"Oh, Diva, you know that is not what I mean! How do you like him?"
"I like no one—but you. I think I might respect him in time. As for you, little one, take care you do not like him too well."
"Why?" asked Coralie, blushing.
"Because he has buried his heart—the best part of it—in somebody's grave."
III.
FARVIEW.
Diva Thane, it is perhaps needless to say, was a child of the North. Her peculiar type of beauty blossoms only out of soil, which, for half the year, withdraws its warmth into its deep heart, and wraps itself in a chill, white robe of snow. She had made her appearance in Savalla, about a twelvemonth before, unheralded and unknown, had rented the parlor of a decayed aristocratic mansion as a studio, and had tacked on the door a card signifying to the public that she was a painter in oils. She had thenceforth been an example of that freedom and independence of life which Art makes possible for its votaries, of either sex, as a compensation, in some sort, for the sacrifices that they are bound to make to her.
It soon became known that the Youles endorsed Miss Thane to the fullest extent, both socially and financially; else society might have given her a cool reception. But it could scarcely, in its haughtiest mood, have meted out to her a fuller measure of scornful indifference than she accorded to it, when, in due time, it made up its mind to hold out a condescending hand to her. She declined its invitations, she took no notice of its calls, she would none of its patronage. Just in proportion as it grew more eager, piqued by her indifference, and curious to penetrate the mystery which surrounded her, she became colder and more distant. Finally, society was compelled to understand that the sole favor which she would accept at its hands, was forgetfulness of her existence.
Nor was the public treated much better, in her capacity of artist. Visitors at her studio found free admission, and opportunity to examine, at their leisure, the pictures, sketches, and studies, which crowded the walls; but rarely did she turn from her easel, to give them more than the briefest glimpse of her statuesque beauty, or the most concise of answers to their questions. Generally, she found some reason for declining their orders; and fully one half of the pictures on her walls were labelled, "Not to be Sold," while the sale of the remainder was plainly a matter of the profoundest indifference to her. It must needs be inferred that she had means of subsistence other than her art, amply sufficient for her quiet, inexpensive mode of life.
Nevertheless, she worked with indefatigable industry, as well as undeniable talent. If her pictures evinced some lack of technical skill, they were endued with a force and feeling which more than atoned for its absence; since the one would address itself chiefly to connoisseurs, while the other went straight to the universal heart. They covered a wide range of subjects, yet a profound observer would have traced a certain connection and sequence in them all. The earlier and cruder efforts of her pencil were pleasant outdoor scenes,—children wading in a sunshine brook, farm youths and maidens tossing about new-mown hay, and village girls dancing under wide-spreading boughs,—scenes so perfect in their idealization as to seem familiar to every eye, yet never without that inestimable something added or eliminated, which constitutes the difference between the picturesque and the commonplace. After these came works not only marked by greater skill of design and felicity of color, but informed with a deeper feeling;—yet so delicately indicated that none but the finest instinct would have perceived how softly Love illumined the landscape, or shone in the smile of the youth, or looked up to the maiden from her own downcast eyes reflected in the water. Then came a sudden change,—pictures and sketches wherein the artist's pencil must have been driven by some terrible intensity of feeling, to have wrought with such sombre power;—such as an illimitable desert, with a man riding fast toward a wan, setting sun, and his long, backward shadow falling upon a woman's outstretched, yearning hands,—or the black silhouette of a drifting and dismantled ship, seen against a blood-red moon, setting in a dun and angry sea,—or a deep and dismal cavern, with a female figure lying bruised and broken at the bottom of a fissure, and a man, also torn and bleeding, seen at the end of a long vista, searching for what he will not find. These pictures affected the spectator like a nightmare; there was such a fell shadow of immitigable fate in them all, and so notable an absence of anything like hope or faith, that while he acknowledged their power, he shuddered at their spirit.