Thea’s room was large enough to admit a rented upright piano without crowding. It was, the widowed daughter said, “a double room that had always before been occupied by two gentlemen”; the piano now took the place of a second occupant. There was an ingrain carpet on the floor, green ivy leaves on a red ground, and clumsy, old-fashioned walnut furniture. The bed was very wide, and the mattress thin and hard. Over the fat pillows were “shams” embroidered in Turkey red, each with a flowering scroll—one with “Gute’ Nacht,” the other with “Guten Morgen.” The dresser was so big that Thea wondered how it had ever been got into the house and up the narrow stairs. Besides an old horsehair armchair, there were two low plush “spring-rockers,” against the massive pedestals of which one was always stumbling in the dark. Thea sat in the dark a good deal those first weeks, and sometimes a painful bump against one of those brutally immovable pedestals roused her temper and pulled her out of a heavy hour. The wall-paper was brownish yellow, with blue flowers. When it was put on, the carpet, certainly, had not been consulted. There was only one picture on the wall when Thea moved in: a large colored print of a brightly lighted church in a snow-storm, on Christmas Eve, with greens hanging about the stone doorway and arched windows. There was something warm and home, like about this picture, and Thea grew fond of it. One day, on her way into town to take her lesson, she stopped at a bookstore and bought a photograph of the Naples bust of Julius Caesar. This she had framed, and hung it on the big bare wall behind her stove. It was a curious choice, but she was at the age when people do inexplicable things. She had been interested in Caesar’s “Commentaries” when she left school to begin teaching, and she loved to read about great generals; but these facts would scarcely explain her wanting that grim bald head to share her daily existence. It seemed a strange freak, when she bought so few things, and when she had, as Mrs. Andersen said to Mrs. Lorch, “no pictures of the composers at all.”
Both the widows were kind to her, but Thea liked the mother better. Old Mrs. Lorch was fat and jolly, with a red face, always shining as if she had just come from the stove, bright little eyes, and hair of several colors. Her own hair was one cast of iron-gray, her switch another, and her false front still another. Her clothes always smelled of savory cooking, except when she was dressed for church or Kaffeeklatsch, and then she smelled of bay rum or of the lemon-verbena sprig which she tucked inside her puffy black kid glove. Her cooking justified all that Mr. Larsen had said of it, and Thea had never been so well nourished before.
The daughter, Mrs. Andersen,—Irene, her mother called her,—was a different sort of woman altogether. She was perhaps forty years old, angular, big-boned, with large, thin features, light-blue eyes, and dry, yellow hair, the bang tightly frizzed. She was pale, anaemic, and sentimental. She had married the youngest son of a rich, arrogant Swedish family who were lumber merchants in St. Paul. There she dwelt during her married life. Oscar Andersen was a strong, full-blooded fellow who had counted on a long life and had been rather careless about his business affairs. He was killed by the explosion of a steam boiler in the mills, and his brothers managed to prove that he had very little stock in the big business. They had strongly disapproved of his marriage and they agreed among themselves that they were entirely justified in defrauding his widow, who, they said, “would only marry again and give some fellow a good thing of it.” Mrs. Andersen would not go to law with the family that had always snubbed and wounded her—she felt the humiliation of being thrust out more than she felt her impoverishment; so she went back to Chicago to live with her widowed mother on an income of five hundred a year. This experience had given her sentimental nature an incurable hurt. Something withered away in her. Her head had a downward droop; her step was soft and apologetic, even in her mother’s house, and her smile had the sickly, uncertain flicker that so often comes from a secret humiliation. She was affable and yet shrinking, like one who has come down in the world, who has known better clothes, better carpets, better people, brighter hopes. Her husband was buried in the Andersen lot in St. Paul, with a locked iron fence around it. She had to go to his eldest brother for the key when she went to say good-bye to his grave. She clung to the Swedish Church because it had been her husband’s church.
As her mother had no room for her household belongings, Mrs. Andersen had brought home with her only her bedroom set, which now furnished her own room at Mrs. Lorch’s. There she spent most of her time, doing fancywork or writing letters to sympathizing German friends in St. Paul, surrounded by keepsakes and photographs of the burly Oscar Andersen. Thea, when she was admitted to this room, and shown these photographs, found herself wondering, like the Andersen family, why such a lusty, gay-looking fellow ever thought he wanted this pallid, long-cheeked woman, whose manner was always that of withdrawing, and who must have been rather thin-blooded even as a girl.
Mrs. Andersen was certainly a depressing person. It sometimes annoyed Thea very much to hear her insinuating knock on the door, her flurried explanation of why she had come, as she backed toward the stairs. Mrs. Andersen admired Thea greatly. She thought it a distinction to be even a “temporary soprano”—Thea called herself so quite seriously—in the Swedish Church. She also thought it distinguished to be a pupil of Harsanyi’s. She considered Thea very handsome, very Swedish, very talented. She fluttered about the upper floor when Thea was practicing. In short, she tried to make a heroine of her, just as Tillie Kronborg had always done, and Thea was conscious of something of the sort. When she was working and heard Mrs. Andersen tip-toeing past her door, she used to shrug her shoulders and wonder whether she was always to have a Tillie diving furtively about her in some disguise or other.
At the dressmaker’s Mrs. Andersen recalled Tillie even more painfully. After her first Sunday in Mr. Larsen’s choir, Thea saw that she must have a proper dress for morning service. Her Moonstone party dress might do to wear in the evening, but she must have one frock that could stand the light of day. She, of course, knew nothing about Chicago dressmakers, so she let Mrs. Andersen take her to a German woman whom she recommended warmly. The German dressmaker was excitable and dramatic. Concert dresses, she said, were her specialty. In her fitting-room there were photographs of singers in the dresses she had made them for this or that Sängerfest. She and Mrs. Andersen together achieved a costume which would have warmed Tillie Kronborg’s heart. It was clearly intended for a woman of forty, with violent tastes. There seemed to be a piece of every known fabric in it somewhere. When it came home, and was spread out on her huge bed, Thea looked it over and told herself candidly that it was “a horror.” However, her money was gone, and there was nothing to do but make the best of the dress. She never wore it except, as she said, “to sing in,” as if it were an unbecoming uniform. When Mrs. Lorch and Irene told her that she “looked like a little bird-of-Paradise in it,” Thea shut her teeth and repeated to herself words she had learned from Joe Giddy and Spanish Johnny.
In these two good women Thea found faithful friends, and in their house she found the quiet and peace which helped her to support the great experiences of that winter.
III
Andor Harsanyi had never had a pupil in the least like Thea Kronborg. He had never had one more intelligent, and he had never had one so ignorant. When Thea sat down to take her first lesson from him, she had never heard a work by Beethoven or a composition by Chopin. She knew their names vaguely. Wunsch had been a musician once, long before he wandered into Moonstone, but when Thea awoke his interest there was not much left of him. From him Thea had learned something about the works of Gluck and Bach, and he used to play her some of the compositions of Schumann. In his trunk he had a mutilated score of the F sharp minor sonata, which he had heard Clara Schumann play at a festival in Leipsic. Though his powers of execution were at such a low ebb, he used to play at this sonata for his pupil and managed to give her some idea of its beauty. When Wunsch was a young man, it was still daring to like Schumann; enthusiasm for his work was considered an expression of youthful waywardness. Perhaps that was why Wunsch remembered him best. Thea studied some of the Kinderszenen with him, as well as some little sonatas by Mozart and Clementi. But for the most part Wunsch stuck to Czerny and Hummel.
Harsanyi found in Thea a pupil with sure, strong hands, one who read rapidly and intelligently, who had, he felt, a richly gifted nature. But she had been given no direction, and her ardor was unawakened. She had never heard a symphony orchestra. The literature of the piano was an undiscovered world to her. He wondered how she had been able to work so hard when she knew so little of what she was working toward. She had been taught according to the old Stuttgart method; stiff back, stiff elbows, a very formal position of the hands. The best thing about her preparation was that she had developed an unusual power of work. He noticed at once her way of charging at difficulties. She ran to meet them as if they were foes she had long been seeking, seized them as if they were destined for her and she for them. Whatever she did well, she took for granted. Her eagerness aroused all the young Hungarian’s chivalry. Instinctively one went to the rescue of a creature who had so much to overcome and who struggled so hard. He used to tell his wife that Miss Kronborg’s hour took more out of him than half a dozen other lessons. He usually kept her long over time; he changed her lessons about so that he could do so, and often gave her time at the end of the day, when he could talk to her afterward and play for her a little from what he happened to be studying. It was always interesting to play for her. Sometimes she was so silent that he wondered, when she left him, whether she had got anything out of it. But a week later, two weeks later, she would give back his idea again in a way that set him vibrating.