On Friday afternoon there was an inspiring audience; there was not an empty chair in the house. Ottenburg and Dr. Archie had seats in the orchestra circle, got from a ticket broker. Landry had not been able to get a seat, so he roamed about in the back of the house, where he usually stood when he dropped in after his own turn in vaudeville was over. He was there so often and at such irregular hours that the ushers thought he was a singer’s husband, or had something to do with the electrical plant.
Harsanyi and his wife were in a box, near the stage, in the second circle. Mrs. Harsanyi’s hair was noticeably gray, but her face was fuller and handsomer than in those early years of struggle, and she was beautifully dressed. Harsanyi himself had changed very little. He had put on his best afternoon coat in honor of his pupil, and wore a pearl in his black ascot. His hair was longer and more bushy than he used to wear it, and there was now one gray lock on the right side. He had always been an elegant figure, even when he went about in shabby clothes and was crushed with work. Before the curtain rose he was restless and nervous, and kept looking at his watch and wishing he had got a few more letters off before he left his hotel. He had not been in New York since the advent of the taxicab, and had allowed himself too much time. His wife knew that he was afraid of being disappointed this afternoon. He did not often go to the opera because the stupid things that singers did vexed him so, and it always put him in a rage if the conductor held the tempo or in any way accommodated the score to the singer.
When the lights went out and the violins began to quaver their long D against the rude figure of the basses, Mrs. Harsanyi saw her husband’s fingers fluttering on his knee in a rapid tattoo. At the moment when Sieglinde entered from the side door, she leaned toward him and whispered in his ear, “Oh, the lovely creature!” But he made no response, either by voice or gesture. Throughout the first scene he sat sunk in his chair, his head forward and his one yellow eye rolling restlessly and shining like a tiger’s in the dark. His eye followed Sieglinde about the stage like a satellite, and as she sat at the table listening to Siegmund’s long narrative, it never left her. When she prepared the sleeping draught and disappeared after Hunding, Harsanyi bowed his head still lower and put his hand over his eye to rest it. The tenor,—a young man who sang with great vigor, went on:—
“Wälse! Wälse!
Wo ist dein Schwert?”
Harsanyi smiled, but he did not look forth again until Sieglinde reappeared. She went through the story of her shameful bridal feast and into the Walhall’ music, which she always sang so nobly, and the entrance of the one-eyed stranger:—
“Mir allein
Weckte das Auge.”
Mrs. Harsanyi glanced at her husband, wondering whether the singer on the stage could not feel his commanding glance. On came the crescendo:—
“Was je ich verlor,
Was je ich beweint,
Wär’ mir gewonnen.”
(All that I have lost,
All that I have mourned,
Would I then have won.)
Harsanyi touched his wife’s arm softly.
Seated in the moonlight, the Volsung pair began their loving inspection of each other’s beauties, and the music born of murmuring sound passed into her face, as the old poet said,—and into her body as well. Into one lovely attitude after another the music swept her, love impelled her. And the voice gave out all that was best in it. Like the spring, indeed, it blossomed into memories and prophecies, it recounted and it foretold, as she sang the story of her friendless life, and of how the thing which was truly herself, “bright as the day, rose to the surface” when in the hostile world she for the first time beheld her Friend. Fervently she rose into the hardier feeling of action and daring, the pride in hero-strength and hero-blood, until in a splendid burst, tall and shining like a Victory, she christened him:—
“Siegmund—
So nenn’ ich dich!”
Her impatience for the sword swelled with her anticipation of his act, and throwing her arms above her head, she fairly tore a sword out of the empty air for him, before Nothung had left the tree. In höchster Trunkenheit, indeed, she burst out with the flaming cry of their kinship: “If you are Siegmund, I am Sieglinde! ” Laughing, singing, bounding, exulting,—with their passion and their sword,—the Volsungs ran out into the spring night.
As the curtain fell, Harsanyi turned to his wife. “At last,” he sighed, “somebody with enough! Enough voice and talent and beauty, enough physical power. And such a noble, noble style!”
“I can scarcely believe it, Andor. I can see her now, that clumsy girl, hunched up over your piano. I can see her shoulders. She always seemed to labor so with her back. And I shall never forget that night when you found her voice.”
The audience kept up its clamor until, after many reappearances with the tenor, Kronborg came before the curtain alone. The house met her with a roar, a greeting that was almost savage in its fierceness. The singer’s eyes, sweeping the house, rested for a moment on Harsanyi, and she waved her long sleeve toward his box.
“She ought to be pleased that you are here,” said Mrs. Harsanyi. “I wonder if she knows how much she owes to you.”
“She owes me nothing,” replied her husband quickly. “She paid her way. She always gave something back, even then.”
“I remember you said once that she would do nothing common,” said Mrs. Harsanyi thoughtfully.
“Just so. She might fail, die, get lost in the pack. But if she achieved, it would be nothing common. There are people whom one can trust for that. There is one way in which they will never fail.” Harsanyi retired into his own reflections.
After the second act Fred Ottenburg brought Archie to the Harsanyis’ box and introduced him as an old friend of Miss Kronborg. The head of a musical publishing house joined them, bringing with him a journalist and the president of a German singing society. The conversation was chiefly about the new Sieglinde. Mrs. Harsanyi was gracious and enthusiastic, her husband nervous and uncommunicative. He smiled mechanically, and politely answered questions addressed to him. “Yes, quite so.” “Oh, certainly.” Every one, of course, said very usual things with great conviction. Mrs. Harsanyi was used to hearing and uttering the commonplaces which such occasions demanded. When her husband withdrew into the shadow, she covered his retreat by her sympathy and cordiality. In reply to a direct question from Ottenburg, Harsanyi said, flinching, “Isolde? Yes, why not? She will sing all the great roles, I should think.”
The chorus director said something about “dramatic temperament.” The journalist insisted that it was “explosive force,” “projecting power.”
Ottenburg turned to Harsanyi. “What is it, Mr. Harsanyi? Miss Kronborg says if there is anything in her, you are the man who can say what it is.”
The journalist scented copy and was eager. “Yes, Harsanyi. You know all about her. What’s her secret?”
Harsanyi rumpled his hair irritably and shrugged his shoulders. “Her secret? It is every artist’s secret,”—he waved his hand,—”passion. That is all. It is an open secret, and perfectly safe. Like heroism, it is inimitable in cheap materials.”
The lights went out. Fred and Archie left the box as the second act came on.
Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is. That afternoon nothing new came to Thea Kronborg, no enlightenment, no inspiration. She merely came into full possession of things she had been refining and perfecting for so long. Her inhibitions chanced to be fewer than usual, and, within herself, she entered into the inheritance that she herself had laid up, into the fullness of the faith she had kept before she knew its name or its meaning.
Often when she sang, the best she had was unavailable; she could not break through to it, and every sort of distraction and mischance came between it and her. But this afternoon the closed roads opened, the gates dropped. What sh
e had so often tried to reach, lay under her hand. She had only to touch an idea to make it live.
While she was on the stage she was conscious that every movement was the right movement, that her body was absolutely the instrument of her idea. Not for nothing had she kept it so severely, kept it filled with such energy and fire. All that deep-rooted vitality flowered in her voice, her face, in her very finger-tips. She felt like a tree bursting into bloom. And her voice was as flexible as her body; equal to any demand, capable of every nuance. With the sense of its perfect companionship, its entire trustworthiness, she had been able to throw herself into the dramatic exigencies of the part, everything in her at its best and everything working together.
The third act came on, and the afternoon slipped by. Thea Kronborg’s friends, old and new, seated about the house on different floors and levels, enjoyed her triumph according to their natures. There was one there, whom nobody knew, who perhaps got greater pleasure out of that afternoon than Harsanyi himself. Up in the top gallery a gray-haired little Mexican, withered and bright as a string of peppers beside a’dobe door, kept praying and cursing under his breath, beating on the brass railing and shouting “Bravo! Bravo!” until he was repressed by his neighbors.
He happened to be there because a Mexican band was to be a feature of Barnum and Bailey’s circus that year. One of the managers of the show had traveled about the Southwest, signing up a lot of Mexican musicians at low wages, and had brought them to New York. Among them was Spanish Johnny. After Mrs. Tellamantez died, Johnny abandoned his trade and went out with his mandolin to pick up a living for one. His irregularities had become his regular mode of life.
When Thea Kronborg came out of the stage entrance on Fortieth Street, the sky was still flaming with the last rays of the sun that was sinking off behind the North River. A little crowd of people was lingering about the door—musicians from the orchestra who were waiting for their comrades, curious young men, and some poorly dressed girls who were hoping to get a glimpse of the singer. She bowed graciously to the group, through her veil, but she did not look to the right or left as she crossed the sidewalk to her cab. Had she lifted her eyes an instant and glanced out through her white scarf, she must have seen the only man in the crowd who had removed his hat when she emerged, and who stood with it crushed up in his hand. And she would have known him, changed as he was. His lustrous black hair was full of gray, and his face was a good deal worn by the extasi, so that it seemed to have shrunk away from his shining eyes and teeth and left them too prominent. But she would have known him. She passed so near that he could have touched her, and he did not put on his hat until her taxi had snorted away. Then he walked down Broadway with his hands in his overcoat pockets, wearing a smile which embraced all the stream of life that passed him and the lighted towers that rose into the limpid blue of the evening sky. If the singer, going home exhausted in her cab, was wondering what was the good of it all, that smile, could she have seen it, would have answered her. It is the only commensurate answer.
Here we must leave Thea Kronborg. From this time on the story of her life is the story of her achievement. The growth of an artist is an intellectual and spiritual development which can scarcely be followed in a personal narrative. This story attempts to deal only with the simple and concrete beginnings which color and accent an artist’s work, and to give some account of how a Moonstone girl found her way out of a vague, easy-going world into a life of disciplined endeavor. Any account of the loyalty of young hearts to some exalted ideal, and the passion with which they strive, will always, in some of us, rekindle generous emotions.
Epilogue
Moonstone again, in the year 1909. The Methodists are giving an ice-cream sociable in the grove about the new court-house. It is a warm summer night of full moon. The paper lanterns which hang among the trees are foolish toys, only dimming, in little lurid circles, the great softness of the lunar light that floods the blue heavens and the high plateau. To the east the sand hills shine white as of old, but the empire of the sand is gradually diminishing. The grass grows thicker over the dunes than it used to, and the streets of the town are harder and firmer than they were twenty-five years ago. The old inhabitants will tell you that sandstorms are infrequent now, that the wind blows less persistently in the spring and plays a milder tune. Cultivation has modified the soil and the climate, as it modifies human life.
The people seated about under the cottonwoods are much smarter than the Methodists we used to know. The interior of the new Methodist Church looks like a theater, with a sloping floor, and as the congregation proudly say, “opera chairs.” The matrons who attend to serving the refreshments to-night look younger for their years than did the women of Mrs. Kronborg’s time, and the children all look like city children. The little boys wear “Buster Browns” and the little girls Russian blouses. The country child, in made-overs and cut-downs, seems to have vanished from the face of the earth.
At one of the tables, with her Dutch-cut twin boys, sits a fair-haired, dimpled matron who was once Lily Fisher. Her husband is president of the new bank, and she “goes East for her summers,” a practice which causes envy and discontent among her neighbors. The twins are well-behaved children, biddable, meek, neat about their clothes, and always mindful of the proprieties they have learned at summer hotels. While they are eating their ice cream and trying not to twist the spoon in their mouths, a little shriek of laughter breaks from an adjacent table. The twins look up. There sits a spry little old spinster whom they know well. She has a long chin, a long nose, and she is dressed like a young girl, with a pink sash and a lace garden hat with pink rosebuds. She is surrounded by a crowd of boys,—loose and lanky, short and thick,—who are joking with her roughly, but not unkindly.
“Mamma,” one of the twins comes out in a shrill treble, “why is Tillie Kronborg always talking about a thousand dollars?”
The boys, hearing this question, break into a roar of laughter, the women titter behind their paper napkins, and even from Tillie there is a little shriek of appreciation. The observing child’s remark had made every one suddenly realize that Tillie never stopped talking about that particular sum of money. In the spring, when she went to buy early strawberries, and was told that they were thirty cents a box, she was sure to remind the grocer that though her name was Kronborg she didn’t get a thousand dollars a night. In the autumn, when she went to buy her coal for the winter, she expressed amazement at the price quoted her, and told the dealer he must have got her mixed up with her niece to think she could pay such a sum. When she was making her Christmas presents, she never failed to ask the women who came into her shop what you could make for anybody who got a thousand dollars a night. When the Denver papers announced that Thea Kronborg had married Frederick Ottenburg, the head of the Brewers’ Trust, Moonstone people expected that Tillie’s vain-gloriousness would take another form. But Tillie had hoped that Thea would marry a title, and she did not boast much about Ottenburg,—at least not until after her memorable trip to Kansas City to hear Thea sing.
Tillie is the last Kronborg left in Moonstone. She lives alone in a little house with a green yard, and keeps a fancywork and millinery store. Her business methods are informal, and she would never come out even at the end of the year, if she did not receive a draft for a good round sum from her niece at Christmas time. The arrival of this draft always renews the discussion as to what Thea would do for her aunt if she really did the right thing. Most of the Moonstone people think Thea ought to take Tillie to New York and keep her as a companion. While they are feeling sorry for Tillie because she does not live at the Plaza, Tillie is trying not to hurt their feelings by showing too plainly how much she realizes the superiority of her position. She tries to be modest when she complains to the postmaster that her New York paper is more than three days late. It means enough, surely, on the face of it, that she is the only person in Moonstone who takes a New York paper or who has any reason for taking one. A foolish young girl, Tillie lived in t
he splendid sorrows of “Wanda” and “Strathmore”; a foolish old girl, she lives in her niece’s triumphs. As she often says, she just missed going on the stage herself.
That night after the sociable, as Tillie tripped home with a crowd of noisy boys and girls, she was perhaps a shade troubled. The twin’s question rather lingered in her ears. Did she, perhaps, insist too much on that thousand dollars? Surely, people didn’t for a minute think it was the money she cared about? As for that, Tillie tossed her head, she didn’t care a rap. They must understand that this money was different.
When the laughing little group that brought her home had gone weaving down the sidewalk through the leafy shadows and had disappeared, Tillie brought out a rocking chair and sat down on her porch. On glorious, soft summer nights like this, when the moon is opulent and full, the day submerged and forgotten, she loves to sit there behind her rose-vine and let her fancy wander where it will. If you chanced to be passing down that Moonstone street and saw that alert white figure rocking there behind the screen of roses and lingering late into the night, you might feel sorry for her, and how mistaken you would be! Tillie lives in a little magic world, full of secret satisfactions. Thea Kronborg has given much noble pleasure to a world that needs all it can get, but to no individual has she given more than to her queer old aunt in Moonstone. The legend of Kronborg, the artist, fills Tillie’s life; she feels rich and exalted in it. What delightful things happen in her mind as she sits there rocking! She goes back to those early days of sand and sun, when Thea was a child and Tillie was herself, so it seems to her, “young.” When she used to hurry to church to hear Mr. Kronborg’s wonderful sermons, and when Thea used to stand up by the organ of a bright Sunday morning and sing “Come, Ye Disconsolate.” Or she thinks about that wonderful time when the Metropolitan Opera Company sang a week’s engagement in Kansas City, and Thea sent for her and had her stay with her at the Coates House and go to every performance at Convention Hall. Thea let Tillie go through her costume trunks and try on her wigs and jewels. And the kindness of Mr. Ottenburg! When Thea dined in her own room, he went down to dinner with Tillie, and never looked bored or absent-minded when she chattered. He took her to the hall the first time Thea sang there, and sat in the box with her and helped her through “Lohengrin.” After the first act, when Tillie turned tearful eyes to him and burst out, “I don’t care, she always seemed grand like that, even when she was a girl. I expect I’m crazy, but she just seems to me full of all them old times!”—Ottenburg was so sympathetic and patted her hand and said, “But that’s just what she is, full of the old times, and you are a wise woman to see it.” Yes, he said that to her. Tillie often wondered how she had been able to bear it when Thea came down the stairs in the wedding robe embroidered in silver, with a train so long it took six women to carry it.