The Rivet in Grandfather's Neck: A Comedy of Limitations, James Branch Cabell [that summer book .TXT] 📗

front show-window of a Woman's Exchange for Fancy Work. The room had even been repapered—odiously, as she considered; and the shiny floor of it boasted just three inefficient rugs, like dingy rafts upon a sea of very strong coffee.

Patricia looked in vain for her grandiose plush-covered chairs, her immaculate "tidies," and the proud yellow lambrequin, embroidered in high relief with white gardenias, which had formerly adorned the mantelpiece. The heart of her hungered for her unforgotten and unforgettable "watered-silk" papering wherein white roses bloomed exuberantly against a yellow background—which deplorably faded if you did not keep the window-shades down, she remembered—and she wanted back her white thick comfortable carpet which hid the floor completely, so that everywhere you trod upon the buxomest of stalwart yellow roses, each bunch of which was lavishly tied with wind-blown ribbons.

Then, too, her cherished spinning-wheel, at least two hundred and fifty years old, which had looked so pretty after she had gilded it and added a knot of pink sarsenet, was departed; and gone as well was the mirror-topped table, with its array of china swan and frogs and water-lilies artistically grouped about its speckless surface. Even her prized engraving of "Michael Angelo Buonarotti"—contentedly regarding his just finished Moses, while a pope tiptoed into the room through a side-door—had been removed, with all its splendors of red-plush and intricate gilt-framing.

Just here and there, in fine, like a familiar face in a crowd, she could discover some one of her more sedately-colored "parlor ornaments"; and the whole history of it—its donor or else its price, the gestures of the shopman, even what sort of weather it was when she and Rudolph found "exactly what I've been looking for" in the shop-window, and the Stapyltonian, haggling over the price with which Patricia had bargained—such unimportant details as these now vividly awakened in recollection…. In fine, this room was not her parlor at all, and in it Patricia was lonely…. Yes, yes, she would be nowadays, the colonel reflected, for he himself had never been in thorough sympathy with all the changes made by Roger's self-assured young wife.

Thus it was with the first floor of the house, through which Patricia strayed with uniform discomfort. This place was home no longer.

Thus it was with the first floor of the house. Everywhere the equipments were strange, or at best arranged not quite as Patricia would have placed them. Yet they had not any look of being recently purchased. Even that hideous stair-carpet was a little worn, she noted, as noiselessly she mounted to the second story.

The house was perfectly quiet, save for a tiny shrill continuance of melody that somehow seemed only to pierce the silence, not to dispel it. Rudolph—of all things!—had in her absence acquired a canary. And everybody knew what an interminable nuisance a canary was.

She entered the front room. It had been her bedroom ever since her marriage. She remembered this as with a gush of defiant joy.

III

So it seemed to Rudolph Musgrave that Patricia came actually into the room that had been hers….

A canary was singing there, very sweet and shrill and as in defiant joy. Its trilling seemed to fill the room. In the brief pauses of his song the old clock, from which Rudolph had removed the pendulum on the night of Agatha's death would interpose an obstinate slow ticking; and immediately the clock-noise would be drowned in melody. Otherwise the room was silent.

In the alcove stood the bed which had been Patricia's. Intent upon its occupant were three persons, with their backs turned to her. One Patricia could easily divine to be a doctor; he was twiddling a hypodermic syringe between his fingers, and the set of his shoulders was that of acquiescence. Profiles of the others she saw: one a passive nurse in uniform, who was patiently chafing the right hand of the bed's occupant; the other a lean-featured red-haired stranger, who sat crouched in his chair and held the dying man's left hand.

For in the bed, supported by many pillows, and facing Patricia, was a dying man. He was very old, having thick tumbled hair which, like his two-weeks' beard, was uniformly white. His eyelids drooped a trifle, so that he seemed to meditate concerning something ineffably remote and serious, yet not, upon the whole, unsatisfactory. You saw and heard the intake of each breath, so painfully drawn, and expelled with manifest relief, as if the man were very tired of breathing. Yet the bedclothes heaved with his vain efforts just to keep on breathing. And sometimes his parted lips would twitch curiously…. Rudolph Musgrave, too, could see all this quite plainly, in the mirror over the mantel.

The doctor spoke. "Yes—it's the end, Professor Musgrave," he said. For this lean-featured red-haired stranger to whom the doctor spoke, a pedagogue to his finger-tips, had once been Patricia's dearly-purchased, chubby baby Roger.

And Rudolph Musgrave stayed motionless. He knew Patricia was there; but that fact no longer seemed either very strange or even unnatural; and besides, it was against some law for him to look at her until Patricia had called him…. Meanwhile, just opposite, above the mirror, and facing him, was the Stuart portrait of young Gerald Musgrave. This picture had now hung there for a great many years. The boy still smiled at you in undiminished raillery, even though he smiled ambiguously, and with a sort of humorous sadness in his eyes. Once, very long ago—when the picture hung downstairs—some one had said that Gerald Musgrave's life was barren. The dying man could not now recollect, quite, who that person was.

Rudolph Musgrave stayed motionless. He comprehended that he was dying. The greatest of all changes was at hand; and he, who had always shrunk from making changes, was now content enough…. Indeed, with Rudolph Musgrave living had always been a vaguely dissatisfactory business, a hand-to-mouth proceeding which he had scrambled through, as he saw now, without any worthy aim or even any intelligible purpose. He had nothing very heinous with which to reproach himself; but upon the other side, he had most certainly nothing of which to be particularly proud.

So this was all that living came to! You heard of other people being rapt by splendid sins and splendid virtues, and you anticipated that to-morrow some such majestic energy would transfigure your own living, and change everything: but the great adventure never arrived, somehow; and the days were frittered away piecemeal, what with eating your dinner, and taking a wholesome walk, and checking up your bank account, and dovetailing scraps of parish registers and land-patents and county records into an irrefutable pedigree, and seeing that your clothes were pressed, and looking over the newspapers—and what with other infinitesimal avocations, each one innocent, none of any particular importance, and each consuming an irrevocable moment of the allotted time—until at last you found that living had not, necessarily, any climax at all…. And Patricia would call him presently.

Once, very long ago, some one had said that the most pathetic tragedy in life was to get nothing in particular out of it. The dying man could not now recollect, quite, who that person was.

He wondered, vaguely, what might have been the outcome if Rudolph Musgrave had whole-heartedly sought, not waited for, the great adventure; if Rudolph Musgrave had put—however irrationally—more energy and less second-thought into living; if Rudolph Musgrave had not been contented to be just a Musgrave of Matocton…. Well, it was too late now. He viewed his whole life now, in epitome, and much as you may see at night the hackneyed vista from your window leap to incisiveness under the lash of lightning. No, the life of Rudolph Musgrave had never risen to the plane of dignity, not even to that of seeming to Rudolph Musgrave a connected and really important transaction on Rudolph Musgrave's part. Yet Lichfield, none the better for Rudolph Musgrave's having lived, was none the worse, thank heaven! And there were younger men in Lichfield—men who did not mean to fail as Rudolph Musgrave and his fellows all had failed…. Eh, yes, what was the toast that Rudolph Musgrave drank, so long ago, to the new Lichfield which these younger men were making?

"To this new South, that has not any longer need of me or of my kind.

"To this new South! She does not gaze unwillingly, nor too complacently, upon old years, and dares concede that but with loss of manliness may any man encroach upon the heritage of a dog or of a trotting-horse, and consider the exploits of an ancestor to guarantee an innate and personal excellence.

"For to her all former glory is less a jewel than a touchstone, and with her portion of it daily she appraises her own doing, and without vain speech. And her high past she values now, in chief, as fit foundation of that edifice whereon she labors day by day, and with augmenting strokes."

Yes, that was it. And it was true. Yet Rudolph Musgrave's life on earth was ending now—the only life that he would ever have on earth—and it had never risen to the plane of seeming even to Rudolph Musgrave a really important transaction on Rudolph Musgrave's part….

Then Patricia spoke. Low and very low she called to Olaf, and the dim, wistful eyes of Rudolph Musgrave lifted, and gazed full upon her standing there, and were no longer wistful. And the man made as though to rise, and could not, and his face was very glad.

For in the dying man had awakened the pulses of an old, strange, half-forgotten magic, and all his old delight in the girl who had shared in and had provoked this ancient wonder-working, together with a quite new consciousness of the inseparability of Patricia's foibles from his existence; so that he was incuriously aware of his imbecility in not having known always that Patricia must come back some day, not as a glorious, unfamiliar angel, but unaltered.

"I am glad you haven't changed…. Why, but of course! Nothing would have counted if you had changed—not even for the better, Patricia. For you and what you meant to me were real. That only was real—that we, not being demigods, but being just what we were, once climbed together very high, where we could glimpse the stars—and nothing else can ever be of any importance. What we inherited was too much for us, was it not, my dear? And now it is not formidable any longer. Oh, but I loved you very greatly, Patricia! And now at last, my dear, I seem to understand—as in that old, old time when you and I were glad together——"

But he did not say this aloud, for it seemed to him that he stood in a cool, pleasant garden, and that Patricia came toward him through the long shadows of sunset. The lacy folds and furbelows and semi-transparencies that clothed her were now tinged with gold and now, as a hedge or a flower bed screened her from the level rays, were softened into multitudinous graduations of grays and mauves and violets.

They did not speak. But in her eyes he found compassion and such tenderness as awed him; and then, as a light is puffed out, they were the eyes of a friendly stranger. He understood, for an instant, that of necessity it was decreed time must turn back and everything, even Rudolph Musgrave, be just as it had been when he first saw Patricia. For they had made nothing of their lives; and so, they must begin all over again.

"Failure is not permitted" he was saying….

"You're Cousin Rudolph, aren't you?" she asked….

And Rudolph Musgrave knew he had forgotten something of vast import, but what this knowledge had pertained to he no longer knew. Then Rudolph Musgrave noted, with a delicious tingling somewhere about his heart, that her hair was like the reflection of a sunset in rippling waters—only many times more beautiful, of course—and that her mouth was an inconsiderable trifle, a scrap of sanguine curves, and that her eyes were purple glimpses of infinity.

THE END

End of the Project Gutenberg EBook of The Rivet in Grandfather's Neck by James Branch Cabell