The Rivet in Grandfather's Neck. James Branch Cabell
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wherewith to annihilate the hussy, was a Musgrave of Matocton!
* * * * *
And she did. To her he was "Olaf" from that day forth.
Rudolph Musgrave called her, "You." He was nettled, of course, by her forwardness—"Olaf," indeed!—yet he found it, somehow, difficult to bear this fact in mind continuously.
For while it is true our heroes and heroines in fiction no longer fall in love at first sight, Nature, you must remember, is too busily employed with other matters to have much time to profit by current literature. Then, too, she is not especially anxious to be realistic. She prefers to jog along in the old rut, contentedly turning out chromolithographic sunrises such as they give away at the tea stores, contentedly staging the most violent and improbable melodramas; and—sturdy old Philistine that she is—she even now permits her children to fall in love in the most primitive fashion.
She is not particularly interested in subtleties and soul analyses; she merely chuckles rather complacently when a pair of eyes are drawn, somehow, to another pair of eyes, and an indescribable something is altered somewhere in some untellable fashion, and the world, suddenly, becomes the most delightful place of residence in all the universe. Indeed, it is her favorite miracle, this. For at work of this sort the old Philistine knows that she is an adept; and she has rejoiced in the skill of her hands, with a sober workmanly joy, since Cain first went a-wooing in the Land of Nod.
So Colonel Rudolph Musgrave, without understanding what had happened to him, on a sudden was strangely content with life.
It was at supper—dinner, in Lichfield, when not a formal entertainment, is eaten at two in the afternoon—that he fell a-speculating as to whether Her eyes, after all, could be fitly described as purple.
Wasn't there a grayer luminosity about them than he had at first suspected?—wasn't the cool glow of them, in a word, rather that of sunlight falling upon a wet slate roof?
It was a delicate question, an affair of nuances, of almost imperceptible graduations; and in debating a matter of such nicety, a man must necessarily lay aside all petty irritation, such as being nettled by an irrational nickname, and approach the question with unbiased mind.
He did. And when, at last, he had come warily to the verge of decision, Miss Musgrave in all innocence announced that they would excuse him if he wished to get back to his work.
He discovered that, somehow, the three had finished supper; and, somehow, he presently discovered himself in his study, where eight o'clock had found him every evening for the last ten years, when he was not about his social diversions. An old custom, you will observe, is not lightly broken.
VI
Subsequently: "I have never approved of these international marriages," said Colonel Musgrave, with heat. "It stands to reason, she is simply marrying the fellow for his title. (The will of Jeremiah Brown, dated 29 November, 1690, recorded 2 February, 1690–1, mentions his wife Eliza Brown and appoints her his executrix.) She can't possibly care for him. (This, then, was the second wife of Edward Osborne of Henrico, who, marrying him 15 June, 1694, died before January, 1696–7.) But they are all flibbertigibbets, every one of them. (She had apparently no children by either marriage—) And I dare say she is no better than the rest."
Came a tap on the door. Followed a vision of soft white folds and furbelows and semi-transparencies and purple eyes and a pouting mouth.
"I am become like a pelican in the wilderness, Olaf," the owner of these vanities complained. "Are you very busy? Cousin Agatha is about her housekeeping, and I have read the afternoon paper all through—even the list of undelivered letters and the woman's page—and I just want to see the Gilbert Stuart picture," she concluded—exercising, one is afraid, a certain economy in regard to the truth.
This was a little too much. If a man's working-hours are not to be respected—if his privacy is to be thus invaded on the flimsiest of pretexts—why, then, one may very reasonably look for chaos to come again. This, Rudolph Musgrave decided, was a case demanding firm and instant action. Here was a young person who needed taking down a peg or two, and that at once.
But he made the mistake of looking at her first. And after that, he lied glibly. "Good Lord, no! I am not in the least busy now. In fact, I was just about to look you two up."
"I was rather afraid of disturbing you." She hesitated; and a lucent mischief woke in her eyes. "You are so patriarchal, Olaf," she lamented. "I felt like a lion venturing into a den of Daniels. But if you cross your heart you aren't really busy—why, then, you can show me the Stuart, Olaf."
It is widely conceded that Gilbert Stuart never in his after work surpassed the painting which hung then in Rudolph Musgrave's study—the portrait of the young Gerald Musgrave, afterward the friend of Jefferson and Henry, and, still later, the author of divers bulky tomes, pertaining for the most part to ethnology. The boy smiles at you from the canvas, smiles ambiguously—smiles with a woman's mouth, set above a resolute chin, however—and with a sort of humorous sadness in his eyes. These latter are of a dark shade of blue—purple, if you will—and his hair is tinged with red.
"Why, he took after me!" said Miss Stapylton. "How thoughtful of him,
Olaf!"
And Rudolph Musgrave saw the undeniable resemblance. It gave him a queer sort of shock, too, as he comprehended, for the first time, that the faint blue vein on that lifted arm held Musgrave blood—the same blood which at this thought quickened. For any person guided by appearances, Rudolph Musgrave considered, would have surmised that the vein in question contained celestial ichor or some yet diviner fluid.
"It is true," he conceded, "that there is a certain likeness."
"And he is a very beautiful boy," said Miss Stapylton, demurely. "Thank you, Olaf; I begin to think you are a dangerous flatterer. But he is only a boy, Olaf! And I had always thought of Gerald Musgrave as a learned person with a fringe of whiskers all around his face—like a centerpiece, you know."
The colonel smiled. "This portrait was painted early in life. Our kinsman was at that time, I believe, a person of rather frivolous tendencies. Yet he was not quite thirty when he first established his reputation by his monograph upon The Evolution of Marriage. And afterwards, just prior to his first meeting with Goethe, you will remember—"
"Oh, yes!" Miss Stapylton assented, hastily; "I remember perfectly. I know all about him, thank you. And it was that beautiful boy, Olaf, that young-eyed cherub, who developed into a musty old man who wrote musty old books, and lived a musty, dusty life all by himself, and never married or had any fun at all! How horrid, Olaf!" she cried, with a queer shrug of distaste.
"I fail," said Colonel Musgrave, "to perceive anything—ah—horrid in a life devoted to the study of anthropology. His reputation when he died was international."
"But he never had any fun, you jay-bird! And, oh, Olaf! Olaf! that boy could have had so much fun! The world held so much for him! Why, Fortune is only a woman, you know, and what woman could have refused him anything if he had smiled at her like that when he asked for it?"
Miss Stapylton gazed up at the portrait for a long time now, her hands clasped under her chin. Her face was gently reproachful.
"Oh, boy dear, boy dear!" she said, with a forlorn little quaver in her voice, "how could you be so foolish? Didn't you know there was something better in the world than grubbing after musty old tribes and customs and folk-songs? Oh, precious child, how could you?"
Gerald Musgrave smiled back at her, ambiguously; and Rudolph Musgrave laughed. "I perceive," said he, "you are a follower of Epicurus. For my part, I must have fetched my ideals from the tub of the Stoic. I can conceive of no nobler life than one devoted to furthering the cause of science."
She looked up at him, with a