Of course, he had been in love. At twelve years he had betrothed himself to the girl who sat across the aisle, at fifteen, he exchanged rings and vows with a lady of fourteen who lived in the next block, at seventeen he conceived a violent affection for the merry Irish girl who presided over his uncle's kitchen—but Norah scoffed, and remained true to the policeman on the beat, and Martin, for a space, embraced the more violent teachings of anarchy and dreamed with gloomy glee of setting off a dynamite bomb under a certain uniformed prop of law and order.
The uncle died, and Martin was henceforth too busy earning a living to indulge in sentimental adventures. After a time, as he grew to manhood and his existence became more assured, he became a reader of stories; and unconsciously he commenced to measure the girls he met with the entrancing heroines of his fiction. The girls suffered by comparison, and Martin's interest in them remained Platonic.
By degrees he became possessor of that refuge of lonely bachelorhood, an ideal—a dream girl, compounded equally of meditation and books. She was a wonderful girl, Martin's dream girl; she possessed all the virtues, and no faults, and she was very, very beautiful. At first she was a blond maid, and when she framed herself before his eyes, out of the smoke curling upward from his pipe, she was a vision of golden tresses, and rosy cheeks, and clear blue eyes.
But then came Miss Pincher, the manicure maid, to reside at Martin's boarding-house. Miss Pincher's hair was very, very yellow—there were dark hints about that boarding-house board anent royal colors coming out of drug-store bottles—and her eyes were a cold, hard blue. She cast her hard, bold eyes upon Martin. She was a feminist in love. Martin fled horrified before her determined, audacious wooing.
His blood idol was overthrown, his ideal slain. He went to bed with the stark corpse, and awoke to contemplate with satisfaction a new image, a brooding, soulful brunette.
Then, Martin suddenly discovered that his ideal was neither a rosy Daughter of the Dawn, nor a tragic Queen of the Night—she was a merry-faced, neutral-tinted Sister of the Afternoon, a girl with brown hair, so dark as to be black by night, and big brown eyes. A girl with a rich contralto voice that commanded or cajoled in a most distracting fashion. A girl who commanded respect by her mastery of a masculine profession, yet who thereby sacrificed none of her appealing femininity. A girl named Ruth LeMoyne.
There was nothing staid or conservative about the manner of Martin's receiving this intelligence. It was his nature to fall in love with a hard bump, completely and without reservation. He recognized Ruth as the girl of his dreams the very first moment he obtained a good daylight look at her—that is, upon the afternoon he first mounted to the Cohasset's deck, and was welcomed by the smiling, lithesome queen of the storm. Blonde and brunette had in that instant been completely erased from his memory; he had recognized in the mate of the Cohasset the companion of his fanciful hours, in every feature she was the girl of his dreams.
There are people who say that every person has his, or her, preordained mate somewhere in the world. They say that the true love, the big love, is only possible when these predestined folk meet. They say that love flames instantly at such a meeting, and that the couple will recognize each other though the whole social scale divide them. They say that Love will conquer all obstacles and unite the yearning pair. They are a sentimental, optimistic lot, who thus declaim. Martin, when he thought the matter over, inclined to their belief. Only—the trouble was that Ruth did not seem to exactly recognize or welcome her predestined fate.
But there is another theory of love. Any shiny-pated wise man will give the formula.
"Love at first sight! Bosh!" says the wise man. "Love is merely a strong, complex emotion inspired in persons by propinquity plus occasion!"