III

There was a long, bleak period, when we knew acutely the meaning of what

papa wearily termed “Hard Times.” Even in “Good Times” there are few

people who buy paintings, and no one wants them in Hard Times.

Then descended upon Montreal a veritable plague. A terrible epidemic of

smallpox broke out in the city. The French and not the English Canadians

were the ones chiefly afflicted, and my father set this down to the fact

that the French Canadians resisted vaccination. In fact, there were

anti-vaccination riots all over the French quarter, where we lived.

And now my father, in this desperate crisis, proved the truth of the old

adage that “Blood will tell.” Ours was the only house on our block, or

for that matter the surrounding blocks, where the hideous, yellow sign,

“PICOTTE” (smallpox), was not conspicuously nailed upon the front door,

and this despite the fact that we were a large family of children. Papa

hung sheets all over the house, completely saturated with

disinfectants. Every one of us children was vaccinated, and we were not

allowed to leave the premises. Papa himself went upon all the messages,

even doing the marketing.

He was not “absent-minded” in those days, nor in the grueling days of

dire poverty that followed the plague. Child as I was, I vividly recall

the terrors of that period, going to bed hungry, my mother crying in the

night and my father walking up and down, up and down. Sometimes it

seemed to me as if papa walked up and down all night long.

My brother Charles, who had been for some time our main support, had

married (the girl we did not like) and although he had fervently

promised to continue to contribute to the family’s support, his wife

took precious care that the contribution should be of the smallest, and

she kept my brother, as much as she could, from coming to see us.

A day came when, with my mother and it seemed all of my brothers and

sisters, I stood on a wharf waving to papa on a great ship. There he

stood, by the railing, looking so young and good. Papa was going to

England to try to induce grandpa--that grandfather we had never seen--to

help us. We clung about mama’s skirts, poor little mama, who was half

distraught and we all kept waving to papa, with our hats and hands and

handkerchiefs and calling out:

“Good-bye, papa! Come back! Come back soon!” until the boat was only a

dim, shadowy outline.

The dreadful thought came to me that perhaps we would never see papa

again! Suppose his people, who were rich and grand, should induce our

father never to return to us!

I had kept back my tears. Mama had told us that none of us must let papa

see us cry, as it might “unman” him, and she herself had heroically set

the example of restraining her grief until after his departure. Now,

however, the strain was loosened. I fancied I read in my brothers’ and

sisters’ faces--we were all imaginative and sensitive and excitable--my

own fears. Simultaneously we all began to cry.

Never will I forget that return home, all of us children crying and

sobbing, and mama now weeping as unconcealedly as any of us, and the

French people stopping us on the way to console or commiserate with us;

but although they repeated over and over:

“Pauvre petites enfants! Pauvre petite mère!” I saw their significant

glances, and I knew that in their minds was the same treacherous thought

of my father.

But papa did return! He could have stayed in England, and, as my sister

Ada extravagantly put it, “lived in the lap of luxury,” but he came back

to his noisy, ragged little “heathens,” and the “painting, painting of

pot-boilers to feed my hungry children.”

Marion: The Story of an Artist's Model · 第 5 / 120 题