Capitalists and financiers -- Fiction; Chicago (Ill.) -- Fiction; Psychological fiction
In these intimacies it was that he came quickly to understand how much
she knew of social movements and tendencies, though she was just an
individual of the outer fringe. She caught at once a clear
understanding of his social point of view, his art ambition, his dreams
of something better for himself in every way. She seemed to see clearly
that he had not as yet realized himself, that Aileen was not just the
woman for him, though she might be one. She talked of her own husband
after a time in a tolerant way—his foibles, defects, weaknesses. She
was not unsympathetic, he thought, just weary of a state that was not
properly balanced either in love, ability, or insight. Cowperwood had
suggested that she could take a larger studio for herself and Harold—do
away with the petty economies that had hampered her and him—and explain
it all on the grounds of a larger generosity on the part of her family.
At first she objected; but Cowperwood was tactful and finally brought
it about. He again suggested a little while later that she should
persuade Harold to go to Europe. There would be the same ostensible
reason—additional means from her relatives. Mrs. Sohlberg, thus urged,
petted, made over, assured, came finally to accept his liberal rule—to
bow to him; she became as contented as a cat. With caution she accepted
of his largess, and made the cleverest use of it she could. For
something over a year neither Sohlberg nor Aileen was aware of the
intimacy which had sprung up. Sohlberg, easily bamboozled, went back to
Denmark for a visit, then to study in Germany. Mrs. Sohlberg followed
Cowperwood to Europe the following year. At Aix-les-Bains, Biarritz,
Paris, even London, Aileen never knew that there was an additional
figure in the background. Cowperwood was trained by Rita into a really
finer point of view. He came to know better music, books, even the
facts. She encouraged him in his idea of a representative collection of
the old masters, and begged him to be cautious in his selection of
moderns. He felt himself to be delightfully situated indeed.
Public-domain text, read in full here on John Shaqi.
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