A Modern Chronicle — Complete. Winston Churchill
love her.”
“I, too, am fond of the child, but I tremble for her. I am afraid she has that terrible thing which is called temperament.”
George Hanbury made a second heroic rush, and dragged Honora out once more.
“What is this disease you've got?” he demanded.
“Disease?” she cried; “I haven't any disease.”
“Mrs. Dwyer says you have temperament, and that it is a terrible thing.”
Honora stopped him in a corner.
“Because people like Mrs. Dwyer haven't got it,” she declared, with a warmth which George found inexplicable.
“What is it?” he demanded.
“You'll never know, either, George,” she answered; “it's soul.”
“Soul!” he repeated; “I have one, and its immortal,” he added promptly.
In the summer, that season of desolation for Honora, when George Hanbury and Algernon Cartwright and other young gentlemen were at the seashore learning to sail boats and to play tennis, Peter Erwin came to his own. Nearly every evening after dinner, while the light was still lingering under the shade trees of the street, and Aunt Mary still placidly sewing in the wicker chair on the lawn, and Uncle Tom making the tour of flowers with his watering pot, the gate would slam, and Peter's tall form appear.
It never occurred to Honora that had it not been for Peter those evenings would have been even less bearable than they were. To sit indoors with a light and read in a St. Louis midsummer was not to be thought of. Peter played backgammon with her on the front steps, and later on—chess. Sometimes they went for a walk as far as Grand Avenue. And sometimes when Honora grew older—she was permitted to go with him to Uhrig's Cave. Those were memorable occasions indeed!
What Saint Louisan of the last generation does not remember Uhrig's Cave? nor look without regret upon the thing which has replaced it, called a Coliseum? The very name, Uhrig's Cave, sent a shiver of delight down one's spine, and many were the conjectures one made as to what might be enclosed in that half a block of impassible brick wall, over which the great trees stretched their branches. Honora, from comparative infancy, had her own theory, which so possessed the mind of Edith Hanbury that she would not look at the wall when they passed in the carriage. It was a still and sombre place by day; and sometimes, if you listened, you could hear the whisperings of the forty thieves on the other side of the wall. But no one had ever dared to cry “Open, Sesame!” at the great wooden gates.
At night, in the warm season, when well brought up children were at home or at the seashore, strange things were said to happen at Uhrig's Cave.
Honora was a tall slip of a girl of sixteen before it was given her to know these mysteries, and the Ali Baba theory a thing of the past. Other theories had replaced it. Nevertheless she clung tightly to Peter's arm as they walked down Locust Street and came in sight of the wall. Above it, and under the big trees, shone a thousand glittering lights: there was a crowd at the gate, and instead of saying, “Open, Sesame,” Peter slipped two bright fifty-cent pieces to the red-faced German ticketman, and in they went.
First and most astounding of disillusions of passing childhood, it was not a cave at all! And yet the word “disillusion” does not apply. It was, after all, the most enchanting and exciting of spots, to make one's eye shine and one's heart beat. Under the trees were hundreds of tables surrounded by hovering ministering angels in white, and if you were German, they brought you beer; if American, ice-cream. Beyond the tables was a stage, with footlights already set and orchestra tuning up, and a curtain on which was represented a gentleman making decorous love to a lady beside a fountain. As in a dream, Honora followed Peter to a table, and he handed her a programme.
“Oh, Peter,” she cried, “it's going to be 'Pinafore'!”
Honora's eyes shone like stars, and elderly people at the neighbouring tables turned more than once to smile at her that evening. And Peter turned more than once and smiled too. But Honora did not consider Peter. He was merely Providence in one of many disguises, and Providence is accepted by his beneficiaries as a matter of fact.
The rapture of a young lady of temperament is a difficult thing to picture. The bird may feel it as he soars, on a bright August morning, high above amber cliffs jutting out into indigo seas; the novelist may feel it when the four walls of his room magically disappear and the profound secrets of the universe are on the point of revealing themselves. Honora gazed, and listened, and lost herself. She was no longer in Uhrig's Cave, but in the great world, her soul a-quiver with harmonies.
“Pinafore,” although a comic opera, held something tragic for Honora, and opened the flood-gates to dizzy sensations which she did not understand. How little Peter, who drummed on the table to the tune of:
“Give three cheers and one cheer more
For the hearty captain of the Pinafore,”
imagined what was going on beside him! There were two factors in his pleasure; he liked the music, and he enjoyed the delight of Honora.
What is Peter? Let us cease looking at him through Honora's eyes and taking him like daily bread, to be eaten and not thought about. From one point of view, he is twenty-nine and elderly, with a sense of humour unsuspected by young persons of temperament. Strive as we will, we have only been able to see him in his role of Providence, or of the piper. Has he no existence, no purpose in life outside of that perpetual gentleman in waiting? If so, Honora has never considered it.
After the finale had been sung and the curtain dropped for the last time, Honora sighed and walked out of the garden as one in a trance. Once in a while, as he found a way for them through the crowd, Peter glanced down at her, and something like a smile tugged at the corners of a decidedly masculine mouth, and lit up his eyes. Suddenly, at Locust Street, under the lamp, she stopped and surveyed him. She saw a very real, very human individual, clad in a dark nondescript suit of clothes which had been bought ready-made, and plainly without the bestowal of much thought, on Fifth Street. The fact that they were a comparative fit was in itself a tribute to the enterprise of the Excelsior Clothing Company, for Honora's observation that he was too long one way had been just. He was too tall, his shoulders were too high, his nose too prominent, his eyes too deep-set; and he wore a straw hat with the brim turned up.
To Honora his appearance was as familiar as the picture of the Pope which had always stood on Catherine's bureau. But to-night, by grace of some added power of vision, she saw him with new and critical eyes. She was surprised to discover that he was possessed of a quality with which she had never associated him—youth. Not to put it too strongly—comparative youth.
“Peter,” she demanded, “why do you dress like that?”
“Like what?” he said.
Honora seized the lapel of his coat.
“Like that,” she repeated. “Do you know, if you wore different clothes, you might almost be distinguished looking. Don't laugh. I think it's horrid of you always to laugh when I tell you things for your own good.”
“It was the idea of being almost distinguished looking that—that gave me a shock,” he assured her repentantly.
“You should dress on a different principle,” she insisted.
Peter appeared dazed.
“I couldn't do that,” he said.
“Why not?”
“Because—because I don't dress on any principle now.”
“Yes, you do,” said Honora, firmly. “You dress on the principle of the wild beasts and fishes. It's all in our natural history at Miss Farmer's. The crab is the colour of the seaweed, and the deer of the thicket. It's a device of nature for the protection of weak things.”
Peter drew himself up proudly.
“I have always understood,