Fanny Herself Part 35

They had laughed at that, and so had she, but she had been grimly in earnest just the same.

She shook her head now at Fenger's suggestion. "Imagine Mrs. Fenger's face at sight of Mizzi, and Theodore with his violin, and Otti with her shawls and paraphernalia. Though," she added, seriously, "it's mighty kind of you, and generous--and just like a man."

"It isn't kindness nor generosity that makes me want to do things for you."

"Modest," murmured f.a.n.n.y, wickedly, "as always."

Fenger bent his look upon her. "Don't try the ingenue on me, f.a.n.n.y."

Theodore's manager, Kurt Stein, was to have followed him in ten days.

The war changed that. The war was to change many things. f.a.n.n.y seemed to sense the influx of musicians that was to burst upon the United States following the first few weeks of the catastrophe, and she set about forestalling it. Advertising. That was what Theodore needed. She had faith enough in his genius. But her business sense told her that this genius must be enhanced by the proper setting. She set about creating this setting. She overlooked no chance to fix his personality in the kaleidoscopic mind of the American public--or as much of it as she could reach. His publicity man was a dignified German-American whose methods were legitimate and uninspired. f.a.n.n.y's enthusiasm and superb confidence in Theodore's genius infected Fenger, Fascinating Facts, even Nathan Haynes himself. Nathan Haynes had never posed as a patron of the arts, in spite of his fantastic millions. But by the middle of September there were few of his friends, or his wife's friends, who had not heard of this Theodore Brandeis. In Chicago, Illinois, no one lives in houses, it is said, except the city's old families, and new millionaires. The rest of the vast population is flat-dwelling. To say that Nathan Haynes'

spoken praise reached the city's house-dwellers would carry with it a significance plain to any Chicagoan.

As for f.a.n.n.y's method; here is a typical example of her somewhat crude effectiveness in showmans.h.i.+p. Otti had brought with her from Vienna her native peasant costume. It is a costume seen daily in the Austrian capital, on the Ring, in the Stadt Park, wherever Viennese nurses convene with their small charges. To the American eye it is a musical comedy costume, picturesque, bouffant, amazing. Your Austrian takes it quite for granted. Regardless of the age of the nurse, the skirt is short, coming a few inches below the knees, and built like a lamp shade, in color usually a bright scarlet, with rows of black velvet ribbon at the bottom. Beneath it are worn skirts and skirts, and skirts, so that the opera-bouffe effect is complete. The bodice is black velvet, laced over a chemise of white. The head-gear a soaring winged affair of stiffly starched white, that is a pa.s.s between the Breton peasant woman's cap and an aeroplane. Black stockings and slippers finish the costume.

Otti and Mizzi spent the glorious September days in Lincoln park, Otti garbed in staid American stripes and ap.r.o.n, Mizzi resplendent in smartest of children's dresses provided for her lavishly by her aunt.

Her fat and dimpled hands smoothed the blue, or pink or white folds with a complacency astonis.h.i.+ng in one of her years. "That's her mother in her," f.a.n.n.y thought.

One rainy autumn day f.a.n.n.y entered her brother's apartment to find Otti resplendent in her Viennese nurse's costume. Mizzi had been cross and fretful, and the sight of the familiar scarlet and black and white, and the great winged cap seemed to soothe her.

"Otti!" f.a.n.n.y exclaimed. "You gorgeous creature! What is it? A dress rehearsal?" Otti got the import, if not the English.

"So gehen wir im Wien," she explained, and struck a killing pose.

"Everybody? All the nurses? Alle?"

"Aber sure," Otti displayed her half dozen English words whenever possible.

f.a.n.n.y stared a moment. Her eyes narrowed thoughtfully. "To-morrow's Sat.u.r.day," she said, in German. "If it's fair and warm you put on that costume and take Mizzi to the park.... Certainly the animal cages, if you want to. If any one annoys you, come home. If a policeman asks you why you are dressed that way tell him it is the costume worn by nurses in Vienna. Give him your name. Tell him who your master is. If he doesn't speak German--and he won't, in Chicago--some one will translate for you."

Not a Sunday paper in Chicago that did not carry a startling picture of the resplendent Otti and the dimpled and smiling Mizzi. The omnipresent staff photographer seemed to sniff his victim from afar. He pounced on Theodore Brandeis' baby daughter, accompanied by her Viennese nurse (in costume) and he played her up in a Sunday special that was worth thousands of dollars, f.a.n.n.y a.s.sured the bewildered and resentful Theodore, as he floundered wildly through the billowing waves of the Sunday newspaper flood. Theodore's first appearance was to be in Chicago as soloist with the Chicago Symphony Orchestra, in the season's opening program in October. Any music-wise Chicagoan will tell you that the Chicago Symphony Orchestra is not only a musical organization functioning marvelously (when playing Beethoven). It is an inst.i.tution.

Its patrons will admit the existence, but not the superiority of similar organizations in Boston, Philadelphia and New York. On Friday afternoons, during the season, Orchestra Hall, situate on Michigan Boulevard, holds more pretty girls and fewer men than one might expect to see at any one gathering other than, perhaps, a wholesale debutante tea crush. A Friday afternoon ticket is as impossible of attainment for one not a subscriber as a seat in heaven for a sinner. Sat.u.r.day night's audience is staider, more masculine, less staccato. Gallery, balcony, parquet, it represents the city's best. Its men prefer Beethoven to Berlin. Its women could wear pearl necklaces, and don't. Between the audience and the solemn black-and-white rows on the platform there exists an entente cordiale. The Konzert-Meister bows to his friend in the third row, as he tucks his violin under his chin. The fifth row, aisle, smiles and nods to the sausage-fingered 'cellist.

"Fritz is playing well to-night."

In a rarefied form, it is the atmosphere that existed between audience and players in the days of the old and famous Daly stock company.

Such was the character of the audience Theodore was to face on his first appearance in America. f.a.n.n.y explained its nature to him. He shrugged his shoulders in a gesture as German as it was expressive.

Theodore seemed to have become irrevocably German during the years of his absence from America. He had a queer stock of little foreign tricks.

He lifted his hat to men acquaintances on the street. He had learned to smack his heels smartly together and to bow stiffly from the waist, and to kiss the hand of the matrons--and they adored him for it. He was quite innocent of pose in these things. He seemed to have imbibed them, together with his queer German haircut, and his incredibly German clothes.

f.a.n.n.y allowed him to retain the bow, and the courtly hand-kiss, but she insisted that he change the clothes and the haircut.

"You'll have to let it grow, Ted. I don't mean that I want you to have a mane, like Ysaye. But I do think you ought to discard that convict cut. Besides, it isn't becoming. And if you're going to be an American violinist you'll have to look it--with a foreign finish." He let his hair grow. f.a.n.n.y watched with interest for the appearance of the unruly lock which had been wont to straggle over his white forehead in his schoolboy days. The new and well-cut American clothes effected surprisingly little change. f.a.n.n.y, surveying him, shook her head.

"When you stepped off the s.h.i.+p you looked like a German in German clothes. Now you look like a German in American clothes. I don't know--I do believe it's your face, Ted. I wouldn't have thought that ten years or so in any country could change the shape of one's nose, and mouth and cheekbones. Do you suppose it's the umlauts?"

"Cut it out!" laughed Ted, that being his idea of modern American slang.

He was fascinated by these crisp phrases, but he was ten years or so behind the times, and he sometimes startled his hearers by an exhibition of slang so old as to be almost new. It was all the more startling in contrast with his conversational English, which was as carefully correct as a born German's.

As for the rest, it was plain that he was interested, but unhappy. He practiced for hours daily. He often took Mizzi to the park and came back storming about the dirt, the noise, the haste, the rudeness, the crowds, the mismanagement of the entire city. Dummheit, he called it. They profaned the lake. They allowed the people to trample the gra.s.s. They threw papers and banana skins about. And they wasted! His years in Germany had taught him to regard all these things as sacrilege, and the last as downright criminal. He was lonesome for his Germany. That was plain. He hated it, and loved it, much as he hated and loved the woman who had so nearly spoiled his life. The maelstrom known as the southwest corner of State and Madison streets appalled him.

"Gott!" he exclaimed. "Es ist unglaublich! Aber ganz unglaublich! Ich werde bald veruckt." He somehow lapsed into German when excited.

f.a.n.n.y took him to the Haynes-Cooper plant one day, and it left him dazed, and incredulous. She quoted millions at him. He was not interested. He looked at the office workers, the mail-room girls, and shook his head, dumbly. They were using bicycles now, with a bundle rack in the front, in the vast stock rooms, and the roller skates had been discarded as too slow. The stock boys skimmed around corners on these lightweight bicycles, up one aisle, and down the next, s.n.a.t.c.hing bundles out of bins, shooting bundles into bins, as expertly as players in a gymkhana.

Theodore saw the uncanny rapidity with which the letter-opening machines did their work. He watched the great presses that turned out the catalogue--the catalogue whose message meant millions; he sat in Fenger's office and stared at the etchings, and said, "Certainly," with politeness, when Fenger excused himself in the midst of a conversation to pick up the telephone receiver and talk to their shoe factory in Maine. He ended up finally in f.a.n.n.y's office, no longer a dingy and undesirable corner, but a quietly brisk center that sent out vibrations over the entire plant. Slosson, incidentally, was no longer of the infants' wear. He had been transferred to a subordinate position in the grocery section.

"Well," said f.a.n.n.y, seating herself at her desk, and smiling radiantly upon her brother. "Well, what do you think of us?"

And then Theodore Brandeis, the careless, the selfish, the blind, said a most amazing thing.

"f.a.n.n.y, I'll work. I'll soon get some of these millions that are lying about everywhere in this country. And then I'll take you out of this. I promise you."

f.a.n.n.y stared at him, a picture of ludicrous astonishment.

"Why, you talk as if you were--sorry for me!"

"I am, dear. G.o.d knows I am. I'll make it up to you, somehow."

It was the first time in all her das.h.i.+ng and successful career that f.a.n.n.y Brandeis had felt the sting of pity. She resented it, hotly. And from Theodore, the groper, the--"But at any rate," something within her said, "he has always been true to himself."

Theodore's manager arrived in September, on a Holland boat, on which he had been obliged to share a stuffy inside cabin with three others. Kurt Stein was German born, but American bred, and he had the American love of luxurious travel. He was still testy when he reached Chicago and his charge.

"How goes the work?" he demanded at once, of Theodore. He eyed him sharply. "That's better. You have lost some of the look you had when you left Wien. The ladies would have liked that look, here in America. But it is bad for the work."

He took f.a.n.n.y aside before he left. His face was serious. It was plain that he was disturbed. "That woman," he began. "Pardon me, Mrs.

Brandeis. She came to me. She says she is starving. She is alone there, in Vienna. Her--well, she is alone. The war is everywhere. They say it will last for years. She wept and pleaded with me to take her here."

"No!" cried f.a.n.n.y. "Don't let him hear it. He mustn't know. He----"

"Yes, I know. She is a paradox, that woman. I tell you, she almost prevailed on me. There is something about her; something that repels and compels." That struck him as being a very fine phrase indeed, and he repeated it appreciatively.

"I'll send her money, somehow," said f.a.n.n.y.

"Yes. But they say that money is not reaching them over there. I don't know what becomes of it. It vanishes." He turned to leave. "Oh, a message for you. On my boat was Schabelitz. It looks very much as if his great fortune, the acc.u.mulation of years, would be swept away by this war. Already they are tramping up and down his lands in Poland. His money--much of it--is invested in great hotels in Poland and Russia, and they are using them for barracks and hospitals."

"Schabelitz! You mean a message for Theodore? From him? That's wonderful."

"For Theodore, and for you, too."

"For me! I made a picture of him once when I was a little girl. I didn't see him again for years. Then I heard him play. It was on his last tour here. I wanted to speak to him. But I was afraid. And my face was red with weeping."

"He remembers you. And he means to see Theodore and you. He can do much for Theodore in this country, and I think he will. His message for you was this: 'Tell her I still have the picture that she made of me, with the jack-in-the-box in my hand, and that look on my face. Tell her I have often wondered about that little girl in the red cap and the black curls. I've wondered if she went on, catching that look back of people's faces. If she did, she should be more famous than her brother."'

"He said that! About me!"