Part 14 (1/2)

'Yes, that is what he says; and I'm beginning to think that he is right.'

'Certainly he is.' d.i.c.k admitted that two people in the world could do and say no wrong. Kami was the man.

'And now you say the same thing. It's so disheartening.'

'I'm sorry, but you asked me to speak the truth. Besides, I love you too much to pretend about your work. It's strong, it's patient sometimes,--not always,--and sometimes there's power in it, but there's no special reason why it should be done at all. At least, that's how it strikes me.'

'There's no special reason why anything in the world should ever be done. You know that as well as I do. I only want success.'

'You're going the wrong way to get it, then. Hasn't Kami ever told you so?'

'Don't quote Kami to me. I want to know what you think. My work's bad, to begin with.'

'I didn't say that, and I don't think it.'

'It's amateurish, then.'

'That it most certainly is not. You're a work-woman, darling, to your boot-heels, and I respect you for that.'

'You don't laugh at me behind my back?'

'No, dear. You see, you are more to me than any one else. Put this cloak thing round you, or you'll get chilled.'

Maisie wrapped herself in the soft marten skins, turning the gray kangaroo fur to the outside.

'This is delicious,' she said, rubbing her chin thoughtfully along the fur.

'Well? Why am I wrong in trying to get a little success?'

'Just because you try. Don't you understand, darling? Good work has nothing to do with--doesn't belong to--the person who does it. It's put into him or her from outside.'

'But how does that affect----'

'Wait a minute. All we can do is to learn how to do our work, to be masters of our materials instead of servants, and never to be afraid of anything.'

'I understand that.'

'Everything else comes from outside ourselves. Very good. If we sit down quietly to work out notions that are sent to us, we may or we may not do something that isn't bad. A great deal depends on being master of the bricks and mortar of the trade. But the instant we begin to think about success and the effect of our work--to play with one eye on the gallery--we lose power and touch and everything else. At least that's how I have found it. Instead of being quiet and giving every power you possess to your work, you're fretting over something which you can neither help nor hinder by a minute. See?'

'It's so easy for you to talk in that way. People like what you do.

Don't you ever think about the gallery?'

'Much too often; but I'm always punished for it by loss of power. It's as simple as the Rule of Three. If we make light of our work by using it for our own ends, our work will make light of us, and, as we're the weaker, we shall suffer.'

'I don't treat my work lightly. You know that it's everything to me.'

'Of course; but, whether you realise it or not, you give two strokes for yourself to one for your work. It isn't your fault, darling. I do exactly the same thing, and know that I'm doing it. Most of the French schools, and all the schools here, drive the students to work for their own credit, and for the sake of their pride. I was told that all the world was interested in my work, and everybody at Kami's talked turpentine, and I honestly believed that the world needed elevating and influencing, and all manner of impertinences, by my brushes. By Jove, I actually believed that! When my little head was bursting with a notion that I couldn't handle because I hadn't sufficient knowledge of my craft, I used to run about wondering at my own magnificence and getting ready to astonish the world.'

'But surely one can do that sometimes?'