Sara Jeannette Duncan

An Impossible Ideal

Warsaw 2022

Contents

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 1

To understand how we prized him, Dora Harris and I, it is necessary to know Simla. I suppose people think of that place, if they ever do think of it, as an agreeable retreat in the wilds of the Himalayas where deodars and scandals grow, and where the Viceroy if he likes may take off his decorations and go about in flannels. I know how useless it would be to try to give a more faithful impression, and I will hold back from the attempt as far as I can. Besides, my little story is itself an explanation of Simla. Ingersoll Armour might have appeared almost anywhere else without making social history. He came and bloomed among us in the wilderness, and such and such things happened. It sounds too rude a generalization to say that Simla is a wilderness; I hasten to add that it is a waste as highly cultivated as you like, producing many things more admirable than Ingersoll Armour. Still he bloomed there conspicuously alone. Perhaps there would have been nothing to tell if we had not tried to gather him. That was wrong; Nature in Simla expects you to be content with cocked hats.

There are artists almost everywhere and people who paint even in the Himalayas, though Miss Harris and I in our superior way went yearly to the Simla Fine Arts Exhibition chiefly to amuse ourselves by scoffing. It was easy to say clever things about the poor little exhibits; and one was grateful to the show on this account, for nothing is more depressing east of Suez than the absence of provocation to say clever things. There one afternoon in May as we marched about enjoying ourselves, we came upon Ingersoll Armour, not in the flesh, but in half a dozen studies hanging in the least conspicuous corner and quite the worst light in the room.

“Eh, what?’ said I, and Dora exclaimed:

“I SAY!’

“Sent out from home,’ I said, ever the oracle.

“Not at all,’ replied Dora. “Look, they are Indian subjects. SIMLA subjects,’ she went on, with excitement.

I turned up the catalogue. “Ninety-seven, “Kasumti Bazaar”; ninety-eight, “Clouds on the Chor”; ninety-nine, “The House of a Friend”–Lord, what apricot blossoms! Yes, they’re all Simla.’

“For goodness’ sake,’ said Dora, “who painted them? You’ve got the catalogue!’

““I. Armour,”’ I read.

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