"And so you say this young man lives at The Mills, my dear?" Miss Cornelia paused, the heavy, elaborately chased tea-pot suspended in her hand. Her gentle, near-sighted eyes looked anxiously across the table at Elizabeth.
It was the first time that the girl had spoken of her new acquaintance, though it was now some time since her return from Bassett Mills, and she had told at once of the measles at the Rectory. This piece of news, however, had lasted them well through dinner, and in the country it is improvident to use up all one's information at once. Perhaps Elizabeth thought of this; or it might be that the other item did not strike her as of any special importance. She only mentioned it very casually at tea-time; but her aunts' anxiety was easily aroused at any suggestion of new acquaintances at Bassett Mills.
"I don't think he lives at The Mills," Elizabeth made answer now reluctantly to Miss Cornelia's question. "I think he—he is just staying there—I believe Aunt Rebecca said something about his coming from Chicago. But his family used to live at The Mills."
"You don't mean those Hallecks who went West a long time ago?" exclaimed Miss Joanna. "Do you remember, sister?—the man was in jail the most of the time. The children used to play on the road behind the church—poor little neglected things, I was quite worried about them. It was a relief, I remember, when they all went away."
Elizabeth found this piece of ancient history peculiarly inopportune.
"Well, that was a long time ago, Aunt Joanna," she said. "It doesn't matter, I suppose, so much what people's parents were like. Mr. Halleck is very nice himself. He is an artist, and he wants to paint my picture." She brought out this last information, which she had been longing to tell for some time, with a certain triumph; but it fell unexpectedly flat.
"An artist!" Miss Joanna repeated. "Dear me! One of those little Hallecks who used to play in the road."
"To paint your picture, my dear?" repeated Miss Cornelia still more doubtfully. "When he has only met you once! I am afraid he is rather a pushing young man. But of course, dear, you won't encourage him."
Elizabeth's eyes were fixed on her plate; her cheeks were painfully flushed and she bit her lips to keep back the scalding tears that rose to her eyes. "I don't think he is pushing," she murmured, but she said no more. How could she explain to her aunts the vast difference that existed between this young man and any other friend of Amanda's? They were dear, good women, but so hopelessly narrow and antiquated, with their little old-fashioned ideas of propriety, their distinctions founded on the conventional laws of the Neighborhood. Elizabeth, too, was not without an involuntary respect for these distinctions. She had her full share of the pride of birth which was instinctive in every Van Vorst, even in the most ignorant country lout that had ever borne the family name and lowered the family credit. With Elizabeth it was only intensified, perhaps, by a doubt of her own position. But then she belonged to the new generation; and there was a side of her nature that recognized the futility of these old traditions. Elizabeth did not analyze her feelings; she was only conscious of a vague sense of revolt, a desire to beat her wings as it were, against the cages of conventional distinctions, and test her powers of flight.
But she did not put all this into words. Her aunts would not have understood. She did not understand herself. She rose from the tea-table presently, with a murmured excuse, leaving the food on her plate untasted, to Miss Joanna's great distress, and wandered into the drawing-room and sat down at the piano. The keys seemed to respond with unusual readiness to her touch, the music expressed in some vague way what she could not put into words. She played on restlessly, feverishly, for more than an hour, passing from one thing to another; Chopin nocturnes, waltzes, Hungarian dances, fragments from Wagner; anything she could remember.