第6章 THE THIRD INGREDIENT(2)

At this sink Hetty found a girl with heavy, gold-brown, artistic hair and plaintive eyes, washing two large "Irish" potatoes. Hetty knew the Vallambrosa as well as any one not owning "double hextra-magnifying eyes" could compass its mysteries. The kimonos were her encyclopedia, her "Who's What?" her clearinghouse of news, of goers and comers. From a rose-pink kimono edged with Nile green she had learned that the girl with the potatoes was a miniature-painter living in a kind of attic--or "studio," as they prefer to call it--on the top floor. Hetty was not certain in her mind what a miniature was; but it certainly wasn't a house; because house-painters, although they wear splashy overalls and poke ladders in your face on the street, are known to indulge in a riotous profusion of food at home.

The potato girl was quite slim and small, and handled her potatoes as an old bachelor uncle handles a baby who is cutting teeth. She had a dull shoemaker's knife in her right hand, and she had begun to peel one of the potatoes with it.

Hetty addressed her in the punctiliously formal tone of one who intends to be cheerfully familiar with you in the second round.

"Beg pardon," she said, "for butting into what's not my business, but if you peel them potatoes you lose out. They're new Bermudas. You want to scrape 'em. Lemme show you."

She took a potato and the knife, and began to demonstrate.

"Oh, thank you," breathed the artist. "I didn't know. And I did hate to see the thick peeling go; it seemed such a waste. But I thought they always had to be peeled. When you've got only potatoes to eat, the peelings count, you know."

"Say, kid," said Hetty, staying her knife, "you ain't up against it, too, are you?"

The miniature artist smiled starvedly.

"I suppose I am. Art--or, at least, the way I interpret it--doesn't seem to be much in demand. I have only these potatoes for my dinner.

But they aren't so bad boiled and hot, with a little butter and salt."

"Child," said Hetty, letting a brief smile soften her rigid features, "Fate has sent me and you together. I've had it handed to me in the neck, too; but I've got a chunk of meat in my, room as big as a lap-dog.

And I've done everything to get potatoes except pray for 'em.

Let's me and you bunch our commissary departments and make a stew of 'em.

We'll cook it in my room. If we only had an onion to go in it!

Say, kid, you haven't got a couple of pennies that've slipped down into the lining of your last winter's sealskin, have you?

I could step down to the corner and get one at old Giuseppe's stand.

A stew without an onion is worse'n a matinee without candy."

"You may call me Cecilia," said the artist. "No; I spent my last penny three days ago."

"Then we'll have to cut the onion out instead of slicing it in," said Hetty. "I'd ask the janitress for one, but I don't want 'em hep just yet to the fact that I'm pounding the asphalt for another job. But I wish we did have an onion."

In the shop-girl's room the two began to prepare their supper.

Cecilia's part was to sit on the couch helplessly and beg to be allowed to do something, in the voice of a cooing ring-dove. Hetty prepared the rib beef, putting it in cold salted water in the stew-pan and setting it on the one-burner gas-stove.

"I wish we had an onion," said Hetty, as she scraped the two potatoes.

On the wall opposite the couch was pinned a flaming, gorgeous advertising picture of one of the new ferry-boats of the P. U. F.

F. Railroad that had been built to cut down the time between Los Angeles and New York City one-eighth of a minute.

Hetty, turning her head during her continuous monologue, saw tears running from her guest's eyes as she gazed on the idealized presentment of the speeding, foam-girdled transport.

"Why, say, Cecilia, kid," said Hetty, poising her knife, "is it as bad art as that? I ain't a critic; but I thought it kind of brightened up the room. Of course, a manicure-painter could tell it was a bum picture in a minute. I'll take it down if you say so. I wish to the holy Saint Potluck we had an onion."

But the miniature miniature-painter had tumbled down, sobbing, with her nose indenting the hard-woven drapery of the couch. Something was here deeper than the artistic temperament offended at crude lithography.

Hetty knew. She had accepted her role long ago. How scant the words with which we try to describe a single quality of a human being! When we reach the abstract we are lost. The nearer to Nature that the babbling of our lips comes, the better do we understand. Figuratively (let us say), some people are Bosoms, some are Hands, some are Heads, some are Muscles, some are Feet, some are Backs for burdens.

Hetty was a Shoulder. Hers was a sharp, sinewy shoulder; but all her life people had laid their heads upon it, metaphorically or actually, and had left there all or half their troubles. Looking at Life anatomically, which is as good a way as any, she was preordained to be a Shoulder. There were few truer collar-bones anywhere than hers.

Hetty was only thirty-three, and she had not yet outlived the little pang that visited her whenever the head of youth and beauty leaned upon her for consolation. But one glance in her mirror always served as an instantaneous pain-killer. So she gave one pale look into the crinkly old looking-glass on the wall above the gas-stove, turned down the flame a little lower from the bubbling beef and potatoes, went over to the couch, and lifted Cecilia's head to its confessional.

"Go on and tell me, honey," she said. "I know now that it ain't art that's worrying you. You met him on a ferry-boat, didn't you? Go on, Cecilia, kid, and tell your--your Aunt Hetty about it."

But youth and melancholy must first spend the surplus of sighs and tears that waft and float the barque of romance to its harbor in the delectable isles. Presently, through the stringy tendons that formed the bars of the confessional, the penitent--or was it the glorified communicant of the sacred flame--told her story without art or illumination.