The young man, quietly ignoring the humor of the novelist's words, said protestingly, "But, surely, to portray human nature is legitimate art, Mr. Lagrange. Your great artists that the West is to produce will not necessarily be landscape painters or write essays upon nature, will they?"
"To portray human nature is legitimate work for an artist, yes"--agreed the novelist--"but he must portray human nature plus. The forces that shape human nature are the forces that must be felt in the picture and in the story. That these determining forces are so seldom seen by the eyes of the world, is the reason for pictures and stories. The artist who fails to realize for his world the character-creating elements in the life which he essays to paint or write, fails, to just that degree, in being an artist; or is self-branded by his work as criminally careless, a charlatan or a liar. That one who, for a price, presents a picture or a story without regard for the influence of his production upon the characters of those who receive it, commits a crime for which human law provides no adequate punishment. Being the famous Conrad Lagrange, you understand, I have the right to say this. You will probably believe it, some day--if you do not now. That is, you will believe it if you have the soul and the intelligence of an artist--if you have not--it will not matter--and you will be happy in your success."
As the novelist finished speaking, the two men arrived at the hotel steps, where they halted, with that indecision of chance acquaintances who have no plans beyond the passing moment, yet who, in mutual interest, would extend the time of their brief companionship. While they stood there, each hesitating to make the advance, a big touring car rolled up the driveway, and stopped under the full light of the veranda. Aaron King recognized the lady of the observation car platform, with her two traveling companions and the heavy-faced man who had met them at the depot. As the party greeted the novelist and he returned their salutation, the artist turned away to find again the chair, where, an hour before, the strange character who was to play so large a part in his life and work had found him. The dog, Czar, as if preferring the companionship of the artist to the company of those who were engaging his master's attention, followed the young man.
From where he sat, the painter could see the tall, uncouth figure of the famous novelist standing beside the automobile, while the occupants of the car were, apparently, absorbingly interested in what he was saying. The beautiful face of the woman was brightly animated as she evidently took the lead in the conversation. The artist could see her laughing and shaking her head. Once, he even heard her speak the writer's name; whereupon, every lounger upon the veranda, within hearing, turned to observe the party with curious interest. Several times, the young man noted that she glanced in his direction, half inquiringly, with a suggestion of being pleased, as though she were glad to have seen him in company with her celebrated friend. Then the man who held so large a place in the eyes of the world drew back, lifting his hat; the automobile started forward; the party called, "Good night." The woman's voice rose clear--so that the spectators might easily understand--"Remember, Mr. Lagrange--I shall expect you Thursday--day after to-morrow."
As Conrad Lagrange came up the hotel steps, the eyes of all were upon him; but he--apparently unconscious of the company--went straight to the artist; where, without a word, he dropped into the vacant chair by the young man's side, and began thoughtfully refilling his brier pipe. Flipping the match over the veranda railing, and expelling a prodigious cloud of smoke, the novelist said grimly, "And there--my fellow artist--go your masters. I trust you observed them with proper reverence. I would have introduced you, but I do not like to take the initiative in such outrages. That will come soon enough. The young should be permitted to enjoy their freedom while they may."
Aaron King laughed. "Thank you for your consideration," he returned, "but I do not think I am in any immediate danger."
"Which"--the other retorted dryly--"betrays either innocence, caution, or an unusual understanding of life. I am not, now, prepared to say whether you know too much or too little."
"I confess to a degree of curiosity," said the artist. "I traveled in the same Pullman with three of the party. May I ask the names of your friends?"
The other answered in his bitterest vein; "I have no friends, Mr. King--I have only admirers. As for their names"--he continued--"there is no reason why I should withhold either who they are or what they are. Besides, I observed that the reigning 'Goddess' in the realm of 'Modern Art' has her eye upon you, already. As I shall very soon be commanded to drag you to her 'Court,' it is well for you to be prepared."
The young man laughed as the other paused to puff vigorously at his brier pipe.