Margaret Vance tried to give herself some reason for going to call upon the Dryfooses, but she could find none better than the wish to do a kind thing. This seemed queerer and less and less sufficient as she examined it, and she even admitted a little curiosity as a harmless element in her motive, without being very well satisfied with it. She tried to add a slight sense of social duty, and then she decided to have no motive at all, but simply to pay her visit as she would to any other eligible strangers she saw fit to call upon. She perceived that she must be very careful not to let them see that any other impulse had governed her; she determined, if possible, to let them patronize her; to be very modest and sincere and diffident, and, above all, not to play a part. This was easy, compared with the choice of a manner that should convey to them the fact that she was not playing a part. When the hesitating Irish serving-man had acknowledged that the ladies were at home, and had taken her card to them, she sat waiting for them in the drawing-room. Her study of its appointments, with their impersonal costliness, gave her no suggestion how to proceed; the two sisters were upon her before she had really decided, and she rose to meet them with the conviction that she was going to play a part for want of some chosen means of not doing so. She found herself, before she knew it, making her banjo a property in the little comedy, and professing so much pleasure in the fact that Miss Dryfoos was taking it up; she had herself been so much interested by it. Anything, she said, was a relief from the piano; and then, between the guitar and the banjo, one must really choose the banjo, unless one wanted to devote one's whole natural life to the violin. Of course, there was the mandolin; but Margaret asked if they did not feel that the bit of shell you struck it with interposed a distance between you and the real soul of the instrument; and then it did have such a faint, mosquitoy little tone! She made much of the question, which they left her to debate alone while they gazed solemnly at her till she characterized the tone of the mandolin, when Mela broke into a large, coarse laugh.
"Well, that's just what it does sound like," she explained defiantly to her sister. "I always feel like it was going to settle somewhere, and I want to hit myself a slap before it begins to bite. I don't see what ever brought such a thing into fashion."
Margaret had not expected to be so powerfully seconded, and she asked, after gathering herself together, "And you are both learning the banjo?" "My, no!" said Mela, "I've gone through enough with the piano. Christine is learnun' it."
"I'm so glad you are making my banjo useful at the outset, Miss Dryfoos." Both girls stared at her, but found it hard to cope with the fact that this was the lady friend whose banjo Beaton had lent them. "Mr. Beaton mentioned that he had left it here. I hope you'll keep it as long as you find it useful."
At this amiable speech even Christine could not help thanking her. "Of course," she said, "I expect to get another, right off. Mr. Beaton is going to choose it for me."
"You are very fortunate. If you haven't a teacher yet I should so like to recommend mine."
Mela broke out in her laugh again. "Oh, I guess Christine's pretty well suited with the one she's got," she said, with insinuation. Her sister gave her a frowning glance, and Margaret did not tempt her to explain.
"Then that's much better," she said. "I have a kind of superstition in such matters; I don't like to make a second choice. In a shop I like to take the first thing of the kind I'm looking for, and even if I choose further I come back to the original."
"How funny!" said Mela. "Well, now, I'm just the other way. I always take the last thing, after I've picked over all the rest. My luck always seems to be at the bottom of the heap. Now, Christine, she's more like you. I believe she could walk right up blindfolded and put her hand on the thing she wants every time."
"I'm like father," said Christine, softened a little by the celebration of her peculiarity. "He says the reason so many people don't get what they want is that they don't want it bad enough. Now, when I want a thing, it seems to me that I want it all through."
"Well, that's just like father, too," said Mela. "That's the way he done when he got that eighty-acre piece next to Moffitt that he kept when he sold the farm, and that's got some of the best gas-wells on it now that there is anywhere." She addressed the explanation to her sister, to the exclusion of Margaret, who, nevertheless, listened with a smiling face and a resolutely polite air of being a party to the conversation. Mela rewarded her amiability by saying to her, finally, "You've never been in the natural-gas country, have you?"
"Oh no! And I should so much like to see it!" said Margaret, with a fervor that was partly, voluntary.
"Would you? Well, we're kind of sick of it, but I suppose it would strike a stranger."
"I never got tired of looking at the big wells when they lit them up," said Christine. "It seems as if the world was on fire."
"Yes, and when you see the surface-gas burnun' down in the woods, like it used to by our spring-house-so still, and never spreadun' any, just like a bed of some kind of wild flowers when you ketch sight of it a piece off."
They began to tell of the wonders of their strange land in an antiphony of reminiscences and descriptions; they unconsciously imputed a merit to themselves from the number and violence of the wells on their father's property; they bragged of the high civilization of Moffitt, which they compared to its advantage with that of New York. They became excited by Margaret's interest in natural gas, and forgot to be suspicious and envious.
She said, as she rose, "Oh, how much I should like to see it all!" Then she made a little pause, and added:
"I'm so sorry my aunt's Thursdays are over; she never has them after Lent, but we're to have some people Tuesday evening at a little concert which a musical friend is going to give with some other artists. There won't be any banjos, I'm afraid, but there'll be some very good singing, and my aunt would be so glad if you could come with your mother."
She put down her aunt's card on the table near her, while Mela gurgled, as if it were the best joke: "Oh, my! Mother never goes anywhere; you couldn't get her out for love or money." But she was herself overwhelmed with a simple joy at Margaret's politeness, and showed it in a sensuous way, like a child, as if she had been tickled. She came closer to Margaret and seemed about to fawn physically upon her.
"Ain't she just as lovely as she can live?" she demanded of her sister when Margaret was gone.
"I don't know," said Christine. "I guess she wanted to know who Mr.
Beaton had been lending her banjo to."
"Pshaw! Do you suppose she's in love with him?" asked Mela, and then she broke into her hoarse laugh at the look her sister gave her. "Well, don't eat me, Christine! I wonder who she is, anyway? I'm goun' to git it out of Mr. Beaton the next time he calls. I guess she's somebody. Mrs. Mandel can tell. I wish that old friend of hers would hurry up and git well—or something. But I guess we appeared about as well as she did. I could see she was afraid of you, Christine. I reckon it's gittun' around a little about father; and when it does I don't believe we shall want for callers. Say, are you goun'? To that concert of theirs?"
"I don't know. Not till I know who they are first."
"Well, we've got to hump ourselves if we're goun' to find out before
As she went home Margaret felt wrought in her that most incredible of the miracles, which, nevertheless, any one may make his experience. She felt kindly to these girls because she had tried to make them happy, and she hoped that in the interest she had shown there had been none of the poison of flattery. She was aware that this was a risk she ran in such an attempt to do good. If she had escaped this effect she was willing to leave the rest with Providence.
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