Part 4

"I don't think," said the girl, "that he means a real road."

"I know what he means," cried the lover, "and he's wrong! There is a road, and you and I have found it, and we are going to follow it for always."

The girl shook her head, but her eyes were smiling happily.

The "season" at Agawamsett closed with the tennis tournament, and it was generally conceded fit and proper, from every point of view, that in mixed doubles Lee and Miss Gardner should be partners. Young Stedman, the Boston artist, was the only one who made objection. Up in the sail-loft that he had turned into a studio he was painting a portrait of the lovely Miss Gardner, and he protested that the three days' tournament would sadly interrupt his work. And Frances, who was very much interested in the portrait, was inclined to agree.

But Lee beat down her objections. He was not at all interested in the portrait. He disapproved of it entirely. For the sittings robbed him of Frances during the better part of each morning, and he urged that when he must so soon leave her, between the man who wanted her portrait and the man who wanted her, it would be kind to give her time to the latter.

"But I had no idea," protested Frances, "he would take so long. He told me he'd finish it in three sittings. But he's so critical of his own work that he goes over it again and again. He says that I am a most difficult subject, but that I inspire him. And he says, if I will only give him time, he believes this will be the best thing he has done."

"That's an awful thought," said the cavalry officer.

"You don't like him," reproved Miss Gardner. "He is always very polite to you."

"He's polite to everybody," said Lee; "that's why I don't like him. He's not a real artist. He's a courtier. God gave him a talent, and he makes a mean use of it. Uses it to flatter people. He's like these long-haired violinists who play anything you ask them to in the lobster palaces."

Miss Gardner looked away from him. Her color was high and her eyes very bright.

"I think," she said steadily, "that Mr. Stedman is a great artist, and some day all the world will think so, too!"

Lee made no answer. Not because he disagreed with her estimate of Mr. Stedman's genius-he made no pretense of being an art critic--but because her vehement admiration had filled him with sudden panic. He was not jealous. For that he was far too humble. Indeed, he thought himself so utterly unworthy of Frances Gardner that the fact that to him she might prefer some one else was in no way a surprise. He only knew that if she should prefer some one else not all his troop horses nor all his men could put Humpty Dumpty back again.

But if, in regard to Mr. Stedman, Miss Gardner had for a moment been at odds with the man who loved her, she made up for it the day following on the tennis court. There she was in accord with him in heart, soul, and body, and her sharp "Well played, partner!" thrilled him like one of his own bugle calls. For two days against visiting and local teams they fought their way through the tournament, and the struggle with her at his side filled Lee with a great happiness. Not that the championship of Agawamsett counted greatly to one exiled for three years to live among the Moros. He wanted to win because she wanted to win. But his happiness came in doing something in common with her, in helping her and in having her help him, in being, if only in play, if only for three days, her "partner."

After they won they walked home together, each swinging a fat, heavy loving-cup. On each was engraved:

"Mixed doubles, Agawamsett, 1910."

Lee held his up so that the setting sun flashed on the silver.

"I am going to keep that," he said, "as long as I live. It means you were once my 'partner.' It's a sign that once we two worked together for something and won." In the words the man showed such feeling that the girl said soberly:

"Mine means that to me, too. I will never part with mine, either."

Lee turned to her and smiled, appealing wistfully.

"It seems a pity to separate them," he said. "They'd look well together over an open fireplace."

The girl frowned unhappily. "I don't know," she protested. "I don't know."

The next day Lee received from the War Department a telegram directing him to "proceed without delay" to San Francisco, and there to embark for the Philippines.

That night he put the question to her directly, but again she shook her head unhappily; again she said: "I don't know!"

So he sailed without her, and each evening at sunset, as the great transport heaved her way across the swell of the Pacific, he stood at the rail and looked back. With the aid of the first officer he calculated the difference in time between a whaling village situated at forty-four degrees north and an army transport dropping rapidly toward the equator, and so, each day, kept in step with the girl he loved.

"Now," he would tell himself, "she is in her cart in front of the post-office, and while they sort the morning mail she gossips with the fisher folks, the summer folks, the grooms, and chauffeurs. Now she is sitting for her portrait to Stedman" (he did not dwell long on that part of her day), "and now she is at tennis, or, as she promised, riding alone at sunset down our lost road through the woods."

But that part of her day from which Lee hurried was that part over which the girl herself lingered. As he turned his eyes from his canvas to meet hers, Stedman, the charming, the deferential, the adroit, who never allowed his painting to interrupt his talk, told her of what he was pleased to call his dreams and ambitions, of the great and beautiful ladies who had sat before his easel, and of the only one of them who had given him inspiration. Especially of the only one who had given him inspiration. With her always to uplift him, he could become one of the world's most famous artists, and she would go down into history as the beautiful woman who had helped him, as the wife of Rembrandt had inspired Rembrandt, as "Mona Lisa" had made Leonardo.

Gilbert wrote: "It is not the lover who comes to woo, but the lover's way of wooing!" His successful lover was the one who threw the girl across his saddle and rode away with her. But one kind of woman does not like to have her lover approach shouting: "At the gallop! Charge!"

She prefers a man not because he is masterful, but because he is not. She likes to believe the man needs her more than she needs him, that she, and only she, can steady him, cheer him, keep him true to the work he is in the world to perform. It is called the "mothering" instinct.