-naturedly posing for them, amid fluttering lavender scarfs, wearing a most unseaworthy hat, her broad, vigorous face wreathed in smiles. She was too much an American not to believe in publicity. All advertising was good. If it was good for breakfast foods, it was good for prime donne—especially for a prima donna who would never be any younger and who had just announced her intention of marrying a fourth time.

Only a few days before, when I was lunching with some friends at Sherry's, I had seen Jerome Brown come in with several younger men, looking so pleased and prosperous that I exclaimed upon it.

"His affairs," someone explained, "are looking up. He's going to marry Cressida Garnet. That woman's a diamond mine."

If there was ever a man who needed a diamond mine at hand, immediately convenient, it was Jerome Brown. I was an old friend of Cressida Garnet, and I had been away from New York. Therefore, I had not seen Cressida for a year, and I paused on the gangplank to note how very like herself she still was, and with what undiminished zeal she went about even the most trifling things that pertained to her profession. From that distance I could recognize her "carrying" smile, and even what, in Columbus, we used to call "the Garnet look."

At the foot of the stairway leading up to the boat deck stood two of the factors in Cressida's destiny. One of them was her sister, Miss Julia; a woman of fifty with a relaxed, mournful face, an aging skin that browned slowly, like meerschaum, and the unmistakable "look" by which one knew a Garnet. Beside her, pointedly ignoring her, smoking a cigarette while he ran over the passenger-list with supercilious almond eyes, stood a youth in a pink shirt and a green plush hat, holding a French bulldog on the leash. This was Horace, Cressida's only son. He, at any rate, had not the Garnet look. He was rich and ruddy, indolent and insolent, with soft oval cheeks and the blooming complexion of eighteen. He seemed like a ripe fruit grown out of a rich soil; "oriental," his mother called his peculiar lusciousness. He and his aunt were waiting, in constrained immobility, for Cressida to descend and reanimate them—will them to do or to be something. Forward, by the rail, I saw the stooped, eager back for which I was unconsciously looking: Miletus Poppas, the Greek Jew, Cressida's accompanist and shadow. We were all there, I thought with a smile, except Jerome Brown.

The first member of Cressida's party with whom I had speech was Mr. Poppas. When we were two hours out I came upon him in the act of dropping overboard a steamer cushion made of American flags. Cressida never sailed, I think, that one of these vivid comforts of travel did not reach her at the dock. Poppas recognized me just as the striped object left his hand. He was standing with his arm still extended over the rail, his fingers contemptuously sprung back.

"Lest we forgedt!" he said with a shrug. "Does Madame Cressida know that we are to have the pleasure of your company for this voyage?"

He spoke deliberate, grammatical English—he despised the American rendering of the language—but there was an indescribably foreign quality in his voice, a something muted. Poppas stood before me in a short, tightly buttoned gray coat and cap, exactly the color of his grayish skin and hair and waxed moustache; a monocle on a very wide black ribbon dangled over his chest. As to his age, I could not offer a conjecture. In the twelve years I had known his thin lupine face behind Cressida's shoulder, it had not changed. I was used to his cold, supercilious manner, to his alarming, deep-set eyes—very close together, in color a yellowish green, and always gleaming with something like defeated fury.

I asked him if Cressida had engagements in London.

"Quite so: The Manchester Festival, some concerts at Queen's Hall, and the Opera at Covent Garden; a rather special production of the operas of Mozart. That she can still do quite well—which is not at all, of course, what we might have expected, and which only goes to show that our Madame Cressida is now, as always, a charming exception to rules." Poppas's tone about his client was consistently patronizing, and he was always trying to draw one into a conspiracy of two, based on a mutual understanding of her shortcomings.

I approached him on the one subject I could think of which was more personal than his usefulness to Cressida, and asked him whether he still suffered from facial neuralgia as much as he had done in former years, and whether he was therefore dreading London, where the climate used to be so bad for him.

"And is still," he caught me up. "And is still! For me to go to London is martyrdom, chère Madame. I think I have told you about my favorite city in the middle of Asia, la sainte Asie, as I love to call it, where the rainfall is absolutely nil, and you are protected on every side by hundreds of metres of warm, dry sand. I was there when I was a child once, and it is still my intention to retire there when I have finished with all this. I would be there now, n-ow-ow)," his voice rose querulously, "if Madame Cressida did not imagine that she needs me, and her fancies, you know—" he flourished his hands, "one gives in to them. In humoring her caprices you and I have already played some together."

We were approaching Cressida's deck chairs, ranged under the open windows of her stateroom. She was already recumbent, protected by lavender scarfs and wearing purple orchids—doubtless from Jerome Brown. At her left, Horace had settled down to a French novel, and Julia Garnet, at her right, was complainingly regarding the gray horizon. On seeing me, Cressida struggled under her fur-lined robes and got to her feet, which was more than Horace or Miss Julia managed to do. Miss Julia, as I could have foretold, was not pleased. All the Garnets had an awkward manner with me. Whether it was that I reminded them of things they wished to forget, or whether they thought I esteemed Cressida too highly and the rest of them too lightly, I do not know; but my appearance upon their scene always put them greatly on their dignity. Cressida took my arm and walked me off toward the stern.

"Do you know, Carrie, I half wondered whether I shouldn't find you here, or in London, because you always turn up at critical moments in my life." She pressed my arm confidentially, and I felt that she was once more wrought up to a new purpose, was once more encouraged about living. I told her that I had heard some rumor of her engagement.

Illustration of a woman dressed in a fancy scarf and a big hat standing against the rail of a ship with one man standing on either side of her and another man photographing her. She was too much of an American not to believe in publicity

"It's quite true, and it's all that it should be," she reassured me. "I'll tell you about it later, and you'll see that it's a real solution. They are against me, of course, all except Horace. He has been such a comfort."

Horace's support, such as it was, could always be had in exchange for his mother's signature, I suspected. The pale May day had turned bleak and chilly, and we sat down by an open hatchway which emitted warm air from somewhere below. At this close range I studied Cressida's face, and felt her unabated vitality.

"You have been in Columbus lately?" she was saying. "No, you needn't tell me about it," with a sigh. "Why is it, Caroline, that there is so little of my life I would be willing to live over again? Yet I've really not a bad conscience. It may mean that I still belong to the future more than to the past, do you think?"

My assent was not warm enough to fix her attention, and she went on thoughtfully: "Of course, it was a bleak country and a bleak period, but I've sometimes wondered whether the bleakness may not have been in me, too; for it has certainly followed me. But there, that is no way to talk." She drew herself up from a momentary attitude of dejection. "Sea air always lets me down at first. That's why it's so good for me in the end."

"I think Julia always lets you down, too," I said bluntly. "But perhaps that depression works out in the same way."

The deck steward approached us with a blue envelope. "A wireless for you, Madame Garnet."

Cressida put out her hand with impatience. "It's from Jerome Brown," she said with some confusion, as she folded the paper small and tucked it between the buttons of her close-fitting gown. "Something he forgot to tell me. How long shall you be in London? Good; I want you to meet him. We shall probably be married there as soon as my engagements are over." She rose. "Now I must write some letters. Keep two places at your table, so that I can slip away from my party and dine with you sometimes."

I walked with her toward her chair, in which Mr. Poppas was now reclining. He indicated his readiness to rise, but she shook her head and entered the door of her deck suite. As she passed him, his eye went over her with assurance until it rested upon the folded bit of blue paper in her corsage. He must have seen the original rectangle in the steward's hand; having found it again, he dropped back between Horace and Miss Julia, whom I think he disliked no more than he did the rest of the world.

The three of them lay staring at the swell which was steadily growing heavier. Both men had covered themselves with rugs, after dutifully bundling up Miss Julia. As I walked back and forth on the deck, I was struck by their various degrees of inexpressiveness. Opaque brown eyes, almond-shaped and only half open; wolfish green eyes, close-set and always doing something, with a crooked gleam boring in this direction or in that; watery gray eyes, like the thick edges of broken skylight glass: I would have given a great deal to know what was going on behind them.

These three were sitting there in a row because they were all woven into the pattern of one large and rather splendid life. Each had a bond, and each had a grievance. If they could have their will, what would they do with the generous, credulous creature who nourished them. I wondered. How deep a humiliation would each egotism exact? They would scarcely have harmed her in fortune or in person (though I think Miss Julia looked forward to the day when Cressida would "break " and could be mourned over), but the fire at which she warmed herself, the little secret hope, the illusion, ridiculous or sublime, which kept her going—that they would have stamped out on the instant, with the whole Garnet pack behind them to make it sure. All, except, perhaps, Miletus Poppas. He was a vulture of the vulture race, and he had the beak of one. But I always felt that if ever he had her thus at his mercy—if ever he came upon the softness that was hidden under so much hardness, the warm credulity under a life so dated and scheduled and "reported" and generally exposed—he would hold his hand and spare.

The weather grew steadily rougher, and Miss Julia at last plucked Poppas by the sleeve and indicated that she wished to be released from her wrappings. When she disappeared there seemed to be every reason to hope that she might be off the scene for a while. As Cressida said, if she had not brought Julia she would have had to bring Georgia, or some other Garnet.

Miss Julia was dampening enough, but Miss Georgia was aggressive and more intrusive. She was out to prove to all the world, and more especially to Ohio, that all the Garnets were as like Cressida as two peas. Both sisters were club-women social-service workers, and directors in musical societies, and they were continually traveling up and down the Middle West to preside at meetings or to deliver addresses. They reminded one of two somber, bumping electrics, rolling about with no visible means of motion, always running out of power and lying beached in some inconvenient spot until they received a check or a suggestion from Cressy. I was only too well acquainted with the strained, anxious expression that the sight of their handwriting brought to Cressida's face when she ran over her morning mail at breakfast. She usually put their letters by to read "when she was feeling up to it." Sometimes these family unburdenings lay about unread for several days.

The truth was that all the Garnets, and particularly her two sisters, were consumed by an habitual, bilious, unenterprising envy of Cressy. They never forgot that, no matter what she did for them or how far she dragged them about the world with her, she would never take one of them to live with her in her Tenth Street house in New York. They thought that was the thing they most wanted. But what they wanted, in the last analysis, was to be Cressida. For twenty years she had been plunged in struggle; fighting for her life at first, then for a beginning, for growth, and at last for eminence and perfection. During those twenty years the Garnets had been comfortable and indolent and vastly self-satisfied; and now they expected Cressida to make them equal sharers in the rewards, spiritual as well as material, of her struggle. They coveted the qualities which had made her success, as well as the benefits which came from it.

"Sometimes," I have heard Cressida say, looking up from a bunch of those sloppily written letters, "sometimes I get discouraged."

For several days the rough weather kept Miss Julia cloistered in Cressida 's deck suite with the maid, Luisa, who confided to me that the Signorina Garnet was difficult. After dinner I usually found Cressida unencumbered, as Horace was always in the card-room and Mr. Poppas either nursed his facial neuralgia or went through the exercise of making himself interesting to some one of the young women on board.

One evening, the third night out, when the sea was comparatively quiet and the sky was full of broken black clouds, silvered by the moon at their ragged edges, Cressida talked to me about Jerome Brown. I had known each of her former husbands. The first one, Charley Wilton, Horace's father, was my cousin. He was organist in a church in Columbus, and Cressida married him when she was nineteen. He died of tuberculosis two years after Horace was born. Cressida nursed him through a long illness and made the living besides. Her courage during the three years of her first marriage was fine enough to foreshadow her future to any discerning eye, and it had made me feel that she deserved any number of chances at marital happiness. Her motives, in the case of Jerome Brown, seemed to me more vague and less convincing than those which she had explained to me on former occasions.

"It's nothing hasty," she assured me. "It's been coming on for several years. He has never urged me, but he was always there—someone to count on. Even when I used to meet him at the Whitings', while I was still singing at the Metropolitan, I always felt that he was different from the others; that if I were in straits of any kind, I could call on him. You can't know what that feeling means to me, Carrie. I've never had anyone to lean on," she said with a short laugh. Then she went on, quite seriously: "Somehow, my relations with people always become business relations in the end. I've had to try too hard for people who wouldn't try at all."

"Which," I put in firmly, "has done them no good, and has robbed the people who really cared about you."

"By making me grubby, you mean?"

"By making you anxious and distracted, so much of the time; empty."

She nodded mournfully. "Yes, I know. You used to warn me. Well, there's not one of my brothers and sisters who does not feel that I carried off the family success, just as I might have carried off the family silver, if there'd been any. They take the view that there were just so many prizes in the bag; I reached in and took them, so there were none left for the others. At my age, that's a dismal truth to waken up to." Cressida reached for my hand and held it a moment, as if she needed courage to face the facts in her case. "When one remembers one's first success; how one hoped to go home like a Christmas tree full of presents—How much one learned in a life-time! That year when Horace was a baby and Charley was dying, and I was touring the West with the Williams band, it was my feelings about my own people that made me go on at all. Why I didn't drop myself in one of those dirty rivers, or turn on the gas in one of those dirty hotel rooms, I don't know to this day. It was the same afterward in Germany. A young woman must live for human people. Horace wasn't enough. I might have had lovers, of course. I suppose you will say it would have been better if I had. Well," Cressida gathered herself up. "Once I got out from under it all. And perhaps, in a milder way, such a release can come again. You were the first person I told when I ran away with Charley, and for a long while you were the only one who knew about Blasius Bouchalka. That time, at least, I shook the Garnets. That time I was all there!"

"Yes," I echoed her, "that time you were all there. It's the greatest possible satisfaction to remember it."

"But even that," she sighed, "was nothing but lawyers and accounts in the end—and a hurt. A hurt that has lasted. I wonder what is the matter with me?"

The matter with Cressida was, that more than any woman I have ever known, she appealed to the acquisitive instinct in men; but this was not easily said, even in the brutal frankness of a long friendship.

We would probably have gone further into the Bouchalka episode, had not Horace appeared and nervously asked us if we did not wish to take a turn before we went inside. I pleaded indolence, but Cressida rose and disappeared with him. Later I came upon them, standing at the stern above the huddled steerage deck, which was by this time bathed in moonlight, under an almost clear sky. Down there on the silver floor, little hillocks were scattered about under quilts and shawls; family units, presumably—male, female, and young. Here and there a black shawl sat alone, nodding. They crouched submissively under the moonlight as if it were a spell. Everything was so still that I could hear snatches of the low talk between my friends. Cressida's voice was deep and entreating. She was remonstrating with Horace about his losses at bridge, begging him to keep away from the card-room.

Illustration of man lying in bed with two women looking over him, one sitting on the bed and the other standing in the background.He looked up long enough to give her a smile of utter adoration

"But what else is there to do on a trip like this, my Lady?" he expostulated, tossing his spark of a cigarette-end overboard.

"Oh, Horace," she murmured, "how can you be so? If I were your age, and a boy, with someone to back me—"

Horace drew his shoulders together and buttoned his top-coat. "Oh, I've not your energy, Mother dear! We make no secret of that. I am as I am. I didn't ask to be born into this charming world."

To this gallant speech Cressida made no answer. She stood with her hand on the rail and her head bent forward, as if she had lost herself in thought. The ends of her scarf, lifted by the breeze, fluttered upward, almost transparent in the argent light. Presently she turned away—as if she had been alone and were leaving only the night sea behind her—and walked slowly forward; a strong, solitary figure on the white deck, the smoke-like scarf twisting and climbing and falling back upon itself in the light over her head. She reached the door of her stateroom and disappeared.

MY first recollections of Cressida Garnet have to do with the Columbus Public Schools; a little girl with sunny brown hair and eager bright eyes, looking anxiously at the teacher and reciting the names and dates of the Presidents. Her family came from North Carolina, and they had that to feel superior about before they had Cressy. The Garnet "look," indeed, though based upon a strong family resemblance, was nothing more than the restless, preoccupied expression of an inflamed sense of importance. The father was a Democrat, in the sense that other men were doctors or lawyers. He scratched up some sort of poor living for his family behind office windows inscribed with the words "Real Estate. Insurance. Investments." The Garnet children were all in school then, scattered along from the first grade to the ninth. They were restrained, uncomfortable children, not frankly boastful, but insinuating, and somehow forever demanding special consideration and holding grudges against teachers and classmates who did not show it to them—all but Cressida who was naturally as sunny and open as a May morning, and who was only proud because she was so much ashamed.

It was no wonder that Cressy ran away with young Charley Wilton, who hadn't a shabby thing about him except his health. He was her first music-teacher, the choir-master of the church in which she sang. Charley was very handsome; the "romantic" son of an old, impoverished family. He had refused to go into a good business with his uncles and had gone abroad to study music when that was an extravagant and picturesque thing for an Ohio boy to do. His letters home were handed round among the members of his own family and of other families equally conservative. Indeed, Charley and what his mother called "his music" were the romantic expression of a considerable group of people. Nobody was properly married in our part of Columbus unless Charley Wilton played the wedding march. The old ladies of the First Church used to say that he "hovered over the keys like a spirit." At nineteen Cressida was beautiful enough to turn a much harder head than the pale, ethereal one Charley Wilton bent above the organ. That the chapter which began so gracefully ran on into such a stretch of grim, hard prose, was simply Cressida's relentless bad luck. In her undertakings, in whatever she could lay hold of with her two hands, she was successful; but whatever happened to her was almost sure to be bad. She lived, more than most of us, "for others," and what she seemed to promote among her beneficiaries was indolence and envy and discord—even dishonesty and turpitude.

Her sisters were fond of saying—at club luncheons—that Cressida had remained "untouched by the breath of scandal," which was not strictly true. There were captious people who objected to her long and close association with Miletus Poppas. Her husband, Ransome McChord, the foreign representative of the great McChord Harvester Company, whom she married in Germany, had so persistently objected to Poppas that she was eventually forced to choose between them.

While her actual self was the least changed, the least modified by experience that it would be possible to imagine, there had been, professionally, two Cressida Garnets: the big handsome girl, already a "popular favorite" of the concert stage, who took to Germany the raw material of a great voice; and the accomplished artist who came back. The singer that returned was largely the work of Miletus Poppas. Cressida had at least known what she needed, hunted for it, found it, and held fast to it. After experimenting with a score of teachers and accompanists, she settled down to work her problem out with Poppas. Other coaches came and went—she was always trying new ones—but Poppas survived them all.

Poppas was, in his way, quite as incomplete as his pupil. He possessed a great many valuable things for which there is no market; intuitions, discrimination, imagination, a whole twilight world of intentions and shadowy beginnings which were dark to Cressida.

Poppas was indispensable to her. He was like a book in which she had written down more about herself than she could possibly remember. He was the one person who knew her absolutely and who saw into the bottom of her grief. An artist's saddest secrets are the flaws in his artistry. Poppas knew all the simple things that were so desperately hard for her, all the difficult things in which she could count on herself. He knew where she was sound and where she was mended.

But if Poppas was necessary to her career, she was his career. By the time Cressida left the Metropolitan Opera Company, Poppas was a rich man. He had always received a retaining fee and a percentage of her salary,—and he was a man of simple habits. Her liberality with Poppas was one of the weapons that Horace and the Garnets used against Cressida, and it was a point in the argument by which they justified to themselves their rapacity. Whatever they didn't get, they told themselves, Poppas would. What they got, therefore, they were only saving from Poppas. The Greek ached a good deal at the general pillage, and Cressida's conciliatory methods with her family made him sarcastic and spiteful. But he had to make terms, somehow, with the Garnets and Horace, and with the husband, if there happened to be one. As he was the only one among them who understood the sources of her fortune—and they knew it—he was able, when it came to a general set-to, to proclaim sanctuary for the goose that laid the golden eggs.

That Poppas had caused the break between Cressida and McChord was another stick her sisters held over her. They pretended to understand perfectly, and were always explaining what they solemnly termed her "separation;" but they let Cressida know that it cast a shadow over her family and took a good deal of living down.

A beautiful soundness of body, a seemingly exhaustless vitality, and a certain "squareness" of character as well as of mind, gave Cressida Garnet earning powers that were exceptional even in her lavishly rewarded profession. Managers chose her over the heads of singers much more gifted, because she was so sane, so conscientious, and above all, because she was so sure. Her efficiency was like a beacon to lightly anchored men, and in the intervals between her marriages she had as many suitors as Penelope. Whatever else they saw in her at first, her competency so impressed and delighted them that they gradually lost sight of everything else, and her sterling character was a net from which she could never escape. Once, as she said, she very nearly did escape. With Blasius Bouchalka she became almost another woman, but not quite. Her "principles," or his lack of them, drove the two apart in the end.

It was of Bouchalka that we talked upon that last voyage I ever made with Cressida Garnet, and not of Jerome Brown. She remembered the Bohemian kindly, and since it was the passage in her life to which she most often reverted, it is the one I shall relate here.

LATE one afternoon in the winter of 189—, Cressida and I were walking in Central Park after the first heavy storm of the year. The atmosphere was misty and silvery; around the horizon the buildings and trees looked very soft and slight, like pale violet water colors on a silver ground. The carriage arrived at five, but Cressida sent the driver home to the Tenth Street house with the message that she would dine uptown, and that Horace and Mr. Poppas were not to wait for her. As the horses trotted away we turned up the Mall.

"I won't go indoors this evening for anyone," Cressida declared. "Not while the sky is like that. Now we will go back to the laurel wood. They are so black, over the snow, that I could cry for joy. I don't know when I've felt so care-free as I feel tonight. Country winter, country stars—they always make me think of Charley Wilton."

She was singing twice a week, sometimes oftener, at the Metropolitan that season, quite at the flood-tide of her powers, and so enmeshed in operatic routine that to be walking in the park at an unaccustomed hour, unattended by one of the men of her entourage, seemed adventurous. As we strolled along the little paths among the snow banks and the bronze laurel bushes, she kept going back to my poor young cousin, dead so long.

"Things happen out of season. That's the worst of living. It was untimely for both of us; and yet," she sighed softly, "since he had to die, I'm not sorry. There was one beautifully happy year, though we were so poor, and it gave him—something! It would have been too hard if he'd had to miss everything. Yes," she went on, "I always feel very tenderly about Charley; I believe I'd do the same thing right over again, even knowing all that had to come after."

We walked until the procession of carriages on the driveway, getting people home to dinner, grew thin. Then we went slowly toward the Seventh Avenue gate, still talking of Charley Wilton. We decided to dine at a place not far away, where the only access from the street was a narrow door, like a hole in the wall, between a tobacconist's and a flower-shop. Cressida deluded herself into believing that her incognito was more successful in such nondescript places. She was wearing a long sable coat, and a deep fur hat, hung with red cherries, which she had brought from Russia. Her walk had given her a fine color, and she looked so much a personage that no disguise could have been wholly effective.

The dining-rooms, frescoed with conventional Italian scenes, were built round a court. The orchestra was playing as we entered and selected our table—something from the latest Puccini opera. It was not a bad orchestra, and we were no sooner seated than the first violin began to speak; to assert itself, as if it were suddenly done with mediocrity.

"We have been recognized," Cressida said complacently. "What a good tone he has! Quite unusual. What does he look like?" She sat with her back to the musicians.

The violinist was standing, directing his men with his head and with the beak of his violin. He was a tall, gaunt young man, big-boned and rugged, in skin-tight clothes. His high forehead had a kind of luminous pallor, and his hair was jet black and somewhat stringy. His manner was excited and dramatic. At the end of the number he acknowledged the applause, and Cressida looked at him graciously over her shoulder. He swept her with a brilliant glance and bowed again.

"He looks as if he were poor, or in trouble," Cressida said. "This is a hard winter for musicians."

The violinist rummaged among some music piled on a chair, turning over the sheets with flurried rapidity, as if he were searching for a lost article of which he was in desperate need. Presently he placed some sheets upon the piano and began vehemently to explain something to the pianist. He bent over him, suggesting rhythms with his shoulders and running his bony fingers up and down the pages. When he stepped back to his place I noticed that the other players sat at ease, without raising their instruments.

"He is going to try something unusual," I commented. "Looks as if it might be manuscript."

It was something, at all events, that neither of us had heard before, though it was very much in the manner of the later Russian composers who were just beginning to be heard in New York. The young man made a brilliant dash of it, despite a lagging, scrambling accompaniment by the conservative pianist. This time we both applauded him vigorously, and again, as he bowed, he swept us with his eye.

The usual repertory of restaurant music followed, varied by a charming bit from Massenet's "Manon," then little known in this country. After we paid our check, Cressida took out one of her visiting-cards and wrote across the top of it: "We thank you for the unusual music and the pleasure your playing has given us." She folded the card in the middle, and asked the waiter to give it to the director of the orchestra. Pausing at the door, while the porter dashed out to call a cab, we saw, in the wall mirror, a pair of wild black eyes following us quite despairingly from behind the palms at the other end of the room.

A week later I came upon some curious-looking manuscript songs on the piano in Cressida's music-room. The text was in some Slavic tongue, with a French translation written underneath. Both the handwriting and the musical script were done in a manner experienced, even distinguished. I was looking at them when Cressida came in.

"Oh, yes!" she exclaimed. "I meant to ask you to try them over, Caroline. Poppas thinks they are very interesting. They are from that young violinist, you, remember—the one we noticed in the restaurant that evening. He sent them with such a nice letter. His name is Blasius Bouchalka (Bou-kalka), a Bohemian."

[Continued on page 66] Illustration of two women sitting at a table in a restaurant with a man with a violin standing next to them.At the end of the number the violinist acknowledged the applause, and Cressida looked at him graciously over her shoulder. He swept her with a brilliant glance and bowed again The Diamond Mine
[Continued from page 11]

I sat down at the piano and busied myself with the manuscript for some time, while Cressida dashed off necessary notes and wrote checks in a large square checkbook, six to a page. I supposed her immersed in sumptuary preoccupations when she suddenly looked over her shoulder and said: "Yes, that legend, Sarka, is the most interesting. Run it through a few times and I'll try it over with you."

There was another, "Dans les ombres des fôrets tristes," which I thought quite as beautiful. They were fine songs; very individual, and each had that spontaneity which makes a song seem inevitable and once for all "done."

"I wish he'd indicated his tempi a little more clearly," I remarked as I finished Sarka for the third time." It matters, because he really has something to say. An orchestral accompaniment would be better, I should think."

"Yes, he sent the orchestral arrangement. Poppas has it. It works out beautifully—much color in the instrumentation. The English horn comes in so effectively there," she rose and indicated the passage, "just right with the voice. I've asked him to come next Sunday, so please be here if you can."

CRESSIDA was always at home to her friends on Sunday afternoon unless she was billed for the evening concert at the Opera House, in which case we were sufficiently advised by the daily press. Bouchalka must have been told to come early, for when I arrived on Sunday at four he and Cressida had the music-room quite to themselves and were standing by the piano in earnest conversation. In a few moments they were separated by other early arrivals, and I led Bouchalka across the hall to the drawing-room. The guests, as they came in, glanced at him curiously. He wore a dark blue suit, soft and rather baggy, with a short coat, and a high double-breasted vest with two rows of buttons coming up to the loops of his black tie. He spoke hurried, elliptical English, and very good French. I found him a fierce, a transfixing talker. His brilliant eyes, his gaunt hands, his white, deeply-lined forehead, all entered into his speech.

I asked him whether he had not recognized Madame Garnet at once when we entered the restaurant that evening, more than a week ago.

"Mais, certainement! I hear her twice when she sings in the afternoon, and sometimes at night for the last act. I have a friend who buys a ticket for the first part, and he comes out and gives to me his pass-back check, and I return for the last act. That is convenient if I am broke." He explained the trick with amusement but without embarrassment, as if it were a shift that we might any of us be put to.

I told him that I admired his skill with the violin, but his songs much more.

He threw out his red under-lip and frowned. "Oh, I have no instrument! The violin I play from necessity; the flute, the piano, as it happens. For three years now I write all the time, and it spoils the hand for violin."

When the maid brought him his tea, he took both muffins and cakes and told me that he was very hungry. He had to lunch and dine at the place where he played, and he got very tired of the food. "But since," his black eyebrows nearly met in an acute angle, "but since, before, I eat at a bakery, with the slender brown roach on the pie, I guess I better let alone well enough." He paused to drink his tea; as he tasted one of the cakes his face lit with sudden animation and he gazed across the hall after the maid with the tray—she was now holding it before the aged and ossified 'cellist of the Hampfstangle Quartette. "Des Gateaux!" he murmured feelingly. "Ou est-ce qu'elle peut trouver de tels gateaux ici à New York?"

I explained to him that Madame Garnet had an accomplished cook who made them,—an Austrian, I thought.

He shook his head. "Austrichienne? Je ne pense pas."

Cressida was approaching with the Spanish soprano, Mme. Bartolas, who was all black velvet and long black feathers, with a lace veil over her rich pallor and even a little black patch on her chin. I beckoned them. "Tell me, Cressida, isn't Ruzenka an Austrian?"

She looked surprised. "No, a Bohemian, though I got her in Vienna." Bouchalka's expression, and the remnant of a cake in his long fingers, gave her the connection. She laughed. "You like them? Of course. They must seem of your own soil. You shall have more of them." She nodded and went away to greet a guest who had just come in.

A few moments later, Horace, then a beautiful lad in Eton clothes, brought another cup of tea and a plate of cakes for Bouchalka. We sat down in a corner, and talked about his songs. He was neither boastful nor deprecatory. He knew exactly in what respects they were excellent. I decided, as I watched his face, that he must be under thirty. His teeth were white, very irregular and interesting. The corrective methods of modern dentistry would have taken away half his good looks.

As we talked about his songs, his manner changed. Before that, he had seemed responsive and easily pleased. Now he grew abstracted, as if I had taken away his pleasant afternoon and wakened him to his miseries. When I mentioned Puccini, he held his head in his hands. "Why is it they like that always and always? A little, oh, yes, very nice! But so much, always the same thing! Why?" He pierced me with the despairing glance which had followed us out of the restaurant.

I asked him whether he had sent any of his songs to the musical publishers, and named one whom I knew to be discriminating. He shrugged his shoulders. "They not want Bohemian songs. They not want my music."

Most people cannot become utterly poor; whatever happens, they can right themselves a little. But one felt that Bouchalka was the sort of person who might actually starve or blow his brains out. Something very important had been left out of his make-up or his education; something that we are not accustomed to miss in people.

Gradually the parlor was filled with little groups of friends, and I took Bouchalka back to the music-room where Cressida was surrounded by late comers; feathered women, with large sleeves and hats, young men of no importance, in frock coats, with shining hair and the smile which is intended to say so many flattering things but which really expresses little more than a desire to get on. The older men were standing about waiting for a word à deux with the hostess. To these people Bouchalka had nothing to say. He stood stiffly at the outer edge of the circle, watching Cressida with intent, impatient eyes, until, under the pretext of showing him a score, she drew him into the alcove at the back end of the long room, where she kept her musical library. Two persons could be quite withdrawn there, and yet be a part of the general friendly scene. Cressida took a score from the shelf, and sat down with Bouchalka upon the window-seat, the book open between them, though neither of them looked at it again. They fell to talking with great earnestness. At last the Bohemian pulled out a large, yellowing silver watch, held it up before him, and stared at it a moment as if it were an object of horror. He sprang up, bent over Cressida's hand and murmured something, dashed into the hall and out of the front door without waiting for the maid to open it. He had worn no overcoat, apparently. It was then seven o'clock; he would surely be late at his post in the up-town restaurant.

After supper Cressida told me his story. His parents, both poor musicians—the mother a singer—died while he was yet a baby, and he was left to the care of an arbitrary uncle who resolved to make a priest of him. He was put into a monastery school and kept there. The organist and choir director, fortunately for Blasius, was an excellent musician, a man who had begun his career brilliantly, but who had met with crushing sorrows and disappointments in the world. He devoted himself to his talented pupil, and was the only teacher the young man ever had. At twenty-one, when he was ready for the novitiate, Blasius felt that the call of life was too strong for him, and he ran away out into a world of which he knew nothing. He tramped southward to Vienna, begging and playing his fiddle from town to town. There he fell in with a gipsy band which was being recruited for a Paris restaurant, and went with them to Paris. He played in cafés and in cheap theatres, did transcribing for a musical publisher, tried to get pupils. For four years he was the mouse, and hunger was the cat. She kept him on the jump. When he got work he did not understand why, when he lost a job he did not understand why. During the time when most of us acquire a practical sense, get a half-unconscious knowledge of hard facts and market values, he had been shut away from the world, fed like the pigeons in the bell-tower of his monastery. Bouchalka had now been in New York a year, and for all he knew about it, Cressida said, he might have landed the day before yesterday.

Several weeks went by, and as Bouchalka did not reappear on Tenth Street, Cressida and I went once more to the place where he had played, only to find another violinist leading the orchestra. We summoned the proprietor, a Swiss-Italian, polite and solicitous. He told us the gentleman was not playing there any more, was playing somewhere else, but he had forgotten where. We insisted upon talking to the old pianist, who at last reluctantly admitted that the Bohemian had been dismissed. He had arrived very late one Sunday night three weeks ago, and had hot words with the proprietor. He was a very talented fellow, but wild and not to be depended upon. The old man gave us the address of a French boarding house on Seventh Avenue where Bouchalka used to room. We drove there at once, but the woman who kept the place said he had gone away two weeks before—leaving no address, as he never got letters.

It took us several days to run Bouchalka down, but when we did find him Cressida promptly busied herself in his behalf. She sang his Sarka with the Metropolitan Opera orchestra at a Sunday night concert, she got him a position with the Symphony Orchestra, and persuaded the conservative Hempfstangle Quartette to play one of his chamber compositions from manuscript. She aroused the interest of a publisher in his work, and introduced him to people who were helpful to him.

By the new year Bouchalka was fairly on his feet. He had proper clothes now, and Cressida's friends found him attractive. He was usually at her house on Sunday afternoons; so usually, indeed, that Poppas began pointedly to absent himself. When other guests arrived, the Bohemian and his patroness were always found at the critical point of discussion—at the piano, by the fire, in the alcove at the end of the room—both of them interested and animated. He was invariably respectful and admiring, deferring to her in every tone and gesture, and she was palpably pleased and flattered—as if all this were new to her and she were tasting the sweetness of a first success.

ONE wild day in March Cressida burst tempestuously into my apartment and threw herself down, declaring that she had just come from the most trying rehearsal she had ever lived through. When I tried to question her about it, she replied absently and continued to shiver and crouch by the fire. Suddenly she rose, walked to the window and stood looking out over the Square, glittering with ice and rain and strewn with the wrecks of umbrellas. When she turned again, she approached me with determination.

"I shall have to ask you to go with me," she said firmly. "That crazy Bouchalka has gone and got a pleurisy or something. It may be pneumonia. I've sent Dr. Brooks to him, but I can never tell anything from what a doctor says. I've got to see Bouchalka and his nurse, and what sort of place he's in. I've been rehearsing all day and I'm singing tomorrow night; I can't have so much on my mind. Can you come with me?"

I put on my furs and we went down to Cressida's carriage. She gave the driver a number on Seventh Avenue, and then began feeling her throat with the alarmed expression which meant that she was not going to talk. We drove in silence to the address, and by this time it was growing dark. The French landlady was a cordial, comfortable person who took Cressida in at a glance and seemed much impressed. Cressida's incognito was never successful. Her black gown was inconspicuous enough, but over it she wore a dark purple velvet carriage coat, lined with fur and furred at the cuffs and collar. The Frenchwoman's eye ran over it delightedly and scrutinized the veil which only half concealed the well-known face behind it. She insisted upon conducting us up to the fourth floor herself, running ahead of us and turning up the gas jets in the dark, musty-smelling halls.

We found the sick man in a great walnut bed, a relic of better days which this lodging house must have seen. The grimy red plush carpet, the red velvet chairs with broken springs, the double gilt-framed mirror above the mantel, had all been respectable, substantial contributions to comfort in their prime. The fireplace was now empty and grateless, and an ill-smelling gas stove burned in the sooty recess under the cracked marble. The huge arched windows were hung with heavy red curtains, now pinned together and lightly stirred by the wind which rattled the loose frames.

I was examining these things while Cressida bent over Bouchalka. Her carriage cloak she threw over the foot of his bed, either from a protective impulse or because there was no place else to put it. As I approached, after she had greeted him and seated herself, the sick man reached down and drew the cloak up over him, looking at it with weak, childish pleasure and stroking the velvet with his long fingers. "Couleur de gloire, couleur des reines!" I heard him murmur. He thrust the sleeve of the coat under his chin and closed his eyes. His loud, rapid breathing was the only sound in the room. If Cressida brushed back his hair or touched his hand, he looked up long enough to give her a smile of utter adoration.

The nurse was gone for an hour, and we sat there quietly, Cressida with her eyes fixed on Bouchalka, and I absorbed in the strange atmosphere of the house, which seemed to seep in under the door and through the walls. Occasionally we heard a call for "d'eau chaude!" and the heavy trot of a serving woman on the stairs. On the floor below somebody was struggling with Schubert's Marche Militaire on a coarse-toned upright piano. Sometimes, when a door was opened, one could hear a parrot screaming, "Voila, voila, tonnerre!" The house was built before 1870, as one could tell from windows and mouldings, and the walls were thick.

When the nurse returned and we rose to go, Bouchalka was still lying with her cloak under his cheek, and Cressida left it there. "It seems to please him," she murmured as we went down the stairs. "I can go home without a wrap. It's not far." I had, of course, to give her my furs, as I was not singing Donna Anna tomorrow evening.

After this I was not surprised by any devout attitude in which I happened to find the Bohemian when I entered Cressida's music-room unannounced, or by any radiance on her face when she rose from the window-seat in the alcove and came down the room to greet me.

Bouchalka was, of course, very often at the Opera now. On almost any night when Cressida sang one could see his narrow black head—high above the temples and rather constrained behind the ears—peering from from some part of the house. I used to wonder what he thought of Cressida as an artist, but probably he did not think seriously at all. A great voice, a handsome woman, a great prestige; these, added together, made a "great artist "—the common euphemism for success. Her success, and the material evidences of it, quite blinded him. I could never draw from him anything adequate about Straka, Cressida's Slavic rival, and this perhaps meant that he considered comparison disloyal. All the while that Cressida was singing reliably and satisfying the management, Straka was singing uncertainly and making history, though her voice was primarily defective, and her immediate vocal method was bad.

Bouchalka was not a receptive person. He had his own idea of what a great prima donna should be like, and he took it for granted that Mme. Garnet corresponded to his conception. The curious thing was that he managed to impress his idea upon Cressida herself. She began to see herself as he saw her, to try to be like the notion of her he carried somewhere in that pointed head of his. She was exalted quite beyond herself. Then if ever in her life, she heard the bird sing on the branch outside her window; and she wished she were younger, lovelier, freer.

One April day when we were driving in the Park, Cressida, superb in a green-and-primrose costume, hurried over from Paris, turned to me, smiling, and said: "Do you know, this is the first spring I haven't dreaded. It's the first one I've ever really had. Perhaps people never have more than one, whether it comes early or late." She told me that she was overwhelmingly in love.

Our visit to Bouchalka when he was ill had of course, been reported, and the men about the Opera House had made of it the only story they have the wit to invent. They could no more change the pattern of that story than the spider could change the design of its web. But being, as she said, "in love" suggested to Cressida only one plan of action; to have the Tenth Street house done over, to put more money into her brothers' business, send Horace to school, raise Poppas's percentage, and then with a clear conscience be married in Grace Church. She went through this program with her usual thoroughness. She was married in June and sailed immediately with her husband. Poppas was to join them in Vienna in August, when she would begin to work again.

When they returned in October, both Cressida and Blasius seemed changed for the better. She was perceptibly freshened and renewed. She attacked her work at once with more vigor and more ease; did not drive herself so relentlessly. A little carelessness became her wonderfully. Bouchalka was less gaunt, and much less flighty and perverse. His frank pleasure in the comfort and order of his wife's establishment was ingratiating, even if it was a little amusing. Cressida had the sewing-room at the top of the house made over into a study for him. When I went up there to see him, I usually found him sitting before the fire or walking about with his hands in his coat pockets, admiring his new possessions.

With Cressida's friends and guests, Bouchalka assumed nothing for himself. His deportment amounted to a quiet, unobtrusive appreciation of her and of his good fortune. He was proud to owe his wife so much. Cressida's Sunday afternoons were more popular than ever, since she herself had so much more heart for them. Bouchalka's picturesque presence stimulated her graciousness and charm. One still found them conversing together as eagerly as in the days when they saw each other but seldom. Consequently their guests were never bored. We felt as if the Tenth Street house had a pleasant climate quite its own. In the spring, when the Metropolitan company went on tour, Cressida's husband accompanied her, and afterwards they again sailed for Genoa.

DURING the second winter people began to say that Bouchalka was becoming too thoroughly domesticated, and that since he was growing heavier in body he was less attractive. I noticed his increasing reluctance to stir abroad. Nobody could say that he was "wild" now. He seemed to dread leaving the house, even for an evening. He published very little. One was given to understand that he was writing an opera. He lived in the Tenth Street house like a tropical plant under glass. Nowhere in New York could he get such cookery as Ruzenka's. Ruzenka ("little rose") had, like her mistress, bloomed afresh, now that she had a man and a compatriot to cook for. Her invention was tireless, and she took things with a high hand in the kitchen, confident of a perfect appreciation. Ruzenka was a plump, fair, blue-eyed girl, giggly and easily flattered, with teeth like cream. She was passionately domestic, and her mind was full of homely stories and proverbs and superstitions which she somehow worked into her cookery. She and Bouchalka had between them a whole literature of traditions about sauces and fish and pastry. The cellar was full of the wines he liked, and Ruzenka always knew what wines went with the dinner.

That winter was a very cold one, and I think the even temperature of the house enslaved Bouchalka.

"Imagine it," he once said to me when I dropped in during a blinding snowstorm and found him reading before the fire. "To be warm all the time, every day! It is like Aladdin. In Paris I have had weeks together when I was not warm once, when I did not have a bath once, like the cats in the street. The nights were misery. Here I waken up in the night so warm I do not know what it means. Her door is open, and I turn on my light. I cannot believe in myself until I see that she is there."

I began to think that Bouchalka's wildness had been the desperation which the tamest animals exhibit when they are tortured or terrorized. Those first beautiful compositions, full of the folk music of his own country, had been wrung out of him by homesickness and heart-ache. I now wondered whether he could compose only under the spur of hunger and loneliness, and whether his talent might not subside with his despair.

Some such apprehension must have troubled Cressida, though his gratitude would have been propitiatory to a more exacting task-master. She had always liked to make people happy, and he was the first one who had accepted her bounty without sourness. When he did not accompany her upon her spring tour, Cressida said it was because traveling interfered with composition; but I felt that she was deeply disappointed. Blasius, or Blazej, as his wife had learned to call him, was not showy or extravagant. He hated hotels, no matter how luxurious. Cressida had always fought for the hearthstone and the fireside, and the humor of Destiny is sometimes to give us too much of what we desire.

During the third season after her marriage Cressida had only twenty-five performances at the Metropolitan, and she was singing out of town a great deal. Her husband did not bestir himself to accompany her, but he attended, very faithfully, to her correspondence and to her business at home. He had no ambitious schemes to increase her fortune, and he carried out her directions exactly. Nevertheless, Cressida faced her concert tours somewhat grimly, and she seldom talked now about their plans for the future.

The crisis in this growing estrangement came about by accident—one of those chance occurrences that affect our lives more than years of ordered effort—and it came in an inverted form of a situation old to comedy. Cressida had been on the road for several weeks; singing in Minneapolis, Cleveland, St. Paul, then up into Canada and back to Boston. From Boston she was to go directly to Chicago, coming down on the five-o'clock train and taking the eleven, over the Lake Shore, for the West. By her schedule she would have time to change cars comfortably at the Grand Central station.

On the journey down from Boston she was seized with a great desire to see Blasius. She decided, against her custom and one might say against her principles, to risk a performance with the Chicago orchestra without rehearsal, to stay the night in New York and go west by the afternoon train the next day. She telegraphed Chicago, but she did not telegraph Blasius, because she wished—the old fallacy of affection—to "surprise" him. She could take it for granted that, at half-past eleven on a cold winter night, he would be in the Tenth Street house and nowhere else in New York. She sent Poppas—paler than usual with accusing scorn—and her trunks on to Chicago, and with only her traveling-bag and a sense of being very audacious in her behavior and still very much in love, she took a cab for Tenth Street.

Since it was her intention to disturb Blasius as little as possible and to delight him as much as possible, she let herself in with her latch-key and went directly to his room. She did not find him there. Indeed, she found him where he should not have been at all.

Ruzenka was sent away in the morning, and the other two maids as well. By eight o'clock Cressida and Bouchalka had the house to themselves. Nobody had any breakfast. Cressida took the afternoon train to keep her engagement with Theodore Thomas—and to think over the situation. Blasius was left in the Tenth Street house with only the furnace man's wife to look after him. His explanation of his conduct was that he had been drinking too much. His digression, he swore, was accidental. It had never occurred before, and he could only appeal to his wife's magnanimity. But it was, on the whole, easier for Cressida to be firm than to be yielding, and she knew herself too well to attempt a readjustment.

When she returned to New York she went to a hotel, and she never saw Bouchalka alone again. Since he admitted her charge, the legal formalities were conducted so quietly that the granting of her divorce was announced in the morning papers before her friends knew that there was the least likelihood of her even wanting one.

While the lawyers were arranging matters, Bouchalka came to see me. He was remorseful and miserable enough, and I think his perplexity was quite sincere. If there had been an intrigue with a woman of her own class, an infatuation, an "affair," he said, he could understand. But anything so venial and accidental—he shook his head slowly back and forth. He assured me that he was not at all himself on that fateful evening, and that when he recovered himself he would have sent Ruzenka away,—making proper provision for her, of course. It was an ugly thing, but ugly things sometimes happened in one's life, and one had to put them away and forget them. He could have overlooked any accident that might have occurred when his wife was on the road with Poppas. I cut him short, and he bent his head to my reproof.

"I know," he said, "such things are different with her. But when have I said that I am noble as she is? Never. But I have appreciated and I have adored. About me, say what you like. But if you say that in this there was any mépris to my wife, that is not true. I have lost all my place here. I came in from the streets, a mongrel man, but I understand her, and all the fine things in her, better than any of you here. If that accident had not been, she would have lived happy with me for many years. As for me, I have never believed in this happiness. I was not born under a good star. How did it come? By accident. It goes by accident. She tried to give good fortune to an unfortunate man, un miserable; that was her mistake. It cannot be done in this world. The lucky should marry the lucky."

Bouchalka stopped and lit a cigarette. He sat sunk in my chair as if he never meant to get up again. When he had consumed his cigarette he turned to me again.

"I, too, have tried. Have I so much as written one note to a lady since she first put out her hand to help me? Some of the artists who sing my compositions have been quite willing to plague my wife a little if I make the least sign. With the Española, for instance, it is necessary to be very stern, farouche; she is so very playful. I have never given my wife the slightest annoyance of this kind. Since I married her I have not kissed the cheek of one lady! Then one night I am bored and drink too much champagne, and I become a fool. What does it matter! Did my wife marry the fool of me? No, she married me, with my mind and my feelings all here, as I am today. But she is getting a divorce from the fool of me, which she would never see anyhow!"

His view of his conduct and its consequences was fatalistic. He was meant to have so much misery every day of his life. For three years it had been withheld, had been piling up somewhere, underground, overhead. Now the accumulation burst over him. He had come to pay his respects to me, he said, to declare his undying gratitude to Madame Garnet, and to bid me farewell. He took up his hat and cane and kissed my hand. I have never seen him since. Cressida made a settlement upon him, but even Poppas, tortured by envy and curiosity, never discovered how much. It was very little, she told me. "Pour des gateaux," she added with a smile that was not unforgiving. She could not bear to think of his being in want when so little could make him comfortable.

He went back to his own village in Bohemia. He wrote her that the old monk, his teacher, was still alive, and that from the windows of his room in the town he could see the pigeons flying back and forth from the monastery bell-tower all day long. Once he sent her a song, his own words and music, about those pigeons—quite a lovely thing. He was the bell-tower and les colombes were his memories of her.

JEROME BROWN proved, on the whole, the worst of Cressida's husbands, and, with the possible exception of her eldest brother, Buchanan Garnet, he was the most rapacious of the men with whom she had had to do. It was one thing to gratify every wish of a cake-loving fellow like Bouchalka, but quite another to stand behind a financier. And Brown would be a financier or nothing. After her marriage with him, Cressida grew rapidly older. For the first time in her life she wanted to go abroad and live—to get Jerome Brown away from the scene of his unsuccessful but undiscouraged activities. Brown, however, was not a man who could be amused and kept out of mischief in Continental hotels. He had to be a figure, if only a "mark," in Wall Street. Nothing else would gratify his peculiar vanity. The deeper he went in, the more affectionately he told Cressida that now all her cares and anxieties were over. To try to get related facts out of his optimism and cordiality was like trying to find articulated framework in a feather bed. All Cressida knew was that she was perpetually "investing" to save investments. When she told me she had to put a mortgage on the Tenth Street house, her eyes filled with tears. "Why is it? I have never cared about money, except to make people happy with it, and it has been the curse of my life. It has spoiled all my relations with people. Fortunately," she added irrelevantly, drying her eyes, "Jerome and Poppas get along well." Jerome could have got along with anybody; that is a promoter's business. His warm hand, his flushed face, his bright eye, and his newest funny story—Poppas had no weapons that could do execution with a man like that.

Though Brown's ventures never came home, there was nothing openly disastrous until the outbreak of the revolution in Mexico jeopardized his interests there. Then Cressida went to England—where she could always raise money from a faithful public—for a winter concert tour. When she sailed, her friends knew that her husband's affairs were in a bad way; but we did not know how bad until after Cressida's death.

Cressida Garnet, as all the world knows, was lost on the Titanic. Poppas and Horace, who had been traveling with her, were sent on a week earlier and came as safely to port as if they had never stepped out of their London hotel. But Cressida had waited for the first trip of the sea monster, and she went down on the road between the old world and the new. She had been ill, and when the collision occurred she was in her stateroom, a modest one somewhere down in the boat, for she was traveling economically. Apparently she never left her cabin. She was not seen on the decks, and none of the survivors brought any word of her.

On Monday, when the wireless messages were coming from the Carpathia with the names of the passengers who had been saved, I went, with so many hundred others, down to the White Star offices. There I saw Cressida's motor, her redoubtable initials on the door, with four men sitting in the limousine. Jerome Brown, stripped for once of the promoter's joviality, and looking flabby and old, sat behind with Buchanan Garnet, who had come on from Ohio. I had not seen him for years. He was now a man of sixty, but he was still conscious of being in the public eye, and sat turning a cigar about in his face with that foolish look of importance which Cressida's achievement had stamped upon all the Garnets. Poppas was in front, with Horace. He was gnawing the finger of his chamois glove as it rested on the top of his cane. His head was sunk, his shoulders drawn together; he looked as old as Jewry. I watched them, wondering whether Cressida would come back to them if she could. After the last names were posted, the four men settled back into the powerful car—one of the best made—and the chauffeur backed off. I saw him dash away the tears from his face with the back of his driving-glove. He was an Irish boy, and had been devoted to Cressida.

When the will was read, Henry Gilbert, the lawyer, an old friend of her early youth, and I, were named executors. A nice job we had of it. Most of her large fortune had been converted into stock in the most picturesque undertakings. The marketable property realized only one hundred and fifty thousand dollars. To defeat the bequest of fifty thousand dollars to Poppas, Jerome Brown and her family contested the will. They brought Cressida's letters into court to prove that the will did not represent her intentions, often expressed in writing through many years, to "provide well" for them.

Such letters they were! The writing of a tired, over-driven woman, promising money, sending money "herewith," asking for an acknowledgment of the draft sent last month, etc. In the letters to Jerome Brown she begged for information about his affairs and pleaded with him to go with her to some foreign city where they could live quietly and where she could rest; if they were careful, there would "be enough for all." Neither Brown nor her brothers and sisters had any sense of shame about these letters. It seemed never to occur to them that this golden stream, whether it rushed or whether it trickled, came out of the industry, out of the mortal body of a woman. They regarded her as a natural source of wealth; a copper vein, a diamond mine.

Henry Gilbert is a good lawyer, and he employed an able man to defend the will. We determined that in this crisis we would stand by Poppas, believing that it would be Cressida's wish. Out of the lot of them, he was the only man who helped her to make one penny of the money that had brought her so much misery. He was at least more deserving than the others. We saw to it that Poppas got his fifty thousand, and he actually departed, at last, for his city in la sainte Asie, where it never rains and where he would never again have to hold a hot-water bottle to his face.

The rest of the property was fought for to a finish. Poppas out of the way, Horace and Brown and the Garnets quarreled over her personal effects. They went from floor to floor of the Tenth Street house. The will provided that Cressida's jewels and furs and gowns were to go to her sisters. Georgia and Julia wrangled over them down to the last moleskin. They were deeply disappointed that some of the muffs and stoles, which they remembered as very large, proved when exhumed from storage and exhibited beside furs of a modern cut, to be ridiculously scant. A year ago the sisters were still reasoning with each other about pearls and opals and emeralds.

I wrote Poppas some account of these horrors, as during the court proceedings we had become rather better friends than of old. His reply arrived only a few days ago; a photograph of himself upon a camel, under which is written in German: Trust and truth only in the depths are found; cunning and cowardice thrive in the sun.

His reply, and the memories it awakens—memories which have followed Poppas into the middle of Asia, seemingly—prompted this informal narration.

Next month's Big Little Novel, complete in one issue, is "The Torpedo," by Wallace Irwin, a powerful story of love and adventure with the great war as background—intense, dramatic, satisfying.