“Go with God,” answered Cuthbertson in deep Spanish as he mounted and rode on to Los Santos.
And when he was out of hearing, Juana wept. She placed her water-jug where the lizards might reach it, and scattered her ground corn on the sand. What the desert had restored to her she hid in her bosom with little murmured words. Behind her the lights of Los Santos twinkled within the guarding water, and ahead the lonely light from the mines shone across the curve of the world. But as she went down the desert road her face was to the stars. Before her the clear dusk parted as in welcome, it closed behind her like a tender barrier to be passed no more. Above her was the infinite heaven and the hosts of it. Under her feet the sand that took all things, youth and strength and the works of all men’s hands, but might not wholly take love.
Old Juana was going at last to join the Rainmaker in a good place.
LA TRISTESSE
This is not really the story of a child, though it began when Hypolite caught the measles at dancing-class. And when he was getting better, his uncle, who kept a business-like eye upon his health and his manners, sent him to Madame Dulac at Saint Jacques de Kilkenny, to grow strong in the air of the hills.
Hypolite was a little boy at the time, quiet and brown, with eyes like bronze-purple pansies. It was not his fault that his surname was Gibbs. Even at that age, he preferred to have it ignored. Madame called him “M’sieur Hypolite,” or “le petit sieur.” But then, Madame had served and loved his mother when that mother was Geneviève de Lempriere, before she married Anthony Gibbs, and before Hypolite was born, or Madame herself took boarders. To Hypolite, two white shafts in a cemetery outside Montreal represented that ill-sorted father and mother. But before he had been a week in the village, his French began to return to him.
“It is yours by right,” said Madame, who would hear nothing of the Gibbses. “What wouldst thou for thy dinner, mon ange?”
Madame fed him royally and made a baby of him, and told him stories of the long-ago days, and spoke to him of his mother. In a little while, the Gibbs part seemed to have dropped out of his life. He loved Madame, and Telephore who chopped the wood and André who worked in the garden. But most of all he loved Félice.
Félice was Madame’s help in the kitchen, a girl who belonged to nobody, for whom nobody cared. Perhaps the incipient artist in Hypolite first rejoiced in her; she made an impression on him never effaced. His canvas in last year’s Salon, that canvas full of brown and gold, was a far-off memory of her.
“She was Dian,” I have heard Hypolite say “Dian; not the stately goddess, queen of Nature, but the ever-young Artemis, slender as her own white crescent.”