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Chapter: CHAPTER XVII

I

THEY were driving down the lake to the cottages that moonlit January
night, twenty of them in the bob-sled. They sang "Toy Land" and "Seeing
Nelly Home"; they leaped from the low back of the sled to race over the
slippery snow ruts; and when they were tired they climbed on the runners
for a lift. The moon-tipped flakes kicked up by the horses settled over
the revelers and dripped down their necks, but they laughed, yelped,
beat their leather mittens against their chests. The harness rattled,
the sleigh-bells were frantic, Jack Elder's setter sprang beside the
horses, barking.

For a time Carol raced with them. The cold air gave fictive power. She
felt that she could run on all night, leap twenty feet at a stride. But
the excess of energy tired her, and she was glad to snuggle under the
comforters which covered the hay in the sled-box.

In the midst of the babel she found enchanted quietude.

Along the road the shadows from oak-branches were inked on the snow
like bars of music. Then the sled came out on the surface of Lake
Minniemashie. Across the thick ice was a veritable road, a short-cut
for farmers. On the glaring expanse of the lake-levels of hard crust,
flashes of green ice blown clear, chains of drifts ribbed like the
sea-beach--the moonlight was overwhelming. It stormed on the snow, it
turned the woods ashore into crystals of fire. The night was tropical
and voluptuous. In that drugged magic there was no difference between
heavy heat and insinuating cold.

Carol was dream-strayed. The turbulent voices, even Guy Pollock being
connotative beside her, were nothing. She repeated:

     Deep on the convent-roof the snows
     Are sparkling to the moon.

The words and the light blurred into one vast indefinite happiness, and
she believed that some great thing was coming to her. She withdrew from
the clamor into a worship of incomprehensible gods. The night expanded,
she was conscious of the universe, and all mysteries stooped down to
her.

She was jarred out of her ecstasy as the bob-sled bumped up the steep
road to the bluff where stood the cottages.

They dismounted at Jack Elder's shack. The interior walls of unpainted
boards, which had been grateful in August, were forbidding in the chill.
In fur coats and mufflers tied over caps they were a strange company,
bears and walruses talking. Jack Elder lighted the shavings waiting in
the belly of a cast-iron stove which was like an enlarged bean-pot.
They piled their wraps high on a rocker, and cheered the rocker as it
solemnly tipped over backward.

Mrs. Elder and Mrs. Sam Clark made coffee in an enormous blackened tin
pot; Vida Sherwin and Mrs. McGanum unpacked doughnuts and gingerbread;
Mrs. Dave Dyer warmed up "hot dogs"--frankfurters in rolls; Dr. Terry
Gould, after announcing, "Ladies and gents, prepare to be shocked; shock
line forms on the right," produced a bottle of bourbon whisky.

The others danced, muttering "Ouch!" as their frosted feet struck the
pine planks. Carol had lost her dream. Harry Haydock lifted her by the
waist and swung her. She laughed. The gravity of the people who stood
apart and talked made her the more impatient for frolic.

Kennicott, Sam Clark, Jackson Elder, young Dr. McGanum, and James
Madison Howland, teetering on their toes near the stove, conversed
with the sedate pomposity of the commercialist. In details the men were
unlike, yet they said the same things in the same hearty monotonous
voices. You had to look at them to see which was speaking.

"Well, we made pretty good time coming up," from one--any one.

"Yump, we hit it up after we struck the good going on the lake."

"Seems kind of slow though, after driving an auto."

"Yump, it does, at that. Say, how'd you make out with that Sphinx tire
you got?"

"Seems to hold out fine. Still, I don't know's I like it any better than
the Roadeater Cord."

"Yump, nothing better than a Roadeater. Especially the cord. The cord's
lots better than the fabric."

"Yump, you said something----Roadeater's a good tire."

"Say, how'd you come out with Pete Garsheim on his payments?"

"He's paying up pretty good. That's a nice piece of land he's got."

"Yump, that's a dandy farm."

"Yump, Pete's got a good place there."

They glided from these serious topics into the jocose insults which are
the wit of Main Street. Sam Clark was particularly apt at them. "What's
this wild-eyed sale of summer caps you think you're trying to pull
off?" he clamored at Harry Haydock. "Did you steal 'em, or are you just
overcharging us, as usual? . . . Oh say, speaking about caps, d'I ever
tell you the good one I've got on Will? The doc thinks he's a pretty
good driver, fact, he thinks he's almost got human intelligence, but one
time he had his machine out in the rain, and the poor fish, he hadn't
put on chains, and thinks I----"

Carol had heard the story rather often. She fled back to the dancers,
and at Dave Dyer's masterstroke of dropping an icicle down Mrs.
McGanum's back she applauded hysterically.

They sat on the floor, devouring the food. The men giggled amiably as
they passed the whisky bottle, and laughed, "There's a real sport!" when
Juanita Haydock took a sip. Carol tried to follow; she believed that she
desired to be drunk and riotous; but the whisky choked her and as she
saw Kennicott frown she handed the bottle on repentantly. Somewhat too
late she remembered that she had given up domesticity and repentance.

"Let's play charades!" said Raymie Wutherspoon.

"Oh yes, do let us," said Ella Stowbody.

"That's the caper," sanctioned Harry Haydock.

They interpreted the word "making" as May and King. The crown was a red
flannel mitten cocked on Sam Clark's broad pink bald head. They forgot
they were respectable. They made-believe. Carol was stimulated to cry:

"Let's form a dramatic club and give a play! Shall we? It's been so much
fun tonight!"

They looked affable.

"Sure," observed Sam Clark loyally.

"Oh, do let us! I think it would be lovely to present 'Romeo and
Juliet'!" yearned Ella Stowbody.

"Be a whale of a lot of fun," Dr. Terry Gould granted.

"But if we did," Carol cautioned, "it would be awfully silly to have
amateur theatricals. We ought to paint our own scenery and everything,
and really do something fine. There'd be a lot of hard work. Would
you--would we all be punctual at rehearsals, do you suppose?"

"You bet!" "Sure." "That's the idea." "Fellow ought to be prompt at
rehearsals," they all agreed.

"Then let's meet next week and form the Gopher Prairie Dramatic
Association!" Carol sang.

She drove home loving these friends who raced through moonlit snow,
had Bohemian parties, and were about to create beauty in the theater.
Everything was solved. She would be an authentic part of the town,
yet escape the coma of the Village Virus. . . . She would be free of
Kennicott again, without hurting him, without his knowing.

She had triumphed.

The moon was small and high now, and unheeding.

II

Though they had all been certain that they longed for the privilege of
attending committee meetings and rehearsals, the dramatic association as
definitely formed consisted only of Kennicott, Carol, Guy Pollock,
Vida Sherwin, Ella Stowbody, the Harry Haydocks, the Dave Dyers, Raymie
Wutherspoon, Dr. Terry Gould, and four new candidates: flirtatious Rita
Simons, Dr. and Mrs. Harvey Dillon and Myrtle Cass, an uncomely but
intense girl of nineteen. Of these fifteen only seven came to the first
meeting. The rest telephoned their unparalleled regrets and engagements
and illnesses, and announced that they would be present at all other
meetings through eternity.

Carol was made president and director.

She had added the Dillons. Despite Kennicott's apprehension the dentist
and his wife had not been taken up by the Westlakes but had remained
as definitely outside really smart society as Willis Woodford, who was
teller, bookkeeper, and janitor in Stowbody's bank. Carol had noted Mrs.
Dillon dragging past the house during a bridge of the Jolly Seventeen,
looking in with pathetic lips at the splendor of the accepted. She
impulsively invited the Dillons to the dramatic association meeting, and
when Kennicott was brusque to them she was unusually cordial, and felt
virtuous.

That self-approval balanced her disappointment at the smallness of the
meeting, and her embarrassment during Raymie Wutherspoon's repetitions
of "The stage needs uplifting," and "I believe that there are great
lessons in some plays."

Ella Stowbody, who was a professional, having studied elocution in
Milwaukee, disapproved of Carol's enthusiasm for recent plays. Miss
Stowbody expressed the fundamental principle of the American drama: the
only way to be artistic is to present Shakespeare. As no one listened to
her she sat back and looked like Lady Macbeth.

III

The Little Theaters, which were to give piquancy to American drama three
or four years later, were only in embryo. But of this fast coming revolt
Carol had premonitions. She knew from some lost magazine article that
in Dublin were innovators called The Irish Players. She knew confusedly
that a man named Gordon Craig had painted scenery--or had he written
plays? She felt that in the turbulence of the drama she was discovering
a history more important than the commonplace chronicles which dealt
with senators and their pompous puerilities. She had a sensation of
familiarity; a dream of sitting in a Brussels cafe and going afterward
to a tiny gay theater under a cathedral wall.

The advertisement in the Minneapolis paper leaped from the page to her
eyes:

     The Cosmos School of Music, Oratory, and
     Dramatic Art announces a program of four
     one-act plays by Schnitzler, Shaw, Yeats,
     and Lord Dunsany.

She had to be there! She begged Kennicott to "run down to the Cities"
with her.

"Well, I don't know. Be fun to take in a show, but why the deuce do you
want to see those darn foreign plays, given by a lot of amateurs? Why
don't you wait for a regular play, later on? There's going to be some
corkers coming: 'Lottie of Two-Gun Rancho,' and 'Cops and Crooks'--real
Broadway stuff, with the New York casts. What's this junk you want
to see? Hm. 'How He Lied to Her Husband.' That doesn't listen so bad.
Sounds racy. And, uh, well, I could go to the motor show, I suppose. I'd
like to see this new Hup roadster. Well----"

She never knew which attraction made him decide.

She had four days of delightful worry--over the hole in her one good
silk petticoat, the loss of a string of beads from her chiffon and brown
velvet frock, the catsup stain on her best georgette crepe blouse. She
wailed, "I haven't a single solitary thing that's fit to be seen in,"
and enjoyed herself very much indeed.

Kennicott went about casually letting people know that he was "going to
run down to the Cities and see some shows."

As the train plodded through the gray prairie, on a windless day with
the smoke from the engine clinging to the fields in giant cotton-rolls,
in a low and writhing wall which shut off the snowy fields, she did not
look out of the window. She closed her eyes and hummed, and did not know
that she was humming.

She was the young poet attacking fame and Paris.

In the Minneapolis station the crowd of lumberjacks, farmers, and
Swedish families with innumerous children and grandparents and paper
parcels, their foggy crowding and their clamor confused her. She felt
rustic in this once familiar city, after a year and a half of
Gopher Prairie. She was certain that Kennicott was taking the wrong
trolley-car. By dusk, the liquor warehouses, Hebraic clothing-shops,
and lodging-houses on lower Hennepin Avenue were smoky, hideous,
ill-tempered. She was battered by the noise and shuttling of the
rush-hour traffic. When a clerk in an overcoat too closely fitted at the
waist stared at her, she moved nearer to Kennicott's arm. The clerk was
flippant and urban. He was a superior person, used to this tumult. Was
he laughing at her?

For a moment she wanted the secure quiet of Gopher Prairie.

In the hotel-lobby she was self-conscious. She was not used to hotels;
she remembered with jealousy how often Juanita Haydock talked of the
famous hotels in Chicago. She could not face the traveling salesmen,
baronial in large leather chairs. She wanted people to believe that her
husband and she were accustomed to luxury and chill elegance; she was
faintly angry at him for the vulgar way in which, after signing the
register "Dr. W. P. Kennicott & wife," he bellowed at the clerk, "Got a
nice room with bath for us, old man?" She gazed about haughtily, but as
she discovered that no one was interested in her she felt foolish, and
ashamed of her irritation.

She asserted, "This silly lobby is too florid," and simultaneously she
admired it: the onyx columns with gilt capitals, the crown-embroidered
velvet curtains at the restaurant door, the silk-roped alcove where
pretty girls perpetually waited for mysterious men, the two-pound boxes
of candy and the variety of magazines at the news-stand. The hidden
orchestra was lively. She saw a man who looked like a European diplomat,
in a loose top-coat and a Homburg hat. A woman with a broadtail coat,
a heavy lace veil, pearl earrings, and a close black hat entered the
restaurant. "Heavens! That's the first really smart woman I've seen in a
year!" Carol exulted. She felt metropolitan.

But as she followed Kennicott to the elevator the coat-check girl, a
confident young woman, with cheeks powdered like lime, and a blouse
low and thin and furiously crimson, inspected her, and under that
supercilious glance Carol was shy again. She unconsciously waited
for the bellboy to precede her into the elevator. When he snorted "Go
ahead!" she was mortified. He thought she was a hayseed, she worried.

The moment she was in their room, with the bellboy safely out of the
way, she looked critically at Kennicott. For the first time in months
she really saw him.

His clothes were too heavy and provincial. His decent gray suit, made
by Nat Hicks of Gopher Prairie, might have been of sheet iron; it had
no distinction of cut, no easy grace like the diplomat's Burberry. His
black shoes were blunt and not well polished. His scarf was a stupid
brown. He needed a shave.

But she forgot her doubt as she realized the ingenuities of the room.
She ran about, turning on the taps of the bathtub, which gushed instead
of dribbling like the taps at home, snatching the new wash-rag out of
its envelope of oiled paper, trying the rose-shaded light between the
twin beds, pulling out the drawers of the kidney-shaped walnut desk to
examine the engraved stationery, planning to write on it to every one
she knew, admiring the claret-colored velvet armchair and the blue rug,
testing the ice-water tap, and squealing happily when the water really
did come out cold. She flung her arms about Kennicott, kissed him.

"Like it, old lady?"

"It's adorable. It's so amusing. I love you for bringing me. You really
are a dear!"

He looked blankly indulgent, and yawned, and condescended, "That's a
pretty slick arrangement on the radiator, so you can adjust it at any
temperature you want. Must take a big furnace to run this place. Gosh, I
hope Bea remembers to turn off the drafts tonight."

Under the glass cover of the dressing-table was a menu with the most
enchanting dishes: breast of guinea hen De Vitresse, pommes de terre a
la Russe, meringue Chantilly, gateaux Bruxelles.

"Oh, let's----I'm going to have a hot bath, and put on my new hat with
the wool flowers, and let's go down and eat for hours, and we'll have a
cocktail!" she chanted.

While Kennicott labored over ordering it was annoying to see him permit
the waiter to be impertinent, but as the cocktail elevated her to a
bridge among colored stars, as the oysters came in--not canned oysters
in the Gopher Prairie fashion, but on the half-shell--she cried, "If you
only knew how wonderful it is not to have had to plan this dinner, and
order it at the butcher's and fuss and think about it, and then
watch Bea cook it! I feel so free. And to have new kinds of food, and
different patterns of dishes and linen, and not worry about whether the
pudding is being spoiled! Oh, this is a great moment for me!"

IV

They had all the experiences of provincials in a metropolis. After
breakfast Carol bustled to a hair-dresser's, bought gloves and a blouse,
and importantly met Kennicott in front of an optician's, in accordance
with plans laid down, revised, and verified. They admired the diamonds
and furs and frosty silverware and mahogany chairs and polished morocco
sewing-boxes in shop-windows, and were abashed by the throngs in the
department-stores, and were bullied by a clerk into buying too many
shirts for Kennicott, and gaped at the "clever novelty perfumes--just
in from New York." Carol got three books on the theater, and spent
an exultant hour in warning herself that she could not afford this
rajah-silk frock, in thinking how envious it would make Juanita Haydock,
in closing her eyes, and buying it. Kennicott went from shop to shop,
earnestly hunting down a felt-covered device to keep the windshield of
his car clear of rain.

They dined extravagantly at their hotel at night, and next morning
sneaked round the corner to economize at a Childs' Restaurant. They were
tired by three in the afternoon, and dozed at the motion-pictures and
said they wished they were back in Gopher Prairie--and by eleven in the
evening they were again so lively that they went to a Chinese restaurant
that was frequented by clerks and their sweethearts on pay-days. They
sat at a teak and marble table eating Eggs Fooyung, and listened to a
brassy automatic piano, and were altogether cosmopolitan.

On the street they met people from home--the McGanums. They laughed,
shook hands repeatedly, and exclaimed, "Well, this is quite a
coincidence!" They asked when the McGanums had come down, and begged for
news of the town they had left two days before. Whatever the
McGanums were at home, here they stood out as so superior to all the
undistinguishable strangers absurdly hurrying past that the Kennicotts
held them as long as they could. The McGanums said good-by as though
they were going to Tibet instead of to the station to catch No. 7 north.

They explored Minneapolis. Kennicott was conversational and technical
regarding gluten and cockle-cylinders and No. I Hard, when they were
shown through the gray stone hulks and new cement elevators of the
largest flour-mills in the world. They looked across Loring Park and
the Parade to the towers of St. Mark's and the Procathedral, and the
red roofs of houses climbing Kenwood Hill. They drove about the chain of
garden-circled lakes, and viewed the houses of the millers and lumbermen
and real estate peers--the potentates of the expanding city. They
surveyed the small eccentric bungalows with pergolas, the houses of
pebbledash and tapestry brick with sleeping-porches above sun-parlors,
and one vast incredible chateau fronting the Lake of the Isles. They
tramped through a shining-new section of apartment-houses; not the tall
bleak apartments of Eastern cities but low structures of cheerful yellow
brick, in which each flat had its glass-enclosed porch with swinging
couch and scarlet cushions and Russian brass bowls. Between a waste of
tracks and a raw gouged hill they found poverty in staggering shanties.

They saw miles of the city which they had never known in their days
of absorption in college. They were distinguished explorers, and they
remarked, in great mutual esteem, "I bet Harry Haydock's never seen the
City like this! Why, he'd never have sense enough to study the machinery
in the mills, or go through all these outlying districts. Wonder folks
in Gopher Prairie wouldn't use their legs and explore, the way we do!"

They had two meals with Carol's sister, and were bored, and felt that
intimacy which beatifies married people when they suddenly admit that
they equally dislike a relative of either of them.

So it was with affection but also with weariness that they approached
the evening on which Carol was to see the plays at the dramatic school.
Kennicott suggested not going. "So darn tired from all this walking;
don't know but what we better turn in early and get rested up." It was
only from duty that Carol dragged him and herself out of the warm
hotel, into a stinking trolley, up the brownstone steps of the converted
residence which lugubriously housed the dramatic school.

V

They were in a long whitewashed hall with a clumsy draw-curtain across
the front. The folding chairs were filled with people who looked washed
and ironed: parents of the pupils, girl students, dutiful teachers.

"Strikes me it's going to be punk. If the first play isn't good, let's
beat it," said Kennicott hopefully.

"All right," she yawned. With hazy eyes she tried to read the lists of
characters, which were hidden among lifeless advertisements of pianos,
music-dealers, restaurants, candy.

She regarded the Schnitzler play with no vast interest. The actors
moved and spoke stiffly. Just as its cynicism was beginning to rouse her
village-dulled frivolity, it was over.

"Don't think a whale of a lot of that. How about taking a sneak?"
petitioned Kennicott.

"Oh, let's try the next one, 'How He Lied to Her Husband.'"

The Shaw conceit amused her, and perplexed Kennicott:

"Strikes me it's darn fresh. Thought it would be racy. Don't know as I
think much of a play where a husband actually claims he wants a fellow
to make love to his wife. No husband ever did that! Shall we shake a
leg?"

"I want to see this Yeats thing, 'Land of Heart's Desire.' I used to
love it in college." She was awake now, and urgent. "I know you didn't
care so much for Yeats when I read him aloud to you, but you just see if
you don't adore him on the stage."

Most of the cast were as unwieldy as oak chairs marching, and the
setting was an arty arrangement of batik scarfs and heavy tables, but
Maire Bruin was slim as Carol, and larger-eyed, and her voice was
a morning bell. In her, Carol lived, and on her lifting voice was
transported from this sleepy small-town husband and all the rows of
polite parents to the stilly loft of a thatched cottage where in a green
dimness, beside a window caressed by linden branches, she bent over a
chronicle of twilight women and the ancient gods.

"Well--gosh--nice kid played that girl--good-looker," said Kennicott.
"Want to stay for the last piece? Heh?"

She shivered. She did not answer.

The curtain was again drawn aside. On the stage they saw nothing but
long green curtains and a leather chair. Two young men in brown robes
like furniture-covers were gesturing vacuously and droning cryptic
sentences full of repetitions.

It was Carol's first hearing of Dunsany. She sympathized with the
restless Kennicott as he felt in his pocket for a cigar and unhappily
put it back.

Without understanding when or how, without a tangible change in the
stilted intoning of the stage-puppets, she was conscious of another time
and place.

Stately and aloof among vainglorious tiring-maids, a queen in robes
that murmured on the marble floor, she trod the gallery of a crumbling
palace. In the courtyard, elephants trumpeted, and swart men with beards
dyed crimson stood with blood-stained hands folded upon their hilts,
guarding the caravan from El Sharnak, the camels with Tyrian stuffs
of topaz and cinnabar. Beyond the turrets of the outer wall the jungle
glared and shrieked, and the sun was furious above drenched orchids.
A youth came striding through the steel-bossed doors, the sword-bitten
doors that were higher than ten tall men. He was in flexible mail, and
under the rim of his planished morion were amorous curls. His hand was
out to her; before she touched it she could feel its warmth----

"Gosh all hemlock! What the dickens is all this stuff about, Carrie?"

She was no Syrian queen. She was Mrs. Dr. Kennicott. She fell with a
jolt into a whitewashed hall and sat looking at two scared girls and a
young man in wrinkled tights.

Kennicott fondly rambled as they left the hall:

"What the deuce did that last spiel mean? Couldn't make head or tail of
it. If that's highbrow drama, give me a cow-puncher movie, every time!
Thank God, that's over, and we can get to bed. Wonder if we wouldn't
make time by walking over to Nicollet to take a car? One thing I will
say for that dump: they had it warm enough. Must have a big hot-air
furnace, I guess. Wonder how much coal it takes to run 'em through the
winter?"

In the car he affectionately patted her knee, and he was for a second
the striding youth in armor; then he was Doc Kennicott of Gopher
Prairie, and she was recaptured by Main Street. Never, not all her life,
would she behold jungles and the tombs of kings. There were strange
things in the world, they really existed; but she would never see them.

She would recreate them in plays!

She would make the dramatic association understand her aspiration. They
would, surely they would----

She looked doubtfully at the impenetrable reality of yawning trolley
conductor and sleepy passengers and placards advertising soap and
underwear.

CHAPTER XVIII

I

SHE hurried to the first meeting of the play-reading committee. Her
jungle romance had faded, but she retained a religious fervor, a surge
of half-formed thought about the creation of beauty by suggestion.

A Dunsany play would be too difficult for the Gopher Prairie
association. She would let them compromise on Shaw--on "Androcles and
the Lion," which had just been published.

The committee was composed of Carol, Vida Sherwin, Guy Pollock, Raymie
Wutherspoon, and Juanita Haydock. They were exalted by the picture of
themselves as being simultaneously business-like and artistic. They
were entertained by Vida in the parlor of Mrs. Elisha Gurrey's
boarding-house, with its steel engraving of Grant at Appomattox, its
basket of stereoscopic views, and its mysterious stains on the gritty
carpet.

Vida was an advocate of culture-buying and efficiency-systems. She
hinted that they ought to have (as at the committee-meetings of the
Thanatopsis) a "regular order of business," and "the reading of the
minutes," but as there were no minutes to read, and as no one knew
exactly what was the regular order of the business of being literary,
they had to give up efficiency.

Carol, as chairman, said politely, "Have you any ideas about what play
we'd better give first?" She waited for them to look abashed and vacant,
so that she might suggest "Androcles."

Guy Pollock answered with disconcerting readiness, "I'll tell you: since
we're going to try to do something artistic, and not simply fool around,
I believe we ought to give something classic. How about 'The School for
Scandal'?"

"Why----Don't you think that has been done a good deal?"

"Yes, perhaps it has."

Carol was ready to say, "How about Bernard Shaw?" when he treacherously
went on, "How would it be then to give a Greek drama--say 'Oedipus
Tyrannus'?"

"Why, I don't believe----"

Vida Sherwin intruded, "I'm sure that would be too hard for us. Now I've
brought something that I think would be awfully jolly."

She held out, and Carol incredulously took, a thin gray pamphlet
entitled "McGinerty's Mother-in-law." It was the sort of farce which is
advertised in "school entertainment" catalogues as:

Riproaring knock-out, 5 m. 3 f., time 2 hrs., interior set, popular with
churches and all high-class occasions.

Carol glanced from the scabrous object to Vida, and realized that she
was not joking.

"But this is--this is--why, it's just a----Why, Vida, I thought you
appreciated--well--appreciated art."

Vida snorted, "Oh. Art. Oh yes. I do like art. It's very nice. But after
all, what does it matter what kind of play we give as long as we get the
association started? The thing that matters is something that none of
you have spoken of, that is: what are we going to do with the money, if
we make any? I think it would be awfully nice if we presented the high
school with a full set of Stoddard's travel-lectures!"

Carol moaned, "Oh, but Vida dear, do forgive me but this farce----Now
what I'd like us to give is something distinguished. Say Shaw's
'Androcles.' Have any of you read it?"

"Yes. Good play," said Guy Pollock.

Then Raymie Wutherspoon astoundingly spoke up:

"So have I. I read through all the plays in the public library, so's
to be ready for this meeting. And----But I don't believe you grasp
the irreligious ideas in this 'Androcles,' Mrs. Kennicott. I guess the
feminine mind is too innocent to understand all these immoral writers.
I'm sure I don't want to criticize Bernard Shaw; I understand he is very
popular with the highbrows in Minneapolis; but just the same----As far
as I can make out, he's downright improper! The things he SAYS----Well,
it would be a very risky thing for our young folks to see. It seems to
me that a play that doesn't leave a nice taste in the mouth and that
hasn't any message is nothing but--nothing but----Well, whatever it may
be, it isn't art. So----Now I've found a play that is clean, and there's
some awfully funny scenes in it, too. I laughed out loud, reading it.
It's called 'His Mother's Heart,' and it's about a young man in college
who gets in with a lot of free-thinkers and boozers and everything, but
in the end his mother's influence----"

Juanita Haydock broke in with a derisive, "Oh rats, Raymie! Can the
mother's influence! I say let's give something with some class to it.
I bet we could get the rights to 'The Girl from Kankakee,' and that's a
real show. It ran for eleven months in New York!"

"That would be lots of fun, if it wouldn't cost too much," reflected
Vida.

Carol's was the only vote cast against "The Girl from Kankakee."

II

She disliked "The Girl from Kankakee" even more than she had expected.
It narrated the success of a farm-lassie in clearing her brother of a
charge of forgery. She became secretary to a New York millionaire and
social counselor to his wife; and after a well-conceived speech on the
discomfort of having money, she married his son.

There was also a humorous office-boy.

Carol discerned that both Juanita Haydock and Ella Stowbody wanted the
lead. She let Juanita have it. Juanita kissed her and in the exuberant
manner of a new star presented to the executive committee her theory,
"What we want in a play is humor and pep. There's where American
playwrights put it all over these darn old European glooms."

As selected by Carol and confirmed by the committee, the persons of the
play were:

     John Grimm, a millionaire .  .   .  .  Guy Pollock
     His wife.   .  .   .  .   .  .   .  .  Miss Vida Sherwin
     His son .   .  .   .  .   .  .   .  .  Dr. Harvey Dillon
     His business rival.   .  .   .  .  . . Raymond T.  Wutherspoon
     Friend of Mrs. Grimm .  .   .  .   . . Miss Ella Stowbody
     The girl from Kankakee .   .  .   .  . Mrs. Harold C.  Haydock
     Her brother.  .   .  .   .  .   .  .   Dr. Terence Gould
     Her mother .  .   .  .   .  .   .  .   Mrs. David Dyer
     Stenographer .   .  .   .  .   .  .  . Miss Rita Simons
     Office-boy .  .   .  .   .  .   .  .   Miss Myrtle Cass
     Maid in the Grimms' home  .  .  .  .   Mrs. W.  P.  Kennicott
     Direction of Mrs. Kennicott

Among the minor lamentations was Maud Dyer's "Well of course I suppose I
look old enough to be Juanita's mother, even if Juanita is eight months
older than I am, but I don't know as I care to have everybody noticing
it and----"

Carol pleaded, "Oh, my DEAR! You two look exactly the same age. I chose
you because you have such a darling complexion, and you know with powder
and a white wig, anybody looks twice her age, and I want the mother to
be sweet, no matter who else is."

Ella Stowbody, the professional, perceiving that it was because of a
conspiracy of jealousy that she had been given a small part, alternated
between lofty amusement and Christian patience.

Carol hinted that the play would be improved by cutting, but as every
actor except Vida and Guy and herself wailed at the loss of a single
line, she was defeated. She told herself that, after all, a great deal
could be done with direction and settings.

Sam Clark had boastfully written about the dramatic association to his
schoolmate, Percy Bresnahan, president of the Velvet Motor Company
of Boston. Bresnahan sent a check for a hundred dollars; Sam added
twenty-five and brought the fund to Carol, fondly crying, "There!
That'll give you a start for putting the thing across swell!"

She rented the second floor of the city hall for two months. All through
the spring the association thrilled to its own talent in that dismal
room. They cleared out the bunting, ballot-boxes, handbills, legless
chairs. They attacked the stage. It was a simple-minded stage. It was
raised above the floor, and it did have a movable curtain, painted with
the advertisement of a druggist dead these ten years, but otherwise
it might not have been recognized as a stage. There were two
dressing-rooms, one for men, one for women, on either side. The
dressing-room doors were also the stage-entrances, opening from the
house, and many a citizen of Gopher Prairie had for his first glimpse of
romance the bare shoulders of the leading woman.

There were three sets of scenery: a woodland, a Poor Interior, and a
Rich Interior, the last also useful for railway stations, offices, and
as a background for the Swedish Quartette from Chicago. There were three
gradations of lighting: full on, half on, and entirely off.

This was the only theater in Gopher Prairie. It was known as the "op'ra
house." Once, strolling companies had used it for performances of "The
Two Orphans," and "Nellie the Beautiful Cloak Model," and "Othello" with
specialties between acts, but now the motion-pictures had ousted the
gipsy drama.

Carol intended to be furiously modern in constructing the office-set,
the drawing-room for Mr. Grimm, and the Humble Home near Kankakee.
It was the first time that any one in Gopher Prairie had been so
revolutionary as to use enclosed scenes with continuous side-walls. The
rooms in the op'ra house sets had separate wing-pieces for sides, which
simplified dramaturgy, as the villain could always get out of the hero's
way by walking out through the wall.

The inhabitants of the Humble Home were supposed to be amiable and
intelligent. Carol planned for them a simple set with warm color. She
could see the beginning of the play: all dark save the high settles and
the solid wooden table between them, which were to be illuminated by a
ray from offstage. The high light was a polished copper pot filled with
primroses. Less clearly she sketched the Grimm drawing-room as a series
of cool high white arches.

As to how she was to produce these effects she had no notion.

She discovered that, despite the enthusiastic young writers, the
drama was not half so native and close to the soil as motor cars and
telephones. She discovered that simple arts require sophisticated
training. She discovered that to produce one perfect stage-picture would
be as difficult as to turn all of Gopher Prairie into a Georgian garden.

She read all she could find regarding staging, she bought paint and
light wood; she borrowed furniture and drapes unscrupulously; she made
Kennicott turn carpenter. She collided with the problem of lighting.
Against the protest of Kennicott and Vida she mortgaged the association
by sending to Minneapolis for a baby spotlight, a strip light, a dimming
device, and blue and amber bulbs; and with the gloating rapture of
a born painter first turned loose among colors, she spent absorbed
evenings in grouping, dimming-painting with lights.

Only Kennicott, Guy, and Vida helped her. They speculated as to how
flats could be lashed together to form a wall; they hung crocus-yellow
curtains at the windows; they blacked the sheet-iron stove; they put on
aprons and swept. The rest of the association dropped into the theater
every evening, and were literary and superior. They had borrowed
Carol's manuals of play-production and had become extremely stagey in
vocabulary.

Juanita Haydock, Rita Simons, and Raymie Wutherspoon sat on a sawhorse,
watching Carol try to get the right position for a picture on the wall
in the first scene.

"I don't want to hand myself anything but I believe I'll give a swell
performance in this first act," confided Juanita. "I wish Carol wasn't
so bossy though. She doesn't understand clothes. I want to wear, oh,
a dandy dress I have--all scarlet--and I said to her, 'When I enter
wouldn't it knock their eyes out if I just stood there at the door in
this straight scarlet thing?' But she wouldn't let me."

Young Rita agreed, "She's so much taken up with her old details and
carpentering and everything that she can't see the picture as a whole.
Now I thought it would be lovely if we had an office-scene like the one
in 'Little, But Oh My!' Because I SAW that, in Duluth. But she simply
wouldn't listen at all."

Juanita sighed, "I wanted to give one speech like Ethel Barrymore would,
if she was in a play like this. (Harry and I heard her one time in
Minneapolis--we had dandy seats, in the orchestra--I just know I could
imitate her.) Carol didn't pay any attention to my suggestion. I don't
want to criticize but I guess Ethel knows more about acting than Carol
does!"

"Say, do you think Carol has the right dope about using a strip light
behind the fireplace in the second act? I told her I thought we ought to
use a bunch," offered Raymie. "And I suggested it would be lovely if we
used a cyclorama outside the window in the first act, and what do you
think she said? 'Yes, and it would be lovely to have Eleanora Duse play
the lead,' she said, 'and aside from the fact that it's evening in the
first act, you're a great technician,' she said. I must say I think she
was pretty sarcastic. I've been reading up, and I know I could build a
cyclorama, if she didn't want to run everything."

"Yes, and another thing, I think the entrance in the first act ought to
be L. U. E., not L. 3 E.," from Juanita.

"And why does she just use plain white tormenters?"

"What's a tormenter?" blurted Rita Simons.

The savants stared at her ignorance.

III

Carol did not resent their criticisms, she didn't very much resent
their sudden knowledge, so long as they let her make pictures. It was at
rehearsals that the quarrrels broke. No one understood that rehearsals
were as real engagements as bridge-games or sociables at the Episcopal
Church. They gaily came in half an hour late, or they vociferously came
in ten minutes early, and they were so hurt that they whispered about
resigning when Carol protested. They telephoned, "I don't think I'd
better come out; afraid the dampness might start my toothache," or
"Guess can't make it tonight; Dave wants me to sit in on a poker game."

When, after a month of labor, as many as nine-elevenths of the cast were
often present at a rehearsal; when most of them had learned their parts
and some of them spoke like human beings, Carol had a new shock in the
realization that Guy Pollock and herself were very bad actors, and that
Raymie Wutherspoon was a surprisingly good one. For all her visions
she could not control her voice, and she was bored by the fiftieth
repetition of her few lines as maid. Guy pulled his soft mustache,
looked self-conscious, and turned Mr. Grimm into a limp dummy. But
Raymie, as the villain, had no repressions. The tilt of his head was
full of character; his drawl was admirably vicious.

There was an evening when Carol hoped she was going to make a play; a
rehearsal during which Guy stopped looking abashed.

From that evening the play declined.

They were weary. "We know our parts well enough now; what's the use of
getting sick of them?" they complained. They began to skylark; to play
with the sacred lights; to giggle when Carol was trying to make the
sentimental Myrtle Cass into a humorous office-boy; to act everything
but "The Girl from Kankakee." After loafing through his proper part
Dr. Terry Gould had great applause for his burlesque of "Hamlet." Even
Raymie lost his simple faith, and tried to show that he could do a
vaudeville shuffle.

Carol turned on the company. "See here, I want this nonsense to stop.
We've simply got to get down to work."

Juanita Haydock led the mutiny: "Look here, Carol, don't be so bossy.
After all, we're doing this play principally for the fun of it, and if
we have fun out of a lot of monkey-shines, why then----"

"Ye-es," feebly.

"You said one time that folks in G. P. didn't get enough fun out of
life. And now we are having a circus, you want us to stop!"

Carol answered slowly: "I wonder if I can explain what I mean? It's the
difference between looking at the comic page and looking at Manet. I
want fun out of this, of course. Only----I don't think it would be
less fun, but more, to produce as perfect a play as we can." She was
curiously exalted; her voice was strained; she stared not at the company
but at the grotesques scrawled on the backs of wing-pieces by forgotten
stage-hands. "I wonder if you can understand the 'fun' of making a
beautiful thing, the pride and satisfaction of it, and the holiness!"

The company glanced doubtfully at one another. In Gopher Prairie it
is not good form to be holy except at a church, between ten-thirty and
twelve on Sunday.

"But if we want to do it, we've got to work; we must have
self-discipline."

They were at once amused and embarrassed. They did not want to affront
this mad woman. They backed off and tried to rehearse. Carol did not
hear Juanita, in front, protesting to Maud Dyer, "If she calls it fun
and holiness to sweat over her darned old play--well, I don't!"

IV

Carol attended the only professional play which came to Gopher Prairie
that spring. It was a "tent show, presenting snappy new dramas under
canvas." The hard-working actors doubled in brass, and took tickets;
and between acts sang about the moon in June, and sold Dr. Wintergreen's
Surefire Tonic for Ills of the Heart, Lungs, Kidneys, and Bowels. They
presented "Sunbonnet Nell: A Dramatic Comedy of the Ozarks," with J.
Witherbee Boothby wringing the soul by his resonant "Yuh ain't done
right by mah little gal, Mr. City Man, but yer a-goin' to find that back
in these-yere hills there's honest folks and good shots!"

The audience, on planks beneath the patched tent, admired Mr. Boothby's
beard and long rifle; stamped their feet in the dust at the spectacle
of his heroism; shouted when the comedian aped the City Lady's use of a
lorgnon by looking through a doughnut stuck on a fork; wept visibly over
Mr. Boothby's Little Gal Nell, who was also Mr. Boothby's legal wife
Pearl, and when the curtain went down, listened respectfully to Mr.
Boothby's lecture on Dr. Wintergreen's Tonic as a cure for tape-worms,
which he illustrated by horrible pallid objects curled in bottles of
yellowing alcohol.

Carol shook her head. "Juanita is right. I'm a fool. Holiness of the
drama! Bernard Shaw! The only trouble with 'The Girl from Kankakee' is
that it's too subtle for Gopher Prairie!"

She sought faith in spacious banal phrases, taken from books: "the
instinctive nobility of simple souls," "need only the opportunity, to
appreciate fine things," and "sturdy exponents of democracy." But these
optimisms did not sound so loud as the laughter of the audience at the
funny-man's line, "Yes, by heckelum, I'm a smart fella." She wanted to
give up the play, the dramatic association, the town. As she came out
of the tent and walked with Kennicott down the dusty spring street, she
peered at this straggling wooden village and felt that she could not
possibly stay here through all of tomorrow.

It was Miles Bjornstam who gave her strength--he and the fact that every
seat for "The Girl from Kankakee" had been sold.

Bjornstam was "keeping company" with Bea. Every night he was sitting on
the back steps. Once when Carol appeared he grumbled, "Hope you're going
to give this burg one good show. If you don't, reckon nobody ever will."

V

It was the great night; it was the night of the play. The two
dressing-rooms were swirling with actors, panting, twitchy pale. Del
Snafflin the barber, who was as much a professional as Ella, having once
gone on in a mob scene at a stock-company performance in Minneapolis,
was making them up, and showing his scorn for amateurs with, "Stand
still! For the love o' Mike, how do you expect me to get your eyelids
dark if you keep a-wigglin'?" The actors were beseeching, "Hey, Del, put
some red in my nostrils--you put some in Rita's--gee, you didn't hardly
do anything to my face."

They were enormously theatric. They examined Del's makeup box, they
sniffed the scent of grease-paint, every minute they ran out to peep
through the hole in the curtain, they came back to inspect their wigs
and costumes, they read on the whitewashed walls of the dressing-rooms
the pencil inscriptions: "The Flora Flanders Comedy Company," and "This
is a bum theater," and felt that they were companions of these vanished
troupers.

Carol, smart in maid's uniform, coaxed the temporary stage-hands to
finish setting the first act, wailed at Kennicott, the electrician, "Now
for heaven's sake remember the change in cue for the ambers in Act Two,"
slipped out to ask Dave Dyer, the ticket-taker, if he could get some
more chairs, warned the frightened Myrtle Cass to be sure to upset the
waste-basket when John Grimm called, "Here you, Reddy."

Del Snafflin's orchestra of piano, violin, and cornet began to tune up
and every one behind the magic line of the proscenic arch was frightened
into paralysis. Carol wavered to the hole in the curtain. There were so
many people out there, staring so hard----

In the second row she saw Miles Bjornstam, not with Bea but alone.
He really wanted to see the play! It was a good omen. Who could tell?
Perhaps this evening would convert Gopher Prairie to conscious beauty.

She darted into the women's dressing-room, roused Maud Dyer from her
fainting panic, pushed her to the wings, and ordered the curtain up.

It rose doubtfully, it staggered and trembled, but it did get up without
catching--this time. Then she realized that Kennicott had forgotten to
turn off the houselights. Some one out front was giggling.

She galloped round to the left wing, herself pulled the switch, looked
so ferociously at Kennicott that he quaked, and fled back.

Mrs. Dyer was creeping out on the half-darkened stage. The play was
begun.

And with that instant Carol realized that it was a bad play abominably
acted.

Encouraging them with lying smiles, she watched her work go to pieces.
The settings seemed flimsy, the lighting commonplace. She watched
Guy Pollock stammer and twist his mustache when he should have been a
bullying magnate; Vida Sherwin, as Grimm's timid wife, chatter at the
audience as though they were her class in high-school English; Juanita,
in the leading role, defy Mr. Grimm as though she were repeating a list
of things she had to buy at the grocery this morning; Ella Stowbody
remark "I'd like a cup of tea" as though she were reciting "Curfew Shall
Not Ring Tonight"; and Dr. Gould, making love to Rita Simons, squeak,
"My--my--you--are--a--won'erful--girl."

Myrtle Cass, as the office-boy, was so much pleased by the applause of
her relatives, then so much agitated by the remarks of Cy Bogart, in the
back row, in reference to her wearing trousers, that she could hardly
be got off the stage. Only Raymie was so unsociable as to devote himself
entirely to acting.

That she was right in her opinion of the play Carol was certain when
Miles Bjornstam went out after the first act, and did not come back.

VI

Between the second and third acts she called the company together,
and supplicated, "I want to know something, before we have a chance to
separate. Whether we're doing well or badly tonight, it is a beginning.
But will we take it as merely a beginning? How many of you will pledge
yourselves to start in with me, right away, tomorrow, and plan for
another play, to be given in September?"

They stared at her; they nodded at Juanita's protest: "I think
one's enough for a while. It's going elegant tonight, but another
play----Seems to me it'll be time enough to talk about that next fall.
Carol! I hope you don't mean to hint and suggest we're not doing fine
tonight? I'm sure the applause shows the audience think it's just
dandy!"

Then Carol knew how completely she had failed.

As the audience seeped out she heard B. J. Gougerling the banker say to
Howland the grocer, "Well, I think the folks did splendid; just as good
as professionals. But I don't care much for these plays. What I like is
a good movie, with auto accidents and hold-ups, and some git to it, and
not all this talky-talk."

Then Carol knew how certain she was to fail again.

She wearily did not blame them, company nor audience. Herself she blamed
for trying to carve intaglios in good wholesome jack-pine.

"It's the worst defeat of all. I'm beaten. By Main Street. 'I must go
on.' But I can't!"

She was not vastly encouraged by the Gopher Prairie Dauntless:

. . . would be impossible to distinguish among the actors when all gave
such fine account of themselves in difficult roles of this well-known
New York stage play. Guy Pollock as the old millionaire could not have
been bettered for his fine impersonation of the gruff old millionaire;
Mrs. Harry Haydock as the young lady from the West who so easily showed
the New York four-flushers where they got off was a vision of loveliness
and with fine stage presence. Miss Vida Sherwin the ever popular teacher
in our high school pleased as Mrs. Grimm, Dr. Gould was well suited in
the role of young lover--girls you better look out, remember the doc is a
bachelor. The local Four Hundred also report that he is a great hand at
shaking the light fantastic tootsies in the dance. As the stenographer
Rita Simons was pretty as a picture, and Miss Ella Stowbody's long and
intensive study of the drama and kindred arts in Eastern schools was
seen in the fine finish of her part.

. . . to no one is greater credit to be given than to Mrs. Will Kennicott
on whose capable shoulders fell the burden of directing.

"So kindly," Carol mused, "so well meant, so neighborly--and so
confoundedly untrue. Is it really my failure, or theirs?"

She sought to be sensible; she elaborately explained to herself that it
was hysterical to condemn Gopher Prairie because it did not foam over
the drama. Its justification was in its service as a market-town for
farmers. How bravely and generously it did its work, forwarding the
bread of the world, feeding and healing the farmers!

Then, on the corner below her husband's office, she heard a farmer
holding forth:

"Sure. Course I was beaten. The shipper and the grocers here wouldn't
pay us a decent price for our potatoes, even though folks in the cities
were howling for 'em. So we says, well, we'll get a truck and ship 'em
right down to Minneapolis. But the commission merchants there were in
cahoots with the local shipper here; they said they wouldn't pay us
a cent more than he would, not even if they was nearer to the market.
Well, we found we could get higher prices in Chicago, but when we tried
to get freight cars to ship there, the railroads wouldn't let us have
'em--even though they had cars standing empty right here in the yards.
There you got it--good market, and these towns keeping us from it. Gus,
that's the way these towns work all the time. They pay what they want
to for our wheat, but we pay what they want us to for their clothes.
Stowbody and Dawson foreclose every mortgage they can, and put in tenant
farmers. The Dauntless lies to us about the Nonpartisan League, the
lawyers sting us, the machinery-dealers hate to carry us over bad years,
and then their daughters put on swell dresses and look at us as if we
were a bunch of hoboes. Man, I'd like to burn this town!"

Kennicott observed, "There's that old crank Wes Brannigan shooting off
his mouth again. Gosh, but he loves to hear himself talk! They ought to
run that fellow out of town!"

VII

She felt old and detached through high-school commencement week, which
is the fete of youth in Gopher Prairie; through baccalaureate sermon,
senior Parade, junior entertainment, commencement address by an Iowa
clergyman who asserted that he believed in the virtue of virtuousness,
and the procession of Decoration Day, when the few Civil War veterans
followed Champ Perry, in his rusty forage-cap, along the spring-powdered
road to the cemetery. She met Guy; she found that she had nothing to
say to him. Her head ached in an aimless way. When Kennicott rejoiced,
"We'll have a great time this summer; move down to the lake early and
wear old clothes and act natural," she smiled, but her smile creaked.

In the prairie heat she trudged along unchanging ways, talked about
nothing to tepid people, and reflected that she might never escape from
them.

She was startled to find that she was using the word "escape."

Then, for three years which passed like one curt paragraph, she ceased
to find anything interesting save the Bjornstams and her baby.

Q: Can you write an appropriate summary of the above paragraphs?
A:

completion: The idea of the Gopher Prairie Dramatic Association is born during a midwinter frolic at Jack Elder's shack. Carol again is jubilant and believes that she can yet "escape the coma of the Village Virus." Only twelve members form the nucleus of the association, and from the first there is diversity of opinion about the choice of a play. Dr. and Mrs. Kennicott go to Minneapolis for a few days to witness plays by Schnitzler, Shaw, Yeats, and Lord Dunsany. Carol feels at first like a "hayseed" in the big city after a year and a half in Gopher Prairie, although she likes the luxury of the large hotel. So strenuously do the Kennicotts enjoy the city that they are almost too tired to go to the plays they have come to observe. Schnitzler proves uninteresting, Shaw's "How He Lied to Her Husband" amusing, Yeats' "Land of Heart's Desire" entertaining, and Dunsany incomprehensible. Carol is enthusiastic about returning to Gopher Prairie and recreating the strange things of the world in plays. The Girl from Kankakee is the final choice of a drama to be presented in the opera house of Gopher Prairie. Shaw, Sheridan, and Greek drama are rejected. Carol casts Juanita Haydock in the lead. Members of the cast, particularly the leading lady, consider Carol "too bossy." As director, Carol puts all her time and energy into the project and mortgages the association by buying high-priced lighting equipment. The actors are bored at times and irregular in attendance at rehearsals. Carol discovers that her best actor is Raymie Wutherspoon in the part of the villain and that she and Guy Pollock are the poorest performers. Carol attends a performance of Sunbonnet Nell by professionals. When she returns, she wonders if she can possibly stay in Gopher Prairie through all of tomorrow, so deadly is its monotony. The Girl from Kankakee is badly acted, the actors having either stage fright or a tendency to show off. Only Raymie Wutherspoon concentrates on acting. Miles Bjornstam leaves at the end of the first act. The members of the cast refuse to respond to Carol's plea that they begin immediately rehearsing another play, to be given in September. Though the audience and the Gopher Prairie Dauntless compliment the play, Carol again feels beaten. Her interest then becomes rekindled in the romance of Bea and Miles Bjornstam and in her expected baby.