The King in Yellow Chapter 36: Part 36

the compartment to ourselves,” said Hastings. She leaned against the cushioned window-seat, her eyes bright and wide open, her lips parted. The wind lifted her hat, and fluttered the ribbons under her chin. With a quick movement she untied them, and, drawing a long hat-pin from her hat, laid it down on the seat beside her. The train was flying. The colour surged in her cheeks, and, with each quick-drawn breath, her breath rose and fell under the cluster of lilies at her throat. Trees, houses, ponds, danced past, cut by a mist of telegraph poles. “Faster! faster!” she cried. His eyes never left her, but hers, wide open, and blue as the summer sky, seemed fixed on something far ahead,—something which came no nearer, but fled before them as they fled. Was it the horizon, cut now by the grim fortress on the hill, now by the cross of a country chapel? Was it the summer moon, ghost-like, slipping through the vaguer blue above? “Faster! faster!” she cried. Her parted lips burned scarlet. The car shook and shivered, and the fields streamed by like an emerald torrent. He caught the excitement, and his faced glowed. “Oh,” she cried, and with an unconscious movement caught his hand, drawing him to the window beside her. “Look! lean out with me!” He only saw her lips move; her voice was drowned in the roar of a trestle, but his hand closed in hers and he clung to the sill. The wind whistled in their ears. “Not so far out, Valentine, take care!” he gasped. Below, through the ties of the trestle, a broad river flashed into view and out again, as the train thundered along a tunnel, and away once more through the freshest of green fields. The wind roared about them. The girl was leaning far out from the window, and he caught her by the waist, crying, “Not too far!” but she only murmured, “Faster! faster! away out of the city, out of the land, faster, faster! away out of the world!” “What are you saying all to yourself?” he said, but his voice was broken, and the wind whirled it back into his throat. She heard him, and, turning from the window looked down at his arm about her. Then she raised her eyes to his. The car shook and the windows rattled. They were dashing through a forest now, and the sun swept the dewy branches with running flashes of fire. He looked into her troubled eyes; he drew her to him and kissed the half-parted lips, and she cried out, a bitter, hopeless cry, “Not that—not that!” But he held her close and strong, whispering words of honest love and passion, and when she sobbed—“Not that—not that—I have promised! You must—you must know—I am—not—worthy—” In the purity of his own heart her words were, to him, meaningless then, meaningless for ever after. Presently her voice ceased, and her head rested on his breast. He leaned against the window, his ears swept by the furious wind, his heart in a joyous tumult. The forest was passed, and the sun slipped from behind the trees, flooding the earth again with brightness. She raised her eyes and looked out into the world from the window. Then she began to speak, but her voice was faint, and he bent his head close to hers and listened. “I cannot turn from you; I am too weak. You were long ago my master—master of my heart and soul. I have broken my word to one who trusted me, but I have told you all;—what matters the rest?” He smiled at her innocence and she worshipped his. She spoke again: “Take me or cast me away;—what matters it? Now with a word you can kill me, and it might be easier to die than to look upon happiness as great as mine.” He took her in his arms, “Hush, what are you saying? Look,—look out at the sunlight, the meadows and the streams. We shall be very happy in so bright a world.” She turned to the sunlight. From the window, the world below seemed very fair to her. Trembling with happiness, she sighed: “Is this the world? Then I have never known it.” “Nor have I, God forgive me,” he murmured. Perhaps it was our gentle Lady of the Fields who forgave them both. RUE BARRÉE “For let Philosopher and Doctor preach Of what they will and what they will not,—each Is but one link in an eternal chain That none can slip nor break nor over-reach.” “Crimson nor yellow roses nor The savour of the mounting sea Are worth the perfume I adore That clings to thee.” “The languid-headed lilies tire, The changeless waters weary me; I ache with passionate desire Of thine and thee.” “There are but these things in the world— Thy mouth of fire, Thy breasts, thy hands, thy hair upcurled And my desire.” I One morning at Julian’s, a student said to Selby, “That is Foxhall Clifford,” pointing with his brushes at a young man who sat before an easel, doing nothing. Selby, shy and nervous, walked over and began: “My name is Selby,—I have just arrived in Paris, and bring a letter of introduction—” His voice was lost in the crash of a falling easel, the owner of which promptly assaulted his neighbour, and for a time the noise of battle rolled through the studios of MM. Boulanger and Lefebvre, presently subsiding into a scuffle on the stairs outside. Selby, apprehensive as to his own reception in the studio, looked at Clifford, who sat serenely watching the fight. “It’s a little noisy here,” said Clifford, “but you will like the fellows when you know them.” His unaffected manner delighted Selby. Then with a simplicity that won his heart, he presented him to half a dozen students of as many nationalities. Some were cordial, all were polite. Even the majestic creature who held the position of Massier, unbent enough to say: “My friend, when a man speaks French as well as you do, and is also a friend of Monsieur Clifford, he will have no trouble in this studio. You expect, of course, to fill the stove until the next new man comes?” “Of course.” “And you don’t mind chaff?” “No,” replied Selby, who hated it. Clifford, much amused, put on his hat, saying, “You must expect lots of it at first.” Selby placed his own hat on his head and followed him to the door. As they passed the model stand there was a furious cry of “Chapeau! Chapeau!” and a student sprang from his easel menacing Selby, who reddened but looked at Clifford. “Take off your hat for them,” said the latter, laughing. A little embarrassed, he turned and saluted the studio. “Et moi?” cried the model. “You are charming,” replied Selby, astonished at his own audacity, but the studio rose as one man, shouting: “He has done well! he’s all right!” while the model, laughing, kissed her hand to him and cried: “À demain beau jeune homme!” All that week Selby worked at the studio unmolested. The French students christened him “l’Enfant Prodigue,” which was freely translated, “The Prodigious Infant,” “The Kid,” “Kid Selby,” and “Kidby.” But the disease soon ran its course from “Kidby” to “Kidney,” and then naturally to “Tidbits,” where it was arrested by Clifford’s authority and ultimately relapsed to “Kid.” Wednesday came, and with it M. Boulanger. For three hours the students writhed under his biting sarcasms,—among the others Clifford, who was informed that he knew even less about a work of art than he did about the art of work. Selby was more fortunate. The professor examined his drawing in silence, looked at him sharply, and passed on with a non-committal gesture. He presently departed arm in arm with Bouguereau, to the relief of Clifford, who was then at liberty to jam his hat on his head and depart. The next day he did not appear, and Selby, who had counted on seeing him at the studio, a thing which he learned later it was vanity to count on, wandered back to the Latin Quarter alone. Paris was still strange and new to him. He was vaguely troubled by its splendour. No tender memories stirred his American bosom at the Place du Châtelet, nor even by Notre Dame. The Palais de Justice with its clock and turrets and stalking sentinels in blue and vermilion, the Place St. Michel with its jumble of omnibuses and ugly water-spitting griffins, the hill of the Boulevard St. Michel, the tooting trams, the policemen dawdling two by two, and the table-lined terraces of the Café Vacehett were nothing to him, as yet, nor did he even know, when he stepped from the stones of the Place St. Michel to the asphalt of the Boulevard, that he had crossed the frontier and entered the student zone,—the famous Latin Quarter. A cabman hailed him as “bourgeois,” and urged the superiority of driving over walking. A gamin, with an appearance of great concern, requested the latest telegraphic news from London, and then, standing on his head, invited Selby to feats of strength. A pretty girl gave him a glance from a pair of violet eyes. He did not see her, but she, catching her own reflection in a window, wondered at the colour burning in her cheeks. Turning to resume her course, she met Foxhall Clifford, and hurried on. Clifford, open-mouthed, followed her with his eyes; then he looked after Selby, who had turned into the Boulevard St. Germain toward the rue de Seine. Then he examined himself in the shop window. The result seemed to be unsatisfactory. “I’m not a beauty,” he mused, “but neither am I a hobgoblin. What does she mean by blushing at Selby? I never before saw her look at a fellow in my life,—neither has any one in the Quarter. Anyway, I can swear she never looks at me, and goodness knows I have done all that respectful adoration can do.” He sighed, and murmuring a prophecy concerning the salvation of his immortal soul swung into that graceful lounge which at all times characterized Clifford. With no apparent exertion, he overtook Selby at the corner, and together they crossed the sunlit Boulevard and sat down under the awning of the Café du Cercle. Clifford bowed to everybody on the terrace, saying, “You shall meet them all later, but now let me present you to two of the sights of Paris, Mr. Richard Elliott and Mr. Stanley Rowden.” The “sights” looked amiable, and took vermouth. “You cut the studio to-day,” said Elliott, suddenly turning on Clifford, who avoided his eyes. “To commune with nature?” observed Rowden. “What’s her name this time?” asked Elliott,