As the inclination spurred him, he wrote down his thoughts and ideas in this, sometimes every day, sometimes only three or four times a month.

Also he flung aside his books of poems--Milton, Tennyson, Browning, even Homer--and addressed himself to Mill, Malthus, Young, Poushkin, Henry George, Schopenhauer. He attacked the subject of Social Inequality with unbounded enthusiasm. He devoured, rather than read, and emerged from the affair, his mind a confused jumble of conflicting notions, sick with over-effort, raging against injustice and oppression, and with not one sane suggestion as to remedy or redress.

The b.u.t.t of his cigarette scorched his fingers and roused him from his brooding. In the act of lighting another, he glanced across the room and was surprised to see two very prettily dressed young women in the company of an older gentleman, in a long frock coat, standing before Hartrath's painting, examining it, their heads upon one side.

Presley uttered a murmur of surprise. He, himself, was a member of the club, and the presence of women within its doors, except on special occasions, was not tolerated. He turned to Lyman Derrick for an explanation, but this other had also seen the women and abruptly exclaimed:

"I declare, I had forgotten about it. Why, this is Ladies' Day, of course."

"Why, yes," interposed Cedarquist, glancing at the women over his shoulder. "Didn't you know? They let 'em in twice a year, you remember, and this is a double occasion. They are going to raffle Hartrath's picture,--for the benefit of the Gingerbread Fair. Why, you are not up to date, Lyman. This is a sacred and religious rite,--an important public event."

"Of course, of course," murmured Lyman. He found means to survey Harran and Magnus. Certainly, neither his father nor his brother were dressed for the function that impended. He had been stupid. Magnus invariably attracted attention, and now with his trousers strapped under his boots, his wrinkled frock coat--Lyman twisted his cuffs into sight with an impatient, nervous movement of his wrists, glancing a second time at his brother's pink face, forward curling, yellow hair and clothes of a country cut. But there was no help for it. He wondered what were the club regulations in the matter of bringing in visitors on Ladies' Day.

"Sure enough, Ladies' Day," he remarked, "I am very glad you struck it, Governor. We can sit right where we are. I guess this is as good a place as any to see the crowd. It's a good chance to see all the big guns of the city. Do you expect your people here, Mr. Cedarquist?"

"My wife may come, and my daughters," said the manufacturer.

"Ah," murmured Presley, "so much the better. I was going to give myself the pleasure of calling upon your daughters, Mr. Cedarquist, this afternoon."

"You can save your carfare, Pres," said Cedarquist, "you will see them here."

No doubt, the invitations for the occasion had appointed one o'clock as the time, for between that hour and two, the guests arrived in an almost unbroken stream. From their point of vantage in the round window of the main room, Magnus, his two sons, and Presley looked on very interested.

Cedarquist had excused himself, affirming that he must look out for his women folk.

Of every ten of the arrivals, seven, at least, were ladies. They entered the room--this unfamiliar masculine haunt, where their husbands, brothers, and sons spent so much of their time--with a certain show of hesitancy and little, nervous, oblique glances, moving their heads from side to side like a file of hens venturing into a strange barn. They came in groups, ushered by a single member of the club, doing the honours with effusive bows and polite gestures, indicating the various objects of interest, pictures, busts, and the like, that decorated the room.

Fresh from his recollections of Bonneville, Guadalajara, and the dance in Annixter's barn, Presley was astonished at the beauty of these women and the elegance of their toilettes. The crowd thickened rapidly. A murmur of conversation arose, subdued, gracious, mingled with the soft rustle of silk, grenadines, velvet. The scent of delicate perfumes spread in the air, Violet de Parme, Peau d'Espagne. Colours of the most harmonious blends appeared and disappeared at intervals in the slowly moving press, touches of lavender-tinted velvets, pale violet crepes and cream-coloured appliqued laces.

There seemed to be no need of introductions. Everybody appeared to be acquainted. There was no awkwardness, no constraint. The a.s.sembly disengaged an impression of refined pleasure. On every hand, innumerable dialogues seemed to go forward easily and naturally, without break or interruption, witty, engaging, the couple never at a loss for repartee.

A third party was gracefully included, then a fourth. Little groups were formed,--groups that divided themselves, or melted into other groups, or disintegrated again into isolated pairs, or lost themselves in the background of the ma.s.s,--all without friction, without embarra.s.sment,--the whole affair going forward of itself, decorous, tactful, well-bred.

At a distance, and not too loud, a stringed orchestra sent up a pleasing hum. Waiters, with bra.s.s b.u.t.tons on their full dress coats, went from group to group, silent, un.o.btrusive, serving salads and ices.

But the focus of the a.s.sembly was the little s.p.a.ce before Hartrath's painting. It was called "A Study of the Contra Costa Foothills," and was set in a frame of natural redwood, the bark still adhering. It was conspicuously displayed on an easel at the right of the entrance to the main room of the club, and was very large. In the foreground, and to the left, under the shade of a live-oak, stood a couple of reddish cows, knee-deep in a patch of yellow poppies, while in the right-hand corner, to balance the composition, was placed a girl in a pink dress and white sunbonnet, in which the shadows were indicated by broad dashes of pale blue paint. The ladies and young girls examined the production with little murmurs of admiration, hazarding remembered phrases, searching for the exact balance between generous praise and critical discrimination, expressing their opinions in the mild technicalities of the Art Books and painting cla.s.ses. They spoke of atmospheric effects, of middle distance, of "chiaro-oscuro," of fore-shortening, of the decomposition of light, of the subordination of individuality to fidelity of interpretation.

One tall girl, with hair almost white in its blondness, having observed that the handling of the ma.s.ses reminded her strongly of Corot, her companion, who carried a gold lorgnette by a chain around her neck, answered:

"Ah! Millet, perhaps, but not Corot."

This verdict had an immediate success. It was pa.s.sed from group to group. It seemed to imply a delicate distinction that carried conviction at once. It was decided formally that the reddish brown cows in the picture were reminiscent of Daubigny, and that the handling of the ma.s.ses was altogether Millet, but that the general effect was not quite Corot.

Presley, curious to see the painting that was the subject of so much discussion, had left the group in the round window, and stood close by Hartrath, craning his head over the shoulders of the crowd, trying to catch a glimpse of the reddish cows, the milk-maid and the blue painted foothills. He was suddenly aware of Cedarquist's voice in his ear, and, turning about, found himself face to face with the manufacturer, his wife and his two daughters.

There was a meeting. Salutations were exchanged, Presley shaking hands all around, expressing his delight at seeing his old friends once more, for he had known the family from his boyhood, Mrs. Cedarquist being his aunt. Mrs. Cedarquist and her two daughters declared that the air of Los Muertos must certainly have done him a world of good. He was stouter, there could be no doubt of it. A little pale, perhaps. He was fatiguing himself with his writing, no doubt. Ah, he must take care. Health was everything, after all. Had he been writing any more verse? Every month they scanned the magazines, looking for his name.

Mrs. Cedarquist was a fashionable woman, the president or chairman of a score of clubs. She was forever running after fads, appearing continually in the society wherein she moved with new and astounding proteges--fakirs whom she unearthed no one knew where, discovering them long in advance of her companions. Now it was a Russian Countess, with dirty finger nails, who travelled throughout America and borrowed money; now an Aesthete who possessed a wonderful collection of topaz gems, who submitted decorative schemes for the interior arrangement of houses and who "received" in Mrs. Cedarquist's drawing-rooms dressed in a white velvet ca.s.sock; now a widow of some Mohammedan of Bengal or Rajputana, who had a blue spot in the middle of her forehead and who solicited contributions for her sisters in affliction; now a certain bearded poet, recently back from the Klondike; now a decayed musician who had been ejected from a young ladies' musical conservatory of Europe because of certain surprising pamphlets on free love, and who had come to San Francisco to introduce the community to the music of Brahms; now a j.a.panese youth who wore spectacles and a grey flannel shirt and who, at intervals, delivered himself of the most astonishing poems, vague, unrhymed, unmetrical lucubrations, incoherent, bizarre; now a Christian Scientist, a lean, grey woman, whose creed was neither Christian nor scientific; now a university professor, with the bristling beard of an anarchist chief-of-section, and a roaring, guttural voice, whose intenseness left him gasping and apoplectic; now a civilised Cherokee with a mission; now a female elocutionist, whose forte was Byron's Songs of Greece; now a high caste Chinaman; now a miniature painter; now a tenor, a pianiste, a mandolin player, a missionary, a drawing master, a virtuoso, a collector, an Armenian, a botanist with a new flower, a critic with a new theory, a doctor with a new treatment.

And all these people had a veritable mania for declamation and fancy dress. The Russian Countess gave talks on the prisons of Siberia, wearing the headdress and pinchbeck ornaments of a Slav bride; the Aesthete, in his white ca.s.sock, gave readings on obscure questions of art and ethics. The widow of India, in the costume of her caste, described the social life of her people at home. The bearded poet, perspiring in furs and boots of reindeer skin, declaimed verses of his own composition about the wild life of the Alaskan mining camps. The j.a.panese youth, in the silk robes of the Samurai two-sworded n.o.bles, read from his own works--"The flat-bordered earth, nailed down at night, rusting under the darkness," "The brave, upright rains that came down like errands from iron-bodied yore-time." The Christian Scientist, in funereal, impressive black, discussed the contra-will and pan-psychic hylozoism. The university professor put on a full dress suit and lisle thread gloves at three in the afternoon and before literary clubs and circles bellowed extracts from Goethe and Schiler in the German, shaking his fists, purple with vehemence. The Cherokee, arrayed in fringed buckskin and blue beads, rented from a costumer, intoned folk songs of his people in the vernacular. The elocutionist in cheese-cloth toga and tin bracelets, rendered "The Isles of Greece, where burning Sappho loved and sung." The Chinaman, in the robes of a mandarin, lectured on Confucius. The Armenian, in fez and baggy trousers, spoke of the Unspeakable Turk. The mandolin player, dressed like a bull fighter, held musical conversaziones, interpreting the peasant songs of Andalusia.

It was the Fake, the eternal, irrepressible Sham; glib, nimble, ubiquitous, tricked out in all the paraphernalia of imposture, an endless defile of charlatans that pa.s.sed interminably before the gaze of the city, marshalled by "lady presidents," exploited by clubs of women, by literary societies, reading circles, and culture organisations. The attention the Fake received, the time devoted to it, the money which it absorbed, were incredible. It was all one that impostor after impostor was exposed; it was all one that the clubs, the circles, the societies were proved beyond doubt to have been swindled. The more the Philistine press of the city railed and guyed, the more the women rallied to the defence of their protege of the hour. That their favourite was persecuted, was to them a veritable rapture. Promptly they invested the apostle of culture with the glamour of a martyr.

The fakirs worked the community as sh.e.l.l-game tricksters work a county fair, departing with bursting pocket-books, pa.s.sing on the word to the next in line, a.s.sured that the place was not worked out, knowing well that there was enough for all.

More frequently the public of the city, unable to think of more than one thing at one time, prostrated itself at the feet of a single apostle, but at other moments, such as the present, when a Flower Festival or a Million-Dollar Fair aroused enthusiasm in all quarters, the occasion was one of gala for the entire Fake. The decayed professors, virtuosi, litterateurs, and artists thronged to the place en ma.s.se. Their clamour filled all the air. On every hand one heard the sc.r.a.ping of violins, the tinkling of mandolins, the suave accents of "art talks," the incoherencies of poets, the declamation of elocutionists, the inarticulate wanderings of the j.a.panese, the confused mutterings of the Cherokee, the guttural bellowing of the German university professor, all in the name of the Million-Dollar Fair. Money to the extent of hundreds of thousands was set in motion.

Mrs. Cedarquist was busy from morning until night. One after another, she was introduced to newly arrived fakirs. To each poet, to each litterateur, to each professor she addressed the same question:

"How long have you known you had this power?"

She spent her days in one quiver of excitement and jubilation. She was "in the movement." The people of the city were awakening to a Realisation of the Beautiful, to a sense of the higher needs of life.

This was Art, this was Literature, this was Culture and Refinement. The Renaissance had appeared in the West.

She was a short, rather stout, red-faced, very much over-dressed little woman of some fifty years. She was rich in her own name, even before her marriage, being a relative of Shelgrim himself and on familiar terms with the great financier and his family. Her husband, while deploring the policy of the railroad, saw no good reason for quarrelling with Shelgrim, and on more than one occasion had dined at his house. On this occasion, delighted that she had come upon a "minor poet," she insisted upon presenting him to Hartrath.

"You two should have so much in common," she explained.

Presley shook the flaccid hand of the artist, murmuring conventionalities, while Mrs. Cedarquist hastened to say:

"I am sure you know Mr. Presley's verse, Mr. Hartrath. You should, believe me. You two have much in common. I can see so much that is alike in your modes of interpreting nature. In Mr. Presley's sonnet, 'The Better Part,' there is the same note as in your picture, the same sincerity of tone, the same subtlety of touch, the same nuances,--ah."

"Oh, my dear Madame," murmured the artist, interrupting Presley's impatient retort; "I am a mere bungler. You don't mean quite that, I am sure. I am too sensitive. It is my cross. Beauty," he closed his sore eyes with a little expression of pain, "beauty unmans me."

But Mrs. Cedarquist was not listening. Her eyes were fixed on the artist's luxuriant hair, a thick and glossy mane, that all but covered his coat collar.

"Leonine!" she murmured-- "leonine! Like Samson of old."

However, abruptly bestirring herself, she exclaimed a second later:

"But I must run away. I am selling tickets for you this afternoon, Mr.

Hartrath. I am having such success. Twenty-five already. Mr. Presley, you will take two chances, I am sure, and, oh, by the way, I have such good news. You know I am one of the lady members of the subscription committee for our Fair, and you know we approached Mr. Shelgrim for a donation to help along. Oh, such a liberal patron, a real Lorenzo di'

Medici. In the name of the Pacific and Southwestern he has subscribed, think of it, five thousand dollars; and yet they will talk of the meanness of the railroad."

"Possibly it is to his interest," murmured Presley. "The fairs and festivals bring people to the city over his railroad."

But the others turned on him, expostulating.

"Ah, you Philistine," declared Mrs. Cedarquist. "And this from YOU!, Presley; to attribute such base motives----"

"If the poets become materialised, Mr. Presley," declared Hartrath, "what can we say to the people?"

"And Shelgrim encourages your million-dollar fairs and fetes," said a voice at Presley's elbow, "because it is throwing dust in the people's eyes."

The group turned about and saw Cedarquist, who had come up un.o.bserved in time to catch the drift of the talk. But he spoke without bitterness; there was even a good-humoured twinkle in his eyes.

"Yes," he continued, smiling, "our dear Shelgrim promotes your fairs, not only as Pres says, because it is money in his pocket, but because it amuses the people, distracts their attention from the doings of his railroad. When Beatrice was a baby and had little colics, I used to jingle my keys in front of her nose, and it took her attention from the pain in her tummy; so Shelgrim."

The others laughed good-humouredly, protesting, nevertheless, and Mrs.

Cedarquist shook her finger in warning at the artist and exclaimed:

"The Philistines be upon thee, Samson!"