THE GENIUS. Theodore DreiserЧитать онлайн книгу.
He was truly your flamboyant youth of talent when he got to talking—when he had a truly sympathetic ear. He loved to boast to someone who really admired him, and he felt that he had admiration here. Angela looked at him with swimming eyes. He was really different from anything she had ever known, young, artistic, imaginative, ambitious. He was going out into a world which she had longed for but never hoped to see—that of art. Here he was telling her of his prospective art studies, and talking of Paris. What a wonderful thing!
As the train neared Chicago she explained that she would have to make an almost immediate connection with one which left over the Chicago Milwaukee and St. Paul, for Blackwood. She was a little lonely, to tell the truth, a little sick at heart, for the summer vacation was over and she was going back to teach school. Alexandria, for the two weeks she had been there visiting Mrs. King (formerly a Blackwood girl and school-day chum of hers), was lovely. Her girlhood friend had tried to make things most pleasant and now it was all over. Even Eugene was over, for he said nothing much of seeing her again, or had not so far. She was wishing she might see more of this world he painted in such glowing colors, when he said:
"Mr. Bangs said that you come down to Chicago every now and then?"
"I do," she replied. "I sometimes come down to go to the theatres and shop." She did not say that there was an element of practical household commercialism in it, for she was considered one of the best buyers in the family and that she was sent to buy by various members of the family in quantities. From a practical household point of view she was a thoroughbred and was valued by her sisters and friends as someone who loved to do things. She might have come to be merely a family pack horse, solely because she loved to work. It was instinct to do everything she did thoroughly, but she worked almost exclusively in minor household matters.
"How soon do you expect to come down again?" he asked.
"Oh, I can't tell. I sometimes come down when Opera is on in the winter. I may be here around Thanksgiving."
"Not before that?"
"I don't think so," she replied archly.
"That's too bad. I thought maybe I'd see you a few times this fall. When you do come I wish you could let me know. I'd like to take you to the theatre."
Eugene spent precious little money on any entertainment, but he thought he could venture this. She would not be down often. Then, too, he had the notion that he might get a rise one of these days—that would make a difference. When she came again he would be in art school, opening up another field for himself. Life looked hopeful.
"That's so nice of you," she replied. "And when I come I'll let you know. I'm just a country girl," she added, with a toss of her head, "and I don't get to the city often."
Eugene liked what he considered the guileless naïveté of her confessions—the frankness with which she owned up to simplicity and poverty. Most girls didn't. She almost made a virtue out of these thing—at least they were charming as a confession in her.
"I'll hold you to that," he assured her.
"Oh, you needn't. I'll be glad to let you know."
They were nearing the station. He forgot, for the moment that she was not as remote and delicate in her beauty as Stella, that she was apparently not as passionate temperamentally as Margaret. He saw her wonderfully dull hair and her thin lips and peculiar blue eyes, and admired her honesty and simplicity. He picked up her grip and helped her to find her train. When they came to part he pressed her hand warmly, for she had been very nice to him, so attentive and sympathetic and interested.
"Now remember!" he said gaily, after he had put her in her seat in the local.
"I won't forget."
"You wouldn't mind if I wrote you now and then?"
"Not at all. I'd like it."
"Then I will," he said, and went out.
He stood outside and looked at her through the train window as it pulled out. He was glad to have met her. This was the right sort of girl, clean, honest, simple, attractive. That was the way the best women were—good and pure—not wild pieces of fire like Margaret; nor unconscious, indifferent beauties like Stella, he was going to add, but couldn't. There was a voice within him that said that artistically Stella was perfect and even now it hurt him a little to remember. But Stella was gone forever, there was no doubt about that.
During the days that followed he thought of the girl often. He wondered what sort of a town Blackwood was; what sort of people she moved with, what sort of a house she lived in. They must be nice, simple people like his own in Alexandria. These types of city bred people whom he saw—girls particularly—and those born to wealth, had no appeal for him as yet. They were too distant, too far removed from anything he could aspire to. A good woman such as Miss Blue obviously was, must be a treasure anywhere in the world. He kept thinking he would write to her—he had no other girl acquaintance now; and just before he entered art school he did this, penning a little note saying that he remembered so pleasantly their ride; and when was she coming? Her answer, after a week, was that she expected to be in the city about the middle or the end of October and that she would be glad to have him call. She gave him the number of an aunt who lived out on the North Side in Ohio Street, and said she would notify him further. She was hard at work teaching school now, and didn't even have time to think of the lovely summer she had had.
"Poor little girl," he thought. She deserved a better fate. "When she comes I'll surely look her up," he thought, and there was a lot that went with the idea. Such wonderful hair!
CHAPTER IX
The succeeding days in the art school after his first admission revealed many new things to Eugene. He understood now, or thought he did, why artists were different from the rank and file of mankind. This Art Institute atmosphere was something so refreshing after his days rambling among poor neighborhoods collecting, that he could hardly believe that he, Eugene Witla, belonged there. These were exceptional young people; some of them, anyhow. If they weren't cut out to be good artists they still had imagination—the dream of the artist. They came, as Eugene gradually learned, from all parts of the West and South, from Chicago and St. Louis—from Kansas, Nebraska and Iowa—from Texas and California and Minnesota. One boy was in from Saskatchewan of the Canadian north west, another from the then territory of New Mexico. Because his name was Gill they called him the Gila monster—the difference in the pronunciation of the "G's" not troubling them at all. A boy who came down from Minnesota was a farmer's son, and talked about going back to plow and sow and reap during the next spring and summer. Another boy was the son of a Kansas City millionaire.
The mechanics of drawing interested Eugene from the first. He learned the first night that there was some defect in his understanding of light and shade as it related to the human form. He could not get any roundness or texture in his drawings.
"The darkest shadow is always closest to the high light," observed his instructor laconically on Wednesday evening, looking over his shoulder. "You're making everything a dull, even tone." So that was it.
"You're drawing this figure as a bricklayer who isn't an architect might start to build a house. You're laying bricks without having a plan. Where's your plan?" The voice was that of Mr. Boyle looking over his shoulder.
Eugene looked up. He had begun to draw the head only.
"A plan! A plan!" said his instructor, making a peculiar motion with his hands which described the outline of the pose in a single motion. "Get your general lines first. Then you can put in the details afterward."
Eugene saw at once.
Another time his instructor was watching him draw the female breast. He was doing it woodenly—without much beauty of contour.
"They're round! They're round! I tell you!" exclaimed Boyle. "If you ever see any square ones let me know."
This caught Eugene's sense