The Price She Paid [3]
the world, Mildred Gower at twenty-three still retained something of these dream flowers sown in the soil of her naturally good mind by some book or play or perhaps by some casually read and soon forgotten article in magazine or newspaper. We have the habit of thinking only weeds produce seeds that penetrate and prosper everywhere and anywhere. The truth is that fine plants of all kinds, vegetable, fruit, and flower of rarest color and perfume, have this same hardiness and fecundity. Pull away at the weeds in your garden for a while, and see if this is not so. Though you may plant nothing, you will be amazed at the results if you but clear a little space of its weeds--which you have been planting and cultivating.
Mildred--woman fashion--regarded it as a reproach upon her that she had not yet succeeded in making the marriage everyone, including herself, predicted for her and expected of her. On the contrary, it was the most savage indictment possible of the marriageable and marrying men who had met her--of their stupidity, of their short-sighted and mean-souled calculation, of their lack of courage--the courage to take what they, as men of flesh and blood wanted, instead of what their snobbishness ordered. And if Stanley Baird, the nearest to a flesh-and-blood man of any who had known her, had not been so profoundly afraid of his fashionable mother and of his sister, the Countess of Waring-- But he was profoundly afraid of them; so, it is idle to speculate about him.
What did men see when they looked at Mildred Gower? Usually, when men look at a woman, they have a hazy, either pleasant or unpleasant, sense of something feminine. That, and nothing more. Afterward, through some whim or some thrust from chance they may see in her, or fancy they see in her, the thing feminine that their souls--it is always ``soul''--most yearns after. But just at first glance, so colorless or conventionally colored is the usual human being, the average woman--indeed every woman but she who is exceptional--creates upon man the mere impression of pleasant or unpleasant petticoats. In the exceptional woman something obtrudes. She has astonishing hair, or extraordinary eyes, or a mouth that seems to draw a man like a magnet; or it is the allure of a peculiar smile or of a figure whose sinuosities as she moves seem to cause a corresponding wave-disturbance in masculine nerves. Further, the possession of one of these signal charms usually causes all her charms to have more than ordinary potency. The sight of the man is so bewitched by the one potent charm that he sees the whole woman under a spell.
Mildred Gower, of the medium height and of a slender and well-formed figure, had a face of the kind that is called lovely; and her smile, sweet, dreamy, revealing white and even teeth, gave her loveliness delicate animation. She had an abundance of hair, neither light nor dark; she had a fine clear skin. Her eyes, gray and rather serious and well set under long straight brows, gave her a look of honesty and intelligence. But the charm that won men, her charm of charms, was her mouth--mobile, slightly pouted, not too narrow, of a wonderful, vividly healthy and vital red. She had beauty, she had intelligence. But it was impossible for a man to think of either, once his glance had been caught by those expressive, inviting lips of hers, so young, so fresh, with their ever-changing, ever- fascinating line expressing in a thousand ways the passion and poetry of the kiss.
Of all the men who had admired her and had edged away because they feared she would bewitch them into forgetting what the world calls ``good common sense'' --of all those men only one had suspected the real reason for her physical power over men. All but Stanley Baird had thought themselves attracted because she was so pretty or so stylish or so clever and amusing to talk with. Baird had lived intelligently enough to learn that feminine charm is never general, is always specific. He knew it was Mildred Gower's lips that haunted, that frightened ambitious men away,
Mildred--woman fashion--regarded it as a reproach upon her that she had not yet succeeded in making the marriage everyone, including herself, predicted for her and expected of her. On the contrary, it was the most savage indictment possible of the marriageable and marrying men who had met her--of their stupidity, of their short-sighted and mean-souled calculation, of their lack of courage--the courage to take what they, as men of flesh and blood wanted, instead of what their snobbishness ordered. And if Stanley Baird, the nearest to a flesh-and-blood man of any who had known her, had not been so profoundly afraid of his fashionable mother and of his sister, the Countess of Waring-- But he was profoundly afraid of them; so, it is idle to speculate about him.
What did men see when they looked at Mildred Gower? Usually, when men look at a woman, they have a hazy, either pleasant or unpleasant, sense of something feminine. That, and nothing more. Afterward, through some whim or some thrust from chance they may see in her, or fancy they see in her, the thing feminine that their souls--it is always ``soul''--most yearns after. But just at first glance, so colorless or conventionally colored is the usual human being, the average woman--indeed every woman but she who is exceptional--creates upon man the mere impression of pleasant or unpleasant petticoats. In the exceptional woman something obtrudes. She has astonishing hair, or extraordinary eyes, or a mouth that seems to draw a man like a magnet; or it is the allure of a peculiar smile or of a figure whose sinuosities as she moves seem to cause a corresponding wave-disturbance in masculine nerves. Further, the possession of one of these signal charms usually causes all her charms to have more than ordinary potency. The sight of the man is so bewitched by the one potent charm that he sees the whole woman under a spell.
Mildred Gower, of the medium height and of a slender and well-formed figure, had a face of the kind that is called lovely; and her smile, sweet, dreamy, revealing white and even teeth, gave her loveliness delicate animation. She had an abundance of hair, neither light nor dark; she had a fine clear skin. Her eyes, gray and rather serious and well set under long straight brows, gave her a look of honesty and intelligence. But the charm that won men, her charm of charms, was her mouth--mobile, slightly pouted, not too narrow, of a wonderful, vividly healthy and vital red. She had beauty, she had intelligence. But it was impossible for a man to think of either, once his glance had been caught by those expressive, inviting lips of hers, so young, so fresh, with their ever-changing, ever- fascinating line expressing in a thousand ways the passion and poetry of the kiss.
Of all the men who had admired her and had edged away because they feared she would bewitch them into forgetting what the world calls ``good common sense'' --of all those men only one had suspected the real reason for her physical power over men. All but Stanley Baird had thought themselves attracted because she was so pretty or so stylish or so clever and amusing to talk with. Baird had lived intelligently enough to learn that feminine charm is never general, is always specific. He knew it was Mildred Gower's lips that haunted, that frightened ambitious men away,