Part 49

To one man in New York besides Mr. Ault the failure did not seem a personal calamity. When Philip saw in the steamer departures the name of Lord Montague, his spirits rose in spite of the thought that the heiress was no longer an heiress. The sky lifted, there was a promise of fair weather, the storm, for him, had indeed cleared the air.

“Dear Philip,” wrote Miss McDonald, “it is really dreadful news, but I cannot be so very downhearted. It is the least of calamities that could happen to my dear child. Didn't I tell you that it is always darkest just before the dawn?”

And Philip needed the hope of the dawn. Trial is good for any one, but hopeless suffering for none. Philip had not been without hope, but it was a visionary indulgence, against all evidence. It was the hope of youth, not of reason. He stuck to his business doggedly, he stuck to his writing doggedly, but over all his mind was a cloud, an oppression not favorable to creative effort--that is, creative effort sweet and not cynical, sunny and not morbid.

And yet, who shall say that this very experience, this oppression of circumstance, was not the thing needed for the development of the best that was in him? Thrown back upon himself and denied an airy soaring in the heights of a prosperous fancy, he had come to know himself and his limitations. And in the year he had learned a great deal about his art. For one thing he had come to the ground. He was looking more at life as it is. His experience at the publishers had taught him one important truth, and that is that a big subject does not make a big writer, that all that any mind can contribute to the general thought of the world in literature is what is in itself, and if there is nothing in himself it is vain for the writer to go far afield for a theme. He had seen the young artists, fretting for want of subjects, wandering the world over in search of an object fitted to their genius, setting up their easels in front of the marvels of nature and of art, in the expectation that genius would descend upon them.

If they could find something big enough to paint! And he had seen, in exhibition after exhibition, that the artist who cannot paint a rail-fence cannot paint a pyramid. A man does not become a good rider by mounting an elephant; ten to one a donkey would suit him better. Philip had begun to see that the life around him had elements enough of the comic and the tragic to give full play to all his powers.

He began to observe human beings as he had never done before. There were only two questions, and they are at the bottom of all creative literature--could he see them, could he make others see them?

This was all as true before the Mavick failure as after; but, before, what was the use of effort? Now there was every inducement to effort. Ambition to succeed had taken on him the hold of necessity. And with a free mind as to the obstacles that lay between him and the realization of the great dream of his life, the winning of the one woman who could make his life complete, Philip set to work with an earnestness and a clearness of vision that had never been given him before.

In the wreck of the Mavick estate, in its distribution, there are one or two things of interest to the general reader. One of these was the fate of the Golden House, as it was called. Mrs. Mavick had hurried back to her town house, determined to save it at all hazard. The impossibility of this was, however, soon apparent even to her intrepid spirit. She would either sacrifice all else to save it, or--dark thoughts of ending it in a conflagration entered her mind. This was only her first temper. But to keep the house without a vast fortune to sustain it was an impossibility, and, as it was the most conspicuous of Mavick's visible possessions, perhaps the surrender of it, which she could not prevent, would save certain odds and ends here and there. Whether she liked it or not, the woman learned for once that her will had little to do with the course of events.

Its destination was gall and wormwood both to Carmen and her husband. For it fell into the hands of Murad Ault. He coveted it as the most striking symbol of the position he had conquered in the metropolis. Its semi-barbaric splendor appealed also to his passion for display. And it was notable that the taste of the rude lad of poverty--this uncultivated offspring of a wandering gypsy and herb--collector--perhaps she had ancient and noble blood in her veins--should be the same for material ostentation and luxury as that of the cultivated, fastidious Mavick and his worldly-minded wife. So persistent is the instinct of barbarism in our modern civilization.

When Ault told his wife what he had done, that sweet, domestic, and sensible woman was very far from being elated.

“I am almost sorry,” she said.

“Sorry for what?” asked Mr. Ault, gently, but greatly surprised.

“For the Mavicks. I don't mean for Mrs. Mavick--I hear she is a worldly and revengeful woman--but for the girl. It must be dreadful to turn her out of all the surroundings of her happy life. And I hear she is as good as she is lovely. Think what it would be for our own girls.”

“But it can't be helped,” said Ault, persuasively. “The house had to be sold, and it makes no difference who has it, so far as the girl is concerned.”

“And don't you fear a little for our own girls, launching out that way?”

“You are afraid they will get lost in that big house?” And Mr. Ault laughed. “It isn't a bit too big or too good for them. At any rate, my dear, in they go, and you must get ready to move. The house will be empty in a week.”

“Murad,” and Mrs. Ault spoke as if she were not thinking of the change for herself, “there is one thing I wish you would do for me, dear.”

“What is that?”

“Go to Mr. Mavick, or to Mrs. Mavick, or the assignees or whoever, and have the daughter--yes, and her mother--free to take away anything they want, anything dear to them by long association. Will you?”

“I don't see how. Mavick wouldn't do it for us, and I guess he is too proud to accept anything from me. I don't owe him anything. And then the property is in the assignment. Whatever is there I bought with the house.”

“I should be so much happier if you could do something about it.”

“Well, it don't matter much. I guess the assignees can make Mrs. Mavick believe easy enough that certain things belong to her. But I would not do it for any other living being but you.”

“By-the-way,” he added, “there is another bit of property that I didn't take, the Newport palace.”

“I should have dreaded that more than the other.”

“So I thought. And I have another plan. It's long been in my mind, and we will carry it out next summer. There is a little plateau on the side of the East Mountain in Rivervale, where there used to stand a shack of a cabin, with a wild sort of garden-patch about it, a tumble-down root fence, all in the midst of brush and briers. Lord, what a habitation it was! But such a view--rivers, mountains, meadows, and orchards in the distance! That is where I lived with my mother. What a life! I hated everything, everybody but her.”

Mr. Ault paused, his strong, dark face working with passion, as the memory of his outlawed boyhood revived. Is it possible that this pirate of the Street had a bit of sentiment at the bottom of his heart? After a moment he continued:

“That was the spot to which my mother took me when I was knee-high. I've bought it, bought the whole hillside. Next summer we will put up a house there, not a very big house, just a long, low sort of a Moorish pavilion, the architect calls it. I wish she could see it.”

Mrs. Ault rose, with tears in her gentle eyes, stood by her husband's chair a moment, ran her fingers through his heavy black locks, bent down and kissed him, and went away without a word.