Jean of GreenacresForrester, Izola L. (Izola Louise)
General
Jean of Greenacres
Forrester, Izola L. (Izola Louise)
Artists -- Juvenile fiction; Family -- Juvenile fiction; New England -- Juvenile fiction
“Have you done any work at all in the country?”
Had she done any work? A swift memory of the real work of Greenacres
swept over Jean, and she could have laughed.
“Not much.” She shook her head. “I sort of lost my way for a while,
there was so much else that had to be done, but I’m going to study now.”
“Sit with us and make believe you are back anyway. Barbara, please show
her Frances’s place. She will not be here for a week.”
So just for one short week, Jean could make believe it was all true,
that she was back as a “regular.” Every morning she went with Bab, and
joined the class, getting inspiration and courage even from the
teamwork. Late afternoons there was always something different to take
in. That first day they had gone up to the recital at Carnegie Hall.
Jean loved the ’cello, and it seemed as if the musician chose all the
themes that always stirred her. Chopin’s Nocturne in E Flat; one of the
Rhapsodies, she could not remember which, but it always brought to her
mind firelight and gypsies; and a tender, little haunting melody called
“Petit Valse.” Up home she had played it often for her father at
twilight and it always made her long for the unfulfilled hopes. And then
the “Humoreske,” whimsical, questioning, it seemed to wind itself around
her heart and tease her about all her yearnings.
Miss Norman sang Russian folk songs and some Hebrides lullabies.
“I’m not one bit crazy over her,” said Bab in her matter-of-fact way.
“She looks too wholesome and solid to be singing that sort of music. I’d
like to see her swing into Brunhilde’s call or something like that.
She’d wake all the babies up with those lullabies.”
“You make me think of Kit,” Jean laughed. “She always thinks out loud
and says the first thing that comes to her lips.”
“I know.” Bab’s face sobered momentarily as they came out of the main
entrance and went around to the studio elevator. “Mother says I’ve never
learned inhibition, and that made me curious. Of course, she meant it
should. So I hunted up what inhibition meant in psychology and it did
rather stagger me. You act on impulse, but if you’d only have sense
enough to wait a minute, the nerves of inhibition beat the nerves of
impulse, and reason sets in. I can’t bear reason, not yet. The only
thing I really enjoyed in Plato was the death of Socrates.”
“That’s funny. Kit said something about that a little while ago, the
sunset, and his telling someone to pay for a chicken just as he took the
poisoned cup.”
“I’d like to paint it.” Bab’s gray eyes narrowed as if she saw the
scene. “Why on earth haven’t the great artists done things like that
instead of spotted cows and windmills.”
Public-domain text, read in full here on John Shaqi.
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