"A Modern Hercules," the Tale of a Sculptress — John Shaqi
"A Modern Hercules," the Tale of a SculptressWinstock, Melvin G.
General
"A Modern Hercules," the Tale of a Sculptress
Winstock, Melvin G.
American fiction -- 19th century
Arm in arm they went into Milton’s work-room, where for some time he
delighted her with an exhibition of his work, the progress he was
making, and he poured into her willing and sympathetic ear, the story
of his future dreams and aspirations, so that she saw more clearly
than ever, that the only mistress beside herself which Milton had, was
Art.
CHAPTER XI.
A PREACHER’S PASSION.
The departure of the editor, politician and broker left Ouida in a very
reflective mood. Strange to say, her mind wandered to Paul, the model,
as it had often done of late. “I’ll soon call my Herculean model forth.
Paul, the perfect brute! Yet, often when he thinks I am not observing,
there comes into his eyes a look that makes me tremble, though I know
not why. Can it be that I, who have a dozen mighty men, as this world
goes, crawling at my feet, am falling captive to a coarse-grained
beast, that sleeps and feeds from day to day throughout the year,
without a thought or hope beyond the common cattle of the field?”
At this moment a card was handed Ouida, the reading of which filled her
eyes with an almost devilish gleam of satisfaction.
“Show the gentleman up,” was her swift command.
It was but a moment when Horatio Nugent, the great preacher, appeared
before the sculptress!
“By admitting me to your presence, may I hope there is a truce between
us?” he almost humbly said.
“Neither peace nor courtesy moved me to see you,” was her
unsatisfactory answer.
“Then why your apparent graciousness?”
“I desire,” said Ouida, “to declare a never-ending war.”
“Will you not,” appealed the preacher, “even listen to what I have to
say?”
“No. Your course admits of no explanation. Let me tell you now, you can
never creep again within the circle of my friendship.”
“If you could but dig beneath the surface,” he audibly sighed, “and see
why I preached my sermon against the nude in art, ’twould be _you_, not
_I_, seeking pardon.”
“I seek your pardon after that which you have done? Listen,” said the
woman, “you played the part of a friend. You sought _me_ out. To you I
unfolded my dreams, my conceptions. You said they were divine, and yet
when I attended your church, you thundered forth invectives against
my art, and hold me up to public ridicule. You would attempt to win a
public applause as fleeting as the dew upon the morning rose. If I had
loved you, I would hate you for this act.”
“I will explain,” he said, with vehemence and commanding power before
which, even for a moment, this imperious creature quailed. “I am not
like the vain flatterers that follow in your train. I will speak, even
if the hate in you, like a dagger, shall stab me in a vital spot.”
“Speak then,” said she, with resignation. “Courtesy compels me to
listen to one who has honored my humble roof with his august presence.”
“Ah, hear me Ouida. The knowledge, sudden and fierce, has forced itself
upon me, that I love you with all the strength of my nature!”
Public-domain text, read in full here on John Shaqi.
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