Bertram Cope's Year Part 23

"I haven't. It seems to me that I----"

"Of course you haven't. Does that make it any better?"

"I'm sure the last thing in the world I should want to do would be to----"

"I know. Would be to show partiality. To fail in treating all alike.

Even that small programme isn't much--nor likely to please any girl; but you have failed to carry it out, small as it is. Here in this house, there on the dunes, what have I been--and where? Put into any obscure corner, lost in the woods, left off somewhere on the edge of things...."

Cope stared and tried to stem her protests. She was of the blood,--her aunt's own niece. But whereas Medora Phillips sometimes "sc.r.a.pped," as he called it, merely to promote social diversion and to keep the conversational ball a-rolling, this young person, a more vigorous organism, and with decided, even exaggerated ideas as to her dues...

Well, the room was still full, and he was glad enough of it.

"I don't know whether I like you or not," she went on, in a low, rapid tone; "and I don't suppose you very much like me; but I won't go on being ignored....

"Ignored? Why," stammered Cope, "my sense of obligation to this house----"

She shrugged scornfully. His sense of obligation had been made none too apparent. Certainly it had not been brought into line with her deserts and demands.

Cope took up the paper-cutter again and looked out across the room. Amy Leffingwell, questioningly, was looking across at him. He could change feet--if that made the general discomfort of his position any less. He did so.

Amy was standing near the piano and held a sheet or two of new music in her hands. And Medora Phillips, with a word of general explication and direction, made the girl's intention clear. Amy had a new song for baritone, with a violin obbligato and the usual piano accompaniment, and Cope was to sing it. 'Twas an extremely simple thing, quite within his compa.s.s; and Carolyn, who could read easy music at sight ("It's awfully easy," declared Amy), would play the piano part; and Amy herself would perform the obbligato (with no statement as to whether it was simple or not).

Carolyn approached the task and the piano in the pa.s.sive spirit of accommodation. Cope came forward with reluctance: this was not an evening when he felt like singing; besides, he preferred to choose his own songs. Also, he would have preferred to warm up on something familiar. Amy took her instrument from its case with a suppressed sense of ecstasy; and it is the ecstatic who generally sets the pace.

The thing went none too well. Amy was the only one who had seen the music before, and she was the only one who particularly wanted to make music now. However, the immediate need was not that the song should go well, but that it should go: that it should go on, that it should go on and on, repet.i.tiously, until it should come (or even not come) to go better. She slid her bow across the strings with tasteful pa.s.sion. She enjoyed still more than her own tones the tones of Cope's voice,--tones which, whether in happy unison with hers or not, were, after all, seldom misplaced, whatever they may have lacked in heartiness and confidence. It was a short piece, and on the third time it went rather well.

"How perfectly lovely!" exclaimed Mrs. Phillips, at the right moment.

Cope smiled deprecatingly. "It might be made to go very nicely," he said.

"It _has_ gone very nicely," insisted Amy; "it did, this last time."

She waved her bow with some vivacity. She had heaved the whole of her young self into the work; she had been buoyed up by Cope's tones, which, with repet.i.tion, had gathered a.s.surance if not expressiveness; and she based her estimate of the general effect on the impression which her own inner nature had experienced. And her impression was heightened when Pearson, forging forward, and ignoring both Cope and Carolyn, thanked her richly and emphatically for her part--a part which, to him, seemed the whole.

Hortense, who had kept her place behind the large lampshade, twisted her interlocked fingers and said no word. Foster, who had disposed himself on an inconspicuous couch, kept his own counsel. After all, _omne ignotum_: Cope's singing had sounded better from upstairs. At close range a ringing a.s.sertiveness had somehow failed.

Cope had come with no desire to extend his stay beyond the limits of an evening call. He declined to sing on his own account, and soon rose as if to make his general adieux.

"You won't give us one of your own songs, then?" asked Medora Phillips, in a disappointed tone. "And at my dinner----"

No, she could not quite say that, at her dinner, Cope, whatever he had failed to do, had contributed no measure of entertainment for her guests.

"Give us a recitation, then," persisted Medora; "or tell us a story. Or make up"--here she indulged herself in an airily imperious flight--"a story of your own on the spot."

A trifling request, truly. But----

"Heavens!" said Cope. "I am not an author--still less an _improvvisatore_."

"I am sure you could be," returned Medora fondly. "Just try."

Cope sat down again and began to run his eye uncomfortably about the room, as if dredging the air for an idea. Behind one corner of a mirror was a large bunch of drying leaves. They had been brought in from the sand dunes as a decorative souvenir of the autumn, and had kept their place through mere inertia: an oak bough, once crimson and russet; a convoluted length of bittersweet, to which a few split berries still clung; and a branch of sa.s.safras, with its intriguing variety of leaves--a branch selected, in fact, because it gave, within narrow compa.s.s, the plant's entire scope and repertoire as to foliage.

Cope caught at the sa.s.safras as a falling balloonist catches at his parachute.

"Well," he said, still reluctant and fumbling, "perhaps I can devise a legend: the Legend, let us say, of the Sa.s.safras Bush."

"Good!" cried Medora heartily.

Pearson, whispering to Amy Leffingwell, gave little heed to Cope and his strained endeavor to please Mrs. Phillips. Foster, quite pa.s.sive, listened with curiosity for what might come.

"Or perhaps you would prefer folk-lore," Cope went on. "Why the Sa.s.safras has Three Kinds of Leaves, or something like that."

"Better yet!" exclaimed Medora. "Listen, everybody. Why the Sa.s.safras has Three Kinds of Leaves."

Pearson stopped his buzzings, and Cope began. "The Wood-nymphs," he said slowly, "were a nice enough lot of girls, but they labored under one great disadvantage: they had no thumbs."

Hortense p.r.i.c.ked up her ears. Did he mean to be personal? If so, he should find that one of the nymphs had a whole hand as surely as he himself had a cheek.

Cope paused. "Of course you've got to postulate _something_," he submitted apologetically.

"Of course," Medora agreed.

"So when they bought their gloves, or mittens, or whatever their handgear might be called, they usually patronized the hickory or the beech or some other tree with leaves that were----"

"Ovate!" cried Medora delightedly.

"Ovate, yes; or whatever just the right word may be. But a good many of them traded at the Sign of the Sa.s.safras, where they found leaves that were similar, but rather more delicate."

"I believe he's going to do it," thought Foster.

"Yet the nymphs knew that they lacked thumbs and kept on wanting them.

So, during the long, dull winter, they put their minds to it, and finally thumbs came."

"Will-power!" said Medora.

"And early in April they went to the Sa.s.safras and said: 'We have thumbs! We have thumbs! So we need a different sort of mitten.'

"The Sa.s.safras was only half awake. 'Thumbs?' he repeated. 'How many?'

"'Two!' cried the nymphs. 'Two!'

"A pa.s.sing breeze roused the Sa.s.safras. He became at least three-quarters awake."

"I doubt it," muttered Hortense.

"'That's interesting,' he said. 'I aim to supply all new needs. Come back in a month or so, and meanwhile I'll see what I can do for you.'

"In May the nymphs returned with their thumbs and asked, 'How about our new mittens?'"

The story was really under way now, and Cope went on with more confidence and with greater animation.