Novel Notes [20]
and her eyes follow him with a hungry, beseeching look. But he sets his teeth, and turns away from her.
The little face grows thin, and one day they come to him where he sits before the keyboard of his many enterprises, and tell him she is dying. He comes and stands beside the bed, and the child's eyes open and turn towards him; and, as he draws nearer, her little arms stretch out towards him, pleading dumbly. But the man's face never changes, and the little arms fall feebly back upon the tumbled coverlet, and the wistful eyes grow still, and a woman steps softly forward, and draws the lids down over them; then the man goes back to his plans and schemes.
But in the night, when the great house is silent, he steals up to the room where the child still lies, and pushes back the white, uneven sheet.
"Dead--dead," he mutters. Then he takes the tiny corpse up in his arms, and holds it tight against his breast, and kisses the cold lips, and the cold cheeks, and the little, cold, stiff hands.
And at that point my story becomes impossible, for I dream that the dead child lies always beneath the sheet in that quiet room, and that the little face never changes, nor the limbs decay.
I puzzle about this for an instant, but soon forget to wonder; for when the Dream Fairy tells us tales we are only as little children, sitting round with open eyes, believing all, though marvelling that such things should be.
Each night, when all else in the house sleeps, the door of that room opens noiselessly, and the man enters and closes it behind him. Each night he draws away the white sheet, and takes the small dead body in his arms; and through the dark hours he paces softly to and fro, holding it close against his breast, kissing it and crooning to it, like a mother to her sleeping baby.
When the first ray of dawn peeps into the room, he lays the dead child back again, and smooths the sheet above her, and steals away.
And he succeeds and prospers in all things, and each day he grows richer and greater and more powerful.
CHAPTER III
We had much trouble with our heroine. Brown wanted her ugly. Brown's chief ambition in life is to be original, and his method of obtaining the original is to take the unoriginal and turn it upside down.
If Brown were given a little planet of his own to do as he liked with, he would call day, night, and summer, winter. He would make all his men and women walk on their heads and shake hands with their feet, his trees would grow with their roots in the air, and the old cock would lay all the eggs while the hens sat on the fence and crowed. Then he would step back and say, "See what an original world I have created, entirely my own idea!"
There are many other people besides Brown whose notion of originality would seem to be precisely similar.
I know a little girl, the descendant of a long line of politicians. The hereditary instinct is so strongly developed in her that she is almost incapable of thinking for herself. Instead, she copies in everything her elder sister, who takes more after the mother. If her sister has two helpings of rice pudding for supper, then she has two helpings of rice pudding. If her sister isn't hungry and doesn't want any supper at all, then she goes to bed without any supper.
This lack of character in the child troubles her mother, who is not an admirer of the political virtues, and one evening, taking the little one on her lap, she talked seriously to her.
"Do try to think for yourself," said she. "Don't always do just what Jessie does, that's silly. Have an idea of your own now and then. Be a little original."
The child promised she'd try, and went to bed thoughtful.
Next morning, for breakfast, a dish of kippers and a dish of kidneys were placed on the table, side by side. Now the child loved kippers with an affection that amounted almost to passion, while she loathed kidneys worse than powders. It was the one subject on which she did know her own mind.
"A kidney or a kipper for you, Jessie?" asked the mother, addressing
The little face grows thin, and one day they come to him where he sits before the keyboard of his many enterprises, and tell him she is dying. He comes and stands beside the bed, and the child's eyes open and turn towards him; and, as he draws nearer, her little arms stretch out towards him, pleading dumbly. But the man's face never changes, and the little arms fall feebly back upon the tumbled coverlet, and the wistful eyes grow still, and a woman steps softly forward, and draws the lids down over them; then the man goes back to his plans and schemes.
But in the night, when the great house is silent, he steals up to the room where the child still lies, and pushes back the white, uneven sheet.
"Dead--dead," he mutters. Then he takes the tiny corpse up in his arms, and holds it tight against his breast, and kisses the cold lips, and the cold cheeks, and the little, cold, stiff hands.
And at that point my story becomes impossible, for I dream that the dead child lies always beneath the sheet in that quiet room, and that the little face never changes, nor the limbs decay.
I puzzle about this for an instant, but soon forget to wonder; for when the Dream Fairy tells us tales we are only as little children, sitting round with open eyes, believing all, though marvelling that such things should be.
Each night, when all else in the house sleeps, the door of that room opens noiselessly, and the man enters and closes it behind him. Each night he draws away the white sheet, and takes the small dead body in his arms; and through the dark hours he paces softly to and fro, holding it close against his breast, kissing it and crooning to it, like a mother to her sleeping baby.
When the first ray of dawn peeps into the room, he lays the dead child back again, and smooths the sheet above her, and steals away.
And he succeeds and prospers in all things, and each day he grows richer and greater and more powerful.
CHAPTER III
We had much trouble with our heroine. Brown wanted her ugly. Brown's chief ambition in life is to be original, and his method of obtaining the original is to take the unoriginal and turn it upside down.
If Brown were given a little planet of his own to do as he liked with, he would call day, night, and summer, winter. He would make all his men and women walk on their heads and shake hands with their feet, his trees would grow with their roots in the air, and the old cock would lay all the eggs while the hens sat on the fence and crowed. Then he would step back and say, "See what an original world I have created, entirely my own idea!"
There are many other people besides Brown whose notion of originality would seem to be precisely similar.
I know a little girl, the descendant of a long line of politicians. The hereditary instinct is so strongly developed in her that she is almost incapable of thinking for herself. Instead, she copies in everything her elder sister, who takes more after the mother. If her sister has two helpings of rice pudding for supper, then she has two helpings of rice pudding. If her sister isn't hungry and doesn't want any supper at all, then she goes to bed without any supper.
This lack of character in the child troubles her mother, who is not an admirer of the political virtues, and one evening, taking the little one on her lap, she talked seriously to her.
"Do try to think for yourself," said she. "Don't always do just what Jessie does, that's silly. Have an idea of your own now and then. Be a little original."
The child promised she'd try, and went to bed thoughtful.
Next morning, for breakfast, a dish of kippers and a dish of kidneys were placed on the table, side by side. Now the child loved kippers with an affection that amounted almost to passion, while she loathed kidneys worse than powders. It was the one subject on which she did know her own mind.
"A kidney or a kipper for you, Jessie?" asked the mother, addressing