"Was it because I was his friend?"
"Oh, it was much more than that," Gerald said quickly. "It was a matter of the two countries. Of course, we jolly well knew you didn't belong to us, and didn't want to, but for the life of us we couldn't help a sort of feeling that you did. And when America was in at last, and you fellows began to come, you seemed like our very own come back after many years, and," he added a throb in his voice, "we were most awfully glad to see you—we wanted a chance to show you how England felt."
Skipworth Cary rose to his feet. The tears for his friend were still wet upon his lashes. Stooping, he took Lady Sherwood's hands in his and raised them to his lips. "As long as I live, I shall never forget," he said. "And others of us have seen it too in other ways—be sure America will never forget, either."
She looked up at his untouched youth out of her beautiful sad eyes, the exalted light still shining through her tears. "Yes," she said, "you see it was—I don't know exactly how to put it—but it was England to America."
"FOR THEY KNOW NOT WHAT THEY DO"
BY WILBUR DANIEL STEELE
From Pictorial Review
When Christopher Kain told me his story, sitting late in his dressing-room at the Philharmonic I felt that I ought to say something, but nothing in the world seemed adequate. It was one of those times when words have no weight: mine sounded like a fly buzzing in the tomb of kings. And after all, he did not hear me; I could tell that by the look on his face as he sat there staring into the light, the lank, dark hair framing his waxen brow, his shoulders hanging forward, his lean, strong, sentient fingers wrapped around the brown neck of "Ugo," the 'cello, tightly.
Agnes Kain was a lady, as a lady was before the light of that poor worn word went out. Quiet, reserved, gracious, continent, bearing in face and form the fragile beauty of a rose-petal come to its fading on a windless ledge, she moved down the years with the stedfast sweetness of the gentlewoman—gentle, and a woman.
They knew little about her in the city, where she had come with her son. They did not need to. Looking into her eyes, into the transparent soul behind them they could ask no other credential for the name she bore and the lavender she wore for the husband of whom she never spoke.
She spoke of him, indeed, but that was in privacy, and to her son. As Christopher grew through boyhood, she watched him; in her enveloping eagerness she forestalled the hour when he would have asked, and told him about his father, Daniel Kain.
It gave them the added bond of secret-sharers. The tale grew as the boy grew. Each night when Christopher crept into his mother's bed for the quiet hour of her voice, it was as if he crept in to another world, the wind-blown, sky-encompassed kingdom of the Kains, Daniel, his father, and Maynard, his father, another Maynard before him, and all the Kains—and the Hill and the House, the Willow Wood, the Moor Under the Cloud, the Beach where the gray seas pounded, the boundless Marsh, the Lilac hedge standing against the stars.
He knew he would have to be a man of men to measure up to that heritage, a man strong, grave, thoughtful, kind with the kindness that never falters, brave with the courage of that dark and massive folk whose blood ran in his veins. Coming as it did, a world of legend growing up side by side with the matter-of-fact world of Concord Street, it never occurred to him to question. He, the boy, was not massive, strong, or brave; he saw things in the dark that frightened him, his thin shoulders were bound to droop, the hours of practise on his violin left him with no blood in his legs and a queer pallor on his brow.
Nor was he always grave, thoughtful, kind. He did not often lose his temper, the river of his young life ran too smooth and deep. But there were times when he did. Brief passions swept him, blinded him, twisted his fingers, left him sobbing, retching, and weak as death itself. He never seemed to wonder at the discrepancy in things, however, any more than he wondered at the look in his mother's eyes, as she hung over him, waiting, in those moments of nausea after rage. She had not the look of the gentlewoman then; she had more the look, a thousand times, of the prisoner led through the last gray corridor in the dawn.
He saw her like that once when he had not been angry. It was on a day when he came into the front hall unexpectedly as a stranger was going out of the door. The stranger was dressed in rough, brown homespun; in one hand he held a brown velour hat, in the other a thorn stick without a ferrule. Nor was there anything more worthy of note in his face, an average-long face with hollowed cheeks, sunken gray eyes, and a high forehead, narrow, sallow, and moist.
No, it was not the stranger that troubled Christopher. It was his mother's look at his own blundering entrance, and, when the man was out of hearing, the tremulous haste of her explanation.
"He came about some papers, you know."
"You mean our Morning Post?" Christopher asked her.
She let her breath out all at once and colour flooded her face.
"Yes," she told him. "Yes, yes."
Neither of them said anything more about it.
It was that same day, toward evening, that Christopher broke one of his long silences, reverting to a subject always near to them both.
"Mother, you've never told me where it is—on the map, I mean."
She was looking the other way. She did not turn around.
"I—Chris—I—I haven't a map in the house."
He did not press the matter. He went out into the back yard presently, under the grape-trellis, and there he stood still for a long time, staring at nothing particular.
He was growing up.
He went away to boarding-school not long after this, taking with him the picture of his adored mother, the treasured epic of his dark, strong fathers, his narrow shoulders, his rare, blind bursts of passion, his newborn wonder, and his violin. At school they thought him a queer one.
The destinies of men are unaccountable things. Five children in the village of Deer Bay came down with diphtheria. That was why the academy shut up for a week, and that was what started Christopher on his way home for an unexpected holiday. And then it was only by one chance in a thousand that he should glimpse his mother's face in the down-train halted at the junction where he himself was changing.
She did not see till he came striding along the aisle of her coach, his arms full of his things, face flushed, eyes brimming with the surprise and pleasure of seeing her; his lips trembling questions.
"Why, Mother, what in earth? Where are you going? I'm to have a week at least, Mother; and here you're going away, and you didn't tell me, and what is it, and everything?"
His eager voice trailed off. The colour drained out of his face and there was a shadow in his eyes. He drew back from her the least way.
"What is it, Mother? Mother!"
Somewhere on the platform outside the conductor's droning "—board" ran along the coaches. Agnes Kain opened her white lips.
"Get off before it's too late, Christopher. I haven't time to explain now. Go home, and Mary will see you have everything. I'll be back in a day or so. Kiss me, and go quickly. Quickly!"
He did not kiss her. He would not have kissed her for worlds. He was to bewildered, dazed, lost, too inexpressibly hurt. On the platform outside, had she turned ever so little to look, she might have seen his face again for an instant as the wheels ground on the rails. Colour was coming back to it again, a murky colour like the shadow of a red cloud.
They must have wondered, in the coach with her, at the change in the calm, unobtrusive, well-gowned gentlewoman, their fellow-passenger. Those that were left after another two hours saw her get down at a barren station where an old man waited in a carriage.