It was going to be a pleasant little story, this Scotch romance Aline and I had planned. I knew all the people in it intimately, and was in a hurry to pick the lock of their prison with my pen, for they were impatient to get out and begin to live and move. I thought Aline was almost as much interested, though she never gets into such wild enthusiasm over a new book that she can hardly wait to write it. She's too well-balanced, and has too many outside interests, as a very pretty and popular young woman should have; whereas, since the joy of writing saved my life, it has always been first with me—until the other day.
With Aline, the mischief began on shipboard—or perhaps a little before, though I realized then for the first time what was happening.
I have great faith in Aline's charm. I've seen several clever and important men go down before it; but somehow I felt doubtful about Somerled. If Aline has a lack—I may admit it here—it is temperament. Possibly I have a touch of what she misses. And until I began to write, I often wished to be without it. Anyhow, I can see that, sweet and delightful as she is, a man of temperament might in exalted moments find a note flat in the music of companionship.
Somerled has, I should think, spent at least ten years in trying to bury his temperament under layers of hard common sense. But all the time it was there, like boiling hot lava under a cold crust; and when Aline told me how he valued their friendship, I wondered whether she were right, and just how deeply his admiration of her was rooted in his heart. I wondered if she were the type of woman he would want, not only for a friend, but by and by for his wife; and caring for Aline as I do, I worried about her affairs a good deal, apart from the influence they were likely to have on the book. Still, I confess I thought as much about the people in the story I had in mind as I did of my sister—if not more, at that time.
Then, the night Aline and I had our big talk about Somerled, the Girl came. And that was the end of the book for me too.
If some time I grow callous enough to write her into a romance (she'd fit into nothing else), I doubt if I could make clear the extraordinary and instantaneous effect of her on all those she approaches.
It isn't only her looks, though she's beautiful, as some blithe sprite met by chance in a forest. It isn't only her youth, for she is too absurdly young. A girl, to be taken seriously by a grown man, should be at least one-and-twenty. She is, I believe, on the lilied edge of eighteen. Ridiculous! Yet where she is, other women, also beautiful and also young, are dimmed like candles that have burned all night when a window is flung open in the face of sunrise. Something in her eyes, her smile, the turn of her head, the light on her lashes and the shadow under them, the way she catches in her breath when she laughs and looks at you, the curl of her hair and the colour and fragrance of it, call to the deeps in a man. I defy any man to resist her completely. I have watched men in the street as I walked with her, or in hotel dining-rooms as she came in. Be they old or young, weak or strong, grave or gay, intelligent or dull, at sight of her the same pagan light of romance springs into their eyes. Mysterious and irresistible as the lure of the Pied Piper is the lure of this child who knows nothing of her own power.
She is a true daughter of Nature, but—she is also the daughter of Mrs. Bal.
Can Mrs. Ballantree MacDonald have been such a one when she was eighteen? No, in spite of the haunting, almost impish likeness, I'm sure she cannot. But I think Somerled wonders, and that now and then the relationship and the resemblance creep between him and his instinctive perception of truth in the girl.
She came to us with Somerled on the night of our first sight of her, leading him as Una might have led her lion.