The Pioneer Women Trilogy: The Coast of Bohemia, Dr. Breen's Practice & Annie Kilburn. William Dean HowellsЧитать онлайн книгу.
grievance among the prize fruits and vegetables, and the fruits and vegetables that had not taken the prizes. They were more censorious than they would have been perhaps if they had not been defeated themselves; he heard them dispute the wisdom of most of the awards as the shoutings and clappings from the racetrack penetrated the lonely hall. They creaked wearily up and down in their new shoes or best shoes, and he knew how they wished themselves at home and in bed, and wondered why they had ever been such fools as to come, anyway. Occasionally, one of their husbands lagged in, as if in search of his wife, but kept at a safe distance, after seeing her, or hung about with a group of other husbands, who could not be put to shame or suffering as they might if they had appeared singly.
II
Ludlow believed that if the right fellow ever came to the work, he could get as much pathos out of our farm folks as Millet got out of his Barbizon peasants. But the fact was that he was not the fellow; he wanted to paint beauty not pathos; and he thought, so far as he thought ethically about it, that, the Americans needed to be shown the festive and joyous aspects of their common life. To discover and to represent these was his pleasure as an artist, and his duty as a citizen. He suspected, though, that the trotting-match was the only fact of the Pymantoning County Fair that could be persuaded to lend itself to his purpose. Certainly, there was nothing in the fair-house, with those poor, dreary old people straggling through it, to gladden an artistic conception. Agricultural implements do not group effectively, or pose singly with much picturesqueness; tall stalks of corn, mammoth squashes, huge apples and potatoes want the beauty and quality that belong to them out of doors, when they are gathered into the sections of a county fair-house; piles of melons fail of their poetry on a wooden floor, and heaps of grapes cannot assert themselves in a very bacchanal profusion against the ignominy of being spread upon long tables and ticketed with the names of their varieties and exhibitors.
Ludlow glanced at them, to right and left, as he walked through the long, barn-like building, and took in with other glances the inadequate decorations of the graceless interior. His roving eye caught the lettering over the lateral archways, and with a sort of contemptuous compassion he turned into the Fine Arts Department.
The fine arts were mostly represented by photographs and crazy quilts; but there were also tambourines and round brass plaques painted with flowers, and little satin banners painted with birds or autumn leaves, and gilt rolling-pins with vines. There were medley-pictures contrived of photographs cut out and grouped together in novel and unexpected relations; and there were set about divers patterns and pretences in keramics, as the decoration of earthen pots and jars was called. Besides these were sketches in oil and charcoal, which Ludlow found worse than the more primitive things, with their second-hand chic picked up in a tenth-rate school. He began to ask himself whether people tasteless enough to produce these inanities and imagine them artistic, could form even the subjects of art; he began to have doubts of his impression of the trotting-match, its value, its possibility of importance. The senseless ugliness of the things really hurt him: his worship of beauty was a sort of religion, and their badness was a sort of blasphemy. He could not laugh at them; he wished he could; and his first impulse was to turn and escape from the Fine Arts Department, and keep what little faith in the artistic future of the country he had been able to get together during his long sojourn out of it. Since his return he had made sure of the feeling for color and form with which his country-women dressed themselves. There was no mistake about that; even here, in the rustic heart of the continent he had seen costumes which had touch and distinction; and it could not be that the instinct which they sprang from should go for nothing in the arts supposed higher than mantua-making and millinery. The village girls whom he saw so prettily gowned and picturesquely hatted on the benches out there by the race-course, could it have been they who committed these atrocities? Or did these come up from yet deeper depths of the country, where the vague, shallow talk about art going on for the past decade was having its first crude effect? Ludlow was exasperated as well as pained, for he knew that the pretty frocks and hats expressed a love of dressing prettily, which was honest and genuine enough, while the unhappy effects about him could spring only from a hollow vanity far lower than a woman's wish to be charming. It was not an innate impulse which produced them, but a sham ambition, implanted from without, and artificially stimulated by the false and fleeting mood of the time. They must really hamper the growth of æsthetic knowledge among people who were not destitute of the instinct.
He exaggerated the importance of the fact with the sensitiveness of a man to whom æsthetic cultivation was all-important. It appeared to him a far greater evil than it was; it was odious to him, like a vice; it was almost a crime. He spent a very miserable time in the Fine Arts Department of the Pymantoning County Agricultural Fair; and in a kind of horrible fascination he began to review the collection in detail, to guess its causes in severalty and to philosophize its lamentable consequences.
III
In this process Ludlow discovered that there was more of the Fine Arts Department than he had supposed at first. He was aware of some women who had come into the next aisle or section, and presently he overheard fragments of their talk.
A girl's voice said passionately: "I don't care! I shan't leave them here for folks to make remarks about! I knew they wouldn't take the premium, and I hope you're satisfied now, mother."
"Well, you're a very silly child," came in an older voice, suggestive of patience and amiability. "Don't tear them, anyway!"
"I shall! I don't care if I tear them all to pieces."
There was a sound of quick steps, and of the angry swirl of skirts, and the crackling and rending of paper.
"There, now!" said the older voice. "You've dropped one."
"I don't care! I hope they'll trample it under their great stupid hoofs."
The paper, whatever it was, came skating out under the draped tabling in the section where Ludlow stood, arrested in his sad employment by the unseen drama, and lay at his feet. He picked it up, and he had only time to glance at it before he found himself confronted by a fiercely tearful young girl who came round the corner of his section, and suddenly stopped at sight of him. With one hand she pressed some crumpled sheets of paper against, her breast; the other she stretched toward Ludlow.
"Oh! will you——" she began, and then she faltered; and as she turned her little head aside for a backward look over her shoulder, she made him, somehow, think of a hollyhock, by the tilt of her tall, slim, young figure, and by the colors of her hat from which her face flowered; no doubt the deep-crimson silk waist she wore, with its petal-edged ruffle flying free down her breast, had something to do with his fantastic notion. She was a brunette, with the lightness and delicacy that commonly go with the beauty of a blonde. She could not have been more than fifteen; her skirts had not yet matured to the full womanly length; she was still a child.
A handsome, mild, middle-aged woman appeared beside the stormy young thing, and said in the voice which Ludlow had already heard, "Well, Cornelia!" She seemed to make more account than the girl made of the young fellow's looks. He was of the medium height for a man, but he was so slight that he seemed of lower stature, and he eked out an effect of distinction by brushing his little moustache up sharply at the corners in a fashion he had learned in France, and by wearing a little black dot of an imperial. His brow was habitually darkened by a careworn frown, which came from deep and anxious thinking about the principles and the practice of art. He was very well dressed, and he carried himself with a sort of worldly splendor which did not intimidate the lady before him. In the country women have no more apprehension of men who are young and stylish and good-looking than they have in the city; they rather like them to be so, and meet them with confidence in any casual encounter.
The lady said, "Oh, thank you," as Ludlow came up to the girl with the paper, and then she laughed with no particular intention, and said, "It's one of my daughter's drawings."