“Well, but——”
“I won’t!” she cried, and choked. “You know it makes me furious; that’s why you do it!”
“Did I understand you to say you never permitted your emotions to control you?” her mother asked dryly.
In retort, Muriel turned to the closet where she kept her hats; for her favourite way of meeting these persecutions was to go out of the house abruptly, leaving her mother to occupy it in full remorse; but this time Mrs. Eliot forestalled her. A servant appeared in the doorway and summoned her: “There’s someone downstairs wants to see you; I took him in the library.”
“I’ll come,” said Mrs. Eliot, and with a single dignified glance at her daughter, she withdrew, leaving Muriel to digest a discomfiture. For the art of domestic altercation lies almost wholly in the withdrawal, since here the field is won by abandoning it. In family embroilments she proves herself right, and the others wrong, who adroitly seizes the proper moment to make an unexpected departure either with dignity or in tears. People under stress of genuine emotion have been known to practice this art, seeming thereby to indicate the incompatible presence of a cool dramatist somewhere in the back of their heads; yet where is there anything that is not incompatible? Muriel, injured by the word “inconsistent,” had meant to withdraw in silent pain, thus putting her mother in the wrong; but, in the sometimes invaluable argot of the race-course, Mrs. Eliot got away first. Muriel felt severely baffled.
There remained to her, however, a retreat somewhat enfeebled by her mother’s successful withdrawal: Mrs. Eliot had gone out of the room; Muriel could still go out of the house. Therefore she put on a hat, descended the stairs and went toward the front door in a manner intended to symbolize insulted pride taking a much more important departure than the mere walking out of a room.
Her mother, of course, was intended to see her pass the open double doors of the library, but Mrs. Eliot’s back happened to be toward these doors, and she was denied the moving-picture of the daughter sweeping through the hall. The caller, however, suffered no such deprivation; he sat facing the doorway, and although Muriel did not look directly at him, she became aware of a distinguished presence. The library was shadowy, the hall much lighter; she passed the doors quickly; but she was almost startled by the impression made upon her by this young man whom she had never before seen. Then, as she went on toward the front door, she had suddenly a sensation queerly like dizziness; it seemed to her that this stranger had looked at her profoundly as she passed, and that the gaze he bent upon her had come from a pair of dark and glowing eyes.
She went out into the yard, but not, as she had intended, to the street; and turning the corner of the house, she crossed the sunny lawn to some hydrangea bushes in blossom, where she paused and stood, apparently in contemplation of the flowers. She was trembling a little, so strong was her queer consciousness of the stranger in the library and of his dark and glowing eyes. Such sensations as hers have often been described as “unreal;” that is to say, “she seemed to be in a dream.” Her own eyes had not fully encountered the dark and glowing ones, but never had any person made so odd and instantaneous an impression upon her. What else was she to conclude but that there must have been “something psychic” about it? And how, except by telepathy, could she have so suddenly found in her mind the conviction that the distinguished-looking young man was a painter? For to her own amazement, she was sure of this.
After a time she went back into the house, and again passed through the hall and by the open doors, but now her bearing was different. In a sweet, low voice she hummed a careless air from Naples, while in her arms she bore a sheaf of splendid hydrangea blossoms, thus offering, in the momentary framing of the broad doorway, a composition rich in colour and also of no mean decorative charm in contour, it may be said. “The Girl from the Garden” might have been the title she wished to suggest to a painter’s mind, but when she came into the view of her mother’s caller, consciousness of him increased all at once so overwhelmingly that she forgot herself. She had meant to pass the doorway with a cool leisureliness and entirely in profile—a Girl from the Garden with no other thought than to enliven her room with an armful of hydrangea blossoms—but she came almost to a halt midway, and, for the greater part of a second packed with drama, looked full upon the visitor.
He was one of those black-and-white young men: clothes black, linen white, a black bow at the collar, thick black hair, the face of a fine pallor, and black eyes lustrously comprehending. What they must have comprehended now was at least a little of the significance of the arrested attitude beyond the doorway, and more than a little of what was meant by the dark and lustrous eyes that with such poignant inquiry met his own. For Muriel’s fairly shouted at him the startled question: “Who are you?”