"I know you're not, Tave; that's why I'm going to tell you. Here, let me whisper—"; she bent to his ear; he was seated on a stool in the coach house mending a strap; "—I've waited all this time for that prince to come, and do you suppose for one moment I'd look at any one else?"
"Now that ain't fair to fool me like that, Aileen!"
Octavius was really vexed, but he spoke the last words to empty air, for the girl caught up her skirt and ran like a deer up the lane. He could hear her laughing at his discomfiture; the sound grew fainter and fainter; when it ceased he resumed his work, from time to time shaking his head ominously and talking to himself as a vent for his outraged feelings.
But Aileen spoke the truth. Her vivid imagination, a factor in the true Celtic temperament, provided her with another life, apart from the busy practical one which Mrs. Champney laid out for her. All her childish delights of day-dreaming and joyous romancing, fostered by that first novel which Luigi Poggi thrust through the knothole in the orphan asylum fence, was at once transferred to Alice Van Ostend and her surroundings so soon as the two children established their across-street acquaintance. Upon her arrival in Flamsted, the child's adaptability to changed circumstances and new environment was furthered by the play of this imagination that fed itself on what others, who lack it, might call the commonplace of life: the house at Champ-au-Haut became her lordly palace; the estate a park; she herself a princess guarded only too well by an aged duenna; Octavius Buzzby and Romanzo Caukins she looked upon as life-servitors.
Now and then the evidence of this unreal life, which she was leading, was made apparent to Octavius and Romanzo by some stilted mode of speech. At such times they humored her; it provided amusement of the richest sort. She also continued to invent "novels" for Romanzo's benefit, and many a half-hour the two spent in the carriage house—Aileen aglow with the enthusiasm of narration, and Romanzo intent upon listening, charmed both with the tale and the narrator. In these invented novels, there was always a faithful prince returning after long years of wandering to the faithful princess. This was her one theme with variations.
Sometimes she danced a minuet on the floor of the stable, with this prince as imaginary partner, and Romanzo grew jealous of the bewitching smiles and coquetries she bestowed upon the vacant air. At others she would induce the youth to enter a box stall, telling him to make believe he was at the theatre, and then, forgetting her rôle of princess, she was again the Aileen Armagh of old—the child on the vaudeville stage, dancing the coon dance with such vigor and abandonment that once, when Aileen was nearly sixteen, Octavius, being witness to this flaunting performance, took her severely to task for such untoward actions now that she was grown up. He told her frankly that if Romanzo Caukins was led astray in the future it would be through her carryings-on; at which Aileen looked so dumbfoundered that Octavius at once perceived his mistake, and retreated weakly from his position by telling her if she wanted to dance like that, she'd better dance before him who understood her and her intentions.
At this second speech Aileen stared harder than ever; then going up to him and throwing an arm around his neck, she whispered:
"Tave, dear, are you mad with me? What have I done?—Is it really anything so awful?"
Her distress was so unfeigned that Octavius, not being a woman, comforted her by telling her he was a great botcher. Inwardly he cursed himself for an A No. 1 fool. Aileen never danced the "coon" again, but thereafter gave herself such grown-up and stand-off airs in Romanzo's presence, that the youth proceeded in all earnest to lose both head and heart to the girl's gracious blossoming womanhood. Octavius, observing this, groaned in spirit, and henceforth held his tongue when he heard the girl carolling her Irish love songs in the presence of the ingenuous Caukins.
After this, the girl's exuberance of spirits and the sustaining inner life of the imagination helped her wonderfully during the three following years of patient waiting on a confirmed invalid. Of late, Mrs. Champney had come to depend more and more on the girl's strong youth; to demand more and more from her abundant vitality and lively spirits; and Aileen, although recognizing the anomalous position she held in the Champ-au-Haut household—neither servant nor child, neither companion nor friend—gave of herself; gave as her Irish inheritance prompted her to give: ungrudgingly, faithfully, without reward save the knowledge of a duty performed towards the woman who, in taking her into her household and maintaining her there, had placed her in a position to make friends—such friends!