Astra shook her head, and the lines of her mouth grew set and hard. "Acceptable succor comes in season," said she, "and through legitimate channels."
Bergan was confounded. This lack of faith, this arraignment of Providence, argued a more amazing change in Astra than he had yet suspected. At the same time it afforded him a clue to that mysterious connection, in his mind, between her face and Miss Thane's. Under the hardness of the one and the coldness of the other, the same scepticism lay hidden,—possibly engendered by similar causes. In Astra's case, he had no hesitation in attributing it to Doctor Remy's influence; and he could not but wonder at the singular and fatal power of the man over the minds of those who were brought into close contact with him. Was this deadly poison to be also instilled into the pure mind of Carice? He shuddered at the thought. Better for her to lie dead at the bottom of the river, by which he had last seen her soft, rapt face.
Feeling that this was no time to argue with Astra, Bergan turned to the table, which was littered with drawings and sketches, plaster reliefs, and small clay models, to a degree that implied no lack of patient industry, despite the want of encouragement, and the absence of faith.
"What are you doing?" he asked.
"Nothing, just now," she answered, mournfully. "I believe my hands have lost their cunning,—if ever they had any. That is the last." She pointed to a small bas-relief.
It represented a child, skipping lightly down a flowery slope, trailing a vine behind her. The face was turned so far away from the beholder, as to show only the rounded outline of the youthful cheek and brow, but the figure expressed a wonderful joyousness. In more senses than one, it was plainly, "In the Sunshine;" which title was lightly scratched in the plaster.
Bergan studied it attentively. "It is as fresh as a rose," said he, "and as sweet."
"The analogy, if there be any, goes deeper than that," rejoined Astra, bitterly. "A rose is born out of darkness and dampness and decay, and this is the offspring of pain and discouragement, and all that makes the hand weak and the heart sick."
"And that is probably the secret of its perfection," remarked Bergan, meditatively. "The loveliest graces of character—such as charity that thinketh no evil, and hope that lives by faith, not by sight—are the legitimate children of suffering. Then why not the finer works of art?"
Astra's eyes fell, and she did not answer.