"It's awful cheek my sending anything," said Flanagan, "but I don't care, I'm going to send. D'you think they're rotten?"

"Not so rotten as I should have expected," said Philip.

They showed in fact an astounding cleverness. The difficulties had been avoided with skill, and there was a dash about the way in which the paint was put on which was surprising and even attractive. Flanagan, without knowledge or technique, painted with the loose brush of a man who has spent a lifetime in the practice of the art.

"If one were forbidden to look at any picture for more than thirty seconds you'd be a great master, Flanagan," smiled Philip.

These young people were not in the habit of spoiling one another with excessive flattery.

"We haven't got time in America to spend more than thirty seconds in looking at any picture," laughed the other.

Flanagan, though he was the most scatter-brained person in the world, had a tenderness of heart which was unexpected and charming. Whenever anyone was ill he installed himself as sick-nurse. His gaiety was better than any medicine. Like many of his countrymen he had not the English dread of sentimentality which keeps so tight a hold on emotion; and, finding nothing absurd in the show of feeling, could offer an exuberant sympathy which was often grateful to his friends in distress. He saw that Philip was depressed by what he had gone through and with unaffected kindliness set himself boisterously to cheer him up. He exaggerated the Americanisms which he knew always made the Englishmen laugh and poured out a breathless stream of conversation, whimsical, high-spirited, and jolly. In due course they went out to dinner and afterwards to the Gaite Montparnasse, which was Flanagan's favourite place of amusement. By the end of the evening he was in his most extravagant humour. He had drunk a good deal, but any inebriety from which he suffered was due much more to his own vivacity than to alcohol. He proposed that they should go to the Bal Bullier, and Philip, feeling too tired to go to bed, willingly enough consented. They sat down at a table on the platform at the side, raised a little from the level of the floor so that they could watch the dancing, and drank a bock. Presently Flanagan saw a friend and with a wild shout leaped over the barrier on to the space where they were dancing. Philip watched the people. Bullier was not the resort of fashion. It was Thursday night and the place was crowded. There were a number of students of the various faculties, but most of the men were clerks or assistants in shops; they wore their everyday clothes, ready-made tweeds or queer tail-coats, and their hats, for they had brought them in with them, and when they danced there was no place to put them but their heads. Some of the women looked like servant-girls, and some were painted hussies, but for the most part they were shop-girls. They were poorly-dressed in cheap imitation of the fashions on the other side of the river. The hussies were got up to resemble the music-hall artiste or the dancer who enjoyed notoriety at the moment; their eyes were heavy with black and their cheeks impudently scarlet. The hall was lit by great white lights, low down, which emphasised the shadows on the faces; all the lines seemed to harden under it, and the colours were most crude. It was a sordid scene. Philip leaned over the rail, staring down, and he ceased to hear the music. They danced furiously. They danced round the room, slowly, talking very little, with all their attention given to the dance. The room was hot, and their faces shone with sweat. It seemed to Philip that they had thrown off the guard which people wear on their expression, the homage to convention, and he saw them now as they really were. In that moment of abandon they were strangely animal: some were foxy and some were wolf-like; and others had the long, foolish face of sheep. Their skins were sallow from the unhealthy life they led and the poor food they ate. Their features were blunted by mean interests, and their little eyes were shifty and cunning. There was nothing of nobility in their bearing, and you felt that for all of them life was a long succession of petty concerns and sordid thoughts. The air was heavy with the musty smell of humanity. But they danced furiously as though impelled by some strange power within them, and it seemed to Philip that they were driven forward by a rage for enjoyment. They were seeking desperately to escape from a world of horror. The desire for pleasure which Cronshaw said was the only motive of human action urged them blindly on, and the very vehemence of the desire seemed to rob it of all pleasure. They were hurried on by a great wind, helplessly, they knew not why and they knew not whither. Fate seemed to tower above them, and they danced as though everlasting darkness were beneath their feet. Their silence was vaguely alarming. It was as if life terrified them and robbed them of power of speech so that the shriek which was in their hearts died at their throats. Their eyes were haggard and grim; and notwithstanding the beastly lust that disfigured them, and the meanness of their faces, and the cruelty, notwithstanding the stupidness which was worst of all, the anguish of those fixed eyes made all that crowd terrible and pathetic. Philip loathed them, and yet his heart ached with the infinite pity which filled him.

He took his coat from the cloak-room and went out into the bitter coldness of the night.



L

Philip could not get the unhappy event out of his head. What troubled him most was the uselessness of Fanny's effort. No one could have worked harder than she, nor with more sincerity; she believed in herself with all her heart; but it was plain that self-confidence meant very little, all his friends had it, Miguel Ajuria among the rest; and Philip was shocked by the contrast between the Spaniard's heroic endeavour and the triviality of the thing he attempted. The unhappiness of Philip's life at school had called up in him the power of self-analysis; and this vice, as subtle as drug-taking, had taken possession of him so that he had now a peculiar keenness in the dissection of his feelings. He could not help seeing that art affected him differently from others. A fine picture gave Lawson an immediate thrill. His appreciation was instinctive. Even Flanagan felt certain things which Philip was obliged to think out. His own appreciation was intellectual. He could not help thinking that if he had in him the artistic temperament (he hated the phrase, but could discover no other) he would feel beauty in the emotional, unreasoning way in which they did. He began to wonder whether he had anything more than a superficial cleverness of the hand which enabled him to copy objects with accuracy. That was nothing. He had learned to despise technical dexterity. The important thing was to feel in terms of paint. Lawson painted in a certain way because it was his nature to, and through the imitativeness of a student sensitive to every influence, there pierced individuality. Philip looked at his own portrait of Ruth Chalice, and now that three months had passed he realised that it was no more than a servile copy of Lawson. He felt himself barren. He painted with the brain, and he could not help knowing that the only painting worth anything was done with the heart.

He had very little money, barely sixteen hundred pounds, and it would be necessary for him to practise the severest economy. He could not count on earning anything for ten years. The history of painting was full of artists who had earned nothing at all. He must resign himself to penury; and it was worth while if he produced work which was immortal; but he had a terrible fear that he would never be more than second-rate. Was it worth while for that to give up one's youth, and the gaiety of life, and the manifold chances of being? He knew the existence of foreign painters in Paris enough to see that the lives they led were narrowly provincial. He knew some who had dragged along for twenty years in the pursuit of a fame which always escaped them till they sunk into sordidness and alcoholism. Fanny's suicide had aroused memories, and Philip heard ghastly stories of the way in which one person or another had escaped from despair. He remembered the scornful advice which the master had given poor Fanny: it would have been well for her if she had taken it and given up an attempt which was hopeless.

Philip finished his portrait of Miguel Ajuria and made up his mind to send it to the Salon. Flanagan was sending two pictures, and he thought he could paint as well as Flanagan. He had worked so hard on the portrait that he could not help feeling it must have merit. It was true that when he looked at it he felt that there was something wrong, though he could not tell what; but when he was away from it his spirits went up and he was not dissatisfied. He sent it to the Salon and it was refused. He did not mind much, since he had done all he could to persuade himself that there was little chance that it would be taken, till Flanagan a few days later rushed in to tell Lawson and Philip that one of his pictures was accepted. With a blank face Philip offered his congratulations, and Flanagan was so busy congratulating himself that he did not catch the note of irony which Philip could not prevent from coming into his voice. Lawson, quicker-witted, observed it and looked at Philip curiously. His own picture was all right, he knew that a day or two before, and he was vaguely resentful of Philip's attitude. But he was surprised at the sudden question which Philip put him as soon as the American was gone.

"If you were in my place would you chuck the whole thing?"

"What do you mean?"

"I wonder if it's worth while being a second-rate painter. You see, in other things, if you're a doctor or if you're in business, it doesn't matter so much if you're mediocre. You make a living and you get along. But what is the good of turning out second-rate pictures?"

Lawson was fond of Philip and, as soon as he thought he was seriously distressed by the refusal of his picture, he set himself to console him. It was notorious that the Salon had refused pictures which were afterwards famous; it was the first time Philip had sent, and he must expect a rebuff; Flanagan's success was explicable, his picture was showy and superficial: it was just the sort of thing a languid jury would see merit in. Philip grew impatient; it was humiliating that Lawson should think him capable of being seriously disturbed by so trivial a calamity and would not realise that his dejection was due to a deep-seated distrust of his powers.

Of late Clutton had withdrawn himself somewhat from the group who took their meals at Gravier's, and lived very much by himself. Flanagan said he was in love with a girl, but Clutton's austere countenance did not suggest passion; and Philip thought it more probable that he separated himself from his friends so that he might grow clear with the new ideas which were in him. But that evening, when the others had left the restaurant to go to a play and Philip was sitting alone, Clutton came in and ordered dinner. They began to talk, and finding Clutton more loquacious and less sardonic than usual, Philip determined to take advantage of his good humour.

"I say I wish you'd come and look at my picture," he said. "I'd like to know what you think of it."

"No, I won't do that."

"Why not?" asked Philip, reddening.

The request was one which they all made of one another, and no one ever thought of refusing. Clutton shrugged his shoulders.

"People ask you for criticism, but they only want praise. Besides, what's the good of criticism? What does it matter if your picture is good or bad?"

"It matters to me."

"No. The only reason that one paints is that one can't help it. It's a function like any of the other functions of the body, only comparatively few people have got it. One paints for oneself: otherwise one would commit suicide. Just think of it, you spend God knows how long trying to get something on to canvas, putting the sweat of your soul into it, and what is the result? Ten to one it will be refused at the Salon; if it's accepted, people glance at it for ten seconds as they pass; if you're lucky some ignorant fool will buy it and put it on his walls and look at it as little as he looks at his dining-room table. Criticism has nothing to do with the artist. It judges objectively, but the objective doesn't concern the artist."

Clutton put his hands over his eyes so that he might concentrate his mind on what he wanted to say.

"The artist gets a peculiar sensation from something he sees, and is impelled to express it and, he doesn't know why, he can only express his feeling by lines and colours. It's like a musician; he'll read a line or two, and a certain combination of notes presents itself to him: he doesn't know why such and such words call forth in him such and such notes; they just do. And I'll tell you another reason why criticism is meaningless: a great painter forces the world to see nature as he sees it; but in the next generation another painter sees the world in another way, and then the public judges him not by himself but by his predecessor. So the Barbizon people taught our fathers to look at trees in a certain manner, and when Monet came along and painted differently, people said: But trees aren't like that. It never struck them that trees are exactly how a painter chooses to see them. We paint from within outwards—if we force our vision on the world it calls us great painters; if we don't it ignores us; but we are the same. We don't attach any meaning to greatness or to smallness. What happens to our work afterwards is unimportant; we have got all we could out of it while we were doing it."

There was a pause while Clutton with voracious appetite devoured the food that was set before him. Philip, smoking a cheap cigar, observed him closely. The ruggedness of the head, which looked as though it were carved from a stone refractory to the sculptor's chisel, the rough mane of dark hair, the great nose, and the massive bones of the jaw, suggested a man of strength; and yet Philip wondered whether perhaps the mask concealed a strange weakness. Clutton's refusal to show his work might be sheer vanity: he could not bear the thought of anyone's criticism, and he would not expose himself to the chance of a refusal from the Salon; he wanted to be received as a master and would not risk comparisons with other work which might force him to diminish his own opinion of himself. During the eighteen months Philip had known him Clutton had grown more harsh and bitter; though he would not come out into the open and compete with his fellows, he was indignant with the facile success of those who did. He had no patience with Lawson, and the pair were no longer on the intimate terms upon which they had been when Philip first knew them.

"Lawson's all right," he said contemptuously, "he'll go back to England, become a fashionable portrait painter, earn ten thousand a year and be an A. R. A. before he's forty. Portraits done by hand for the nobility and gentry!"

Philip, too, looked into the future, and he saw Clutton in twenty years, bitter, lonely, savage, and unknown; still in Paris, for the life there had got into his bones, ruling a small cenacle with a savage tongue, at war with himself and the world, producing little in his increasing passion for a perfection he could not reach; and perhaps sinking at last into drunkenness. Of late Philip had been captivated by an idea that since one had only one life it was important to make a success of it, but he did not count success by the acquiring of money or the achieving of fame; he did not quite know yet what he meant by it, perhaps variety of experience and the making the most of his abilities. It was plain anyway that the life which Clutton seemed destined to was failure. Its only justification would be the painting of imperishable masterpieces. He recollected Cronshaw's whimsical metaphor of the Persian carpet; he had thought of it often; but Cronshaw with his faun-like humour had refused to make his meaning clear: he repeated that it had none unless one discovered it for oneself. It was this desire to make a success of life which was at the bottom of Philip's uncertainty about continuing his artistic career. But Clutton began to talk again.

"D'you remember my telling you about that chap I met in Brittany? I saw him the other day here. He's just off to Tahiti. He was broke to the world. He was a brasseur d'affaires, a stockbroker I suppose you call it in English; and he had a wife and family, and he was earning a large income. He chucked it all to become a painter. He just went off and settled down in Brittany and began to paint. He hadn't got any money and did the next best thing to starving."

"And what about his wife and family?" asked Philip.

"Oh, he dropped them. He left them to starve on their own account."

"It sounds a pretty low-down thing to do."

"Oh, my dear fellow, if you want to be a gentleman you must give up being an artist. They've got nothing to do with one another. You hear of men painting pot-boilers to keep an aged mother—well, it shows they're excellent sons, but it's no excuse for bad work. They're only tradesmen. An artist would let his mother go to the workhouse. There's a writer I know over here who told me that his wife died in childbirth. He was in love with her and he was mad with grief, but as he sat at the bedside watching her die he found himself making mental notes of how she looked and what she said and the things he was feeling. Gentlemanly, wasn't it?"

"But is your friend a good painter?" asked Philip.

"No, not yet, he paints just like Pissarro. He hasn't found himself, but he's got a sense of colour and a sense of decoration. But that isn't the question. It's the feeling, and that he's got. He's behaved like a perfect cad to his wife and children, he's always behaving like a perfect cad; the way he treats the people who've helped him—and sometimes he's been saved from starvation merely by the kindness of his friends—is simply beastly. He just happens to be a great artist."

Philip pondered over the man who was willing to sacrifice everything, comfort, home, money, love, honour, duty, for the sake of getting on to canvas with paint the emotion which the world gave him. It was magnificent, and yet his courage failed him.

Thinking of Cronshaw recalled to him the fact that he had not seen him for a week, and so, when Clutton left him, he wandered along to the cafe in which he was certain to find the writer. During the first few months of his stay in Paris Philip had accepted as gospel all that Cronshaw said, but Philip had a practical outlook and he grew impatient with the theories which resulted in no action. Cronshaw's slim bundle of poetry did not seem a substantial result for a life which was sordid. Philip could not wrench out of his nature the instincts of the middle-class from which he came; and the penury, the hack work which Cronshaw did to keep body and soul together, the monotony of existence between the slovenly attic and the cafe table, jarred with his respectability. Cronshaw was astute enough to know that the young man disapproved of him, and he attacked his philistinism with an irony which was sometimes playful but often very keen.

"You're a tradesman," he told Philip, "you want to invest life in consols so that it shall bring you in a safe three per cent. I'm a spendthrift, I run through my capital. I shall spend my last penny with my last heartbeat."

The metaphor irritated Philip, because it assumed for the speaker a romantic attitude and cast a slur upon the position which Philip instinctively felt had more to say for it than he could think of at the moment.

But this evening Philip, undecided, wanted to talk about himself. Fortunately it was late already and Cronshaw's pile of saucers on the table, each indicating a drink, suggested that he was prepared to take an independent view of things in general.

"I wonder if you'd give me some advice," said Philip suddenly.

"You won't take it, will you?"

Philip shrugged his shoulders impatiently.

"I don't believe I shall ever do much good as a painter. I don't see any use in being second-rate. I'm thinking of chucking it."

"Why shouldn't you?"

Philip hesitated for an instant.

"I suppose I like the life."

A change came over Cronshaw's placid, round face. The corners of the mouth were suddenly depressed, the eyes sunk dully in their orbits; he seemed to become strangely bowed and old.

"This?" he cried, looking round the cafe in which they sat. His voice really trembled a little.

"If you can get out of it, do while there's time."

Philip stared at him with astonishment, but the sight of emotion always made him feel shy, and he dropped his eyes. He knew that he was looking upon the tragedy of failure. There was silence. Philip thought that Cronshaw was looking upon his own life; and perhaps he considered his youth with its bright hopes and the disappointments which wore out the radiancy; the wretched monotony of pleasure, and the black future. Philip's eyes rested on the little pile of saucers, and he knew that Cronshaw's were on them too.



LI

Two months passed.

It seemed to Philip, brooding over these matters, that in the true painters, writers, musicians, there was a power which drove them to such complete absorption in their work as to make it inevitable for them to subordinate life to art. Succumbing to an influence they never realised, they were merely dupes of the instinct that possessed them, and life slipped through their fingers unlived. But he had a feeling that life was to be lived rather than portrayed, and he wanted to search out the various experiences of it and wring from each moment all the emotion that it offered. He made up his mind at length to take a certain step and abide by the result, and, having made up his mind, he determined to take the step at once. Luckily enough the next morning was one of Foinet's days, and he resolved to ask him point-blank whether it was worth his while to go on with the study of art. He had never forgotten the master's brutal advice to Fanny Price. It had been sound. Philip could never get Fanny entirely out of his head. The studio seemed strange without her, and now and then the gesture of one of the women working there or the tone of a voice would give him a sudden start, reminding him of her: her presence was more noticable now she was dead than it had ever been during her life; and he often dreamed of her at night, waking with a cry of terror. It was horrible to think of all the suffering she must have endured.

Philip knew that on the days Foinet came to the studio he lunched at a little restaurant in the Rue d'Odessa, and he hurried his own meal so that he could go and wait outside till the painter came out. Philip walked up and down the crowded street and at last saw Monsieur Foinet walking, with bent head, towards him; Philip was very nervous, but he forced himself to go up to him.

"Pardon, monsieur, I should like to speak to you for one moment."

Foinet gave him a rapid glance, recognised him, but did not smile a greeting.

"Speak," he said.

"I've been working here nearly two years now under you. I wanted to ask you to tell me frankly if you think it worth while for me to continue."

Philip's voice was trembling a little. Foinet walked on without looking up. Philip, watching his face, saw no trace of expression upon it.

"I don't understand."

"I'm very poor. If I have no talent I would sooner do something else."

"Don't you know if you have talent?"

"All my friends know they have talent, but I am aware some of them are mistaken."

Foinet's bitter mouth outlined the shadow of a smile, and he asked:

"Do you live near here?"

Philip told him where his studio was. Foinet turned round.

"Let us go there? You shall show me your work."

"Now?" cried Philip.

"Why not?"

Philip had nothing to say. He walked silently by the master's side. He felt horribly sick. It had never struck him that Foinet would wish to see his things there and then; he meant, so that he might have time to prepare himself, to ask him if he would mind coming at some future date or whether he might bring them to Foinet's studio. He was trembling with anxiety. In his heart he hoped that Foinet would look at his picture, and that rare smile would come into his face, and he would shake Philip's hand and say: "Pas mal. Go on, my lad. You have talent, real talent." Philip's heart swelled at the thought. It was such a relief, such a joy! Now he could go on with courage; and what did hardship matter, privation, and disappointment, if he arrived at last? He had worked very hard, it would be too cruel if all that industry were futile. And then with a start he remembered that he had heard Fanny Price say just that. They arrived at the house, and Philip was seized with fear. If he had dared he would have asked Foinet to go away. He did not want to know the truth. They went in and the concierge handed him a letter as they passed. He glanced at the envelope and recognised his uncle's handwriting. Foinet followed him up the stairs. Philip could think of nothing to say; Foinet was mute, and the silence got on his nerves. The professor sat down; and Philip without a word placed before him the picture which the Salon had rejected; Foinet nodded but did not speak; then Philip showed him the two portraits he had made of Ruth Chalice, two or three landscapes which he had painted at Moret, and a number of sketches.

"That's all," he said presently, with a nervous laugh.

Monsieur Foinet rolled himself a cigarette and lit it.

"You have very little private means?" he asked at last.

"Very little," answered Philip, with a sudden feeling of cold at his heart. "Not enough to live on."

"There is nothing so degrading as the constant anxiety about one's means of livelihood. I have nothing but contempt for the people who despise money. They are hypocrites or fools. Money is like a sixth sense without which you cannot make a complete use of the other five. Without an adequate income half the possibilities of life are shut off. The only thing to be careful about is that you do not pay more than a shilling for the shilling you earn. You will hear people say that poverty is the best spur to the artist. They have never felt the iron of it in their flesh. They do not know how mean it makes you. It exposes you to endless humiliation, it cuts your wings, it eats into your soul like a cancer. It is not wealth one asks for, but just enough to preserve one's dignity, to work unhampered, to be generous, frank, and independent. I pity with all my heart the artist, whether he writes or paints, who is entirely dependent for subsistence upon his art."

Philip quietly put away the various things which he had shown.

"I'm afraid that sounds as if you didn't think I had much chance."

Monsieur Foinet slightly shrugged his shoulders.

"You have a certain manual dexterity. With hard work and perseverance there is no reason why you should not become a careful, not incompetent painter. You would find hundreds who painted worse than you, hundreds who painted as well. I see no talent in anything you have shown me. I see industry and intelligence. You will never be anything but mediocre."

Philip obliged himself to answer quite steadily.

"I'm very grateful to you for having taken so much trouble. I can't thank you enough."

Monsieur Foinet got up and made as if to go, but he changed his mind and, stopping, put his hand on Philip's shoulder.

"But if you were to ask me my advice, I should say: take your courage in both hands and try your luck at something else. It sounds very hard, but let me tell you this: I would give all I have in the world if someone had given me that advice when I was your age and I had taken it."

Philip looked up at him with surprise. The master forced his lips into a smile, but his eyes remained grave and sad.

"It is cruel to discover one's mediocrity only when it is too late. It does not improve the temper."

He gave a little laugh as he said the last words and quickly walked out of the room.

Philip mechanically took up the letter from his uncle. The sight of his handwriting made him anxious, for it was his aunt who always wrote to him. She had been ill for the last three months, and he had offered to go over to England and see her; but she, fearing it would interfere with his work, had refused. She did not want him to put himself to inconvenience; she said she would wait till August and then she hoped he would come and stay at the vicarage for two or three weeks. If by any chance she grew worse she would let him know, since she did not wish to die without seeing him again. If his uncle wrote to him it must be because she was too ill to hold a pen. Philip opened the letter. It ran as follows:

My dear Philip,

I regret to inform you that your dear Aunt departed this life early this morning. She died very suddenly, but quite peacefully. The change for the worse was so rapid that we had no time to send for you. She was fully prepared for the end and entered into rest with the complete assurance of a blessed resurrection and with resignation to the divine will of our blessed Lord Jesus Christ. Your Aunt would have liked you to be present at the funeral so I trust you will come as soon as you can. There is naturally a great deal of work thrown upon my shoulders and I am very much upset. I trust that you will be able to do everything for me. Your affectionate uncle, William Carey.



LII

Next day Philip arrived at Blackstable. Since the death of his mother he had never lost anyone closely connected with him; his aunt's death shocked him and filled him also with a curious fear; he felt for the first time his own mortality. He could not realise what life would be for his uncle without the constant companionship of the woman who had loved and tended him for forty years. He expected to find him broken down with hopeless grief. He dreaded the first meeting; he knew that he could say nothing which would be of use. He rehearsed to himself a number of apposite speeches.

He entered the vicarage by the side-door and went into the dining-room. Uncle William was reading the paper.

"Your train was late," he said, looking up.

Philip was prepared to give way to his emotion, but the matter-of-fact reception startled him. His uncle, subdued but calm, handed him the paper.

"There's a very nice little paragraph about her in The Blackstable Times," he said.

Philip read it mechanically.

"Would you like to come up and see her?"

Philip nodded and together they walked upstairs. Aunt Louisa was lying in the middle of the large bed, with flowers all round her.

"Would you like to say a short prayer?" said the Vicar.

He sank on his knees, and because it was expected of him Philip followed his example. He looked at the little shrivelled face. He was only conscious of one emotion: what a wasted life! In a minute Mr. Carey gave a cough, and stood up. He pointed to a wreath at the foot of the bed.

"That's from the Squire," he said. He spoke in a low voice as though he were in church, but one felt that, as a clergyman, he found himself quite at home. "I expect tea is ready."

They went down again to the dining-room. The drawn blinds gave a lugubrious aspect. The Vicar sat at the end of the table at which his wife had always sat and poured out the tea with ceremony. Philip could not help feeling that neither of them should have been able to eat anything, but when he saw that his uncle's appetite was unimpaired he fell to with his usual heartiness. They did not speak for a while. Philip set himself to eat an excellent cake with the air of grief which he felt was decent.

"Things have changed a great deal since I was a curate," said the Vicar presently. "In my young days the mourners used always to be given a pair of black gloves and a piece of black silk for their hats. Poor Louisa used to make the silk into dresses. She always said that twelve funerals gave her a new dress."

Then he told Philip who had sent wreaths; there were twenty-four of them already; when Mrs. Rawlingson, wife of the Vicar at Ferne, had died she had had thirty-two; but probably a good many more would come the next day; the funeral would start at eleven o'clock from the vicarage, and they should beat Mrs. Rawlingson easily. Louisa never liked Mrs. Rawlingson.

"I shall take the funeral myself. I promised Louisa I would never let anyone else bury her."

Philip looked at his uncle with disapproval when he took a second piece of cake. Under the circumstances he could not help thinking it greedy.

"Mary Ann certainly makes capital cakes. I'm afraid no one else will make such good ones."

"She's not going?" cried Philip, with astonishment.

Mary Ann had been at the vicarage ever since he could remember. She never forgot his birthday, but made a point always of sending him a trifle, absurd but touching. He had a real affection for her.

"Yes," answered Mr. Carey. "I didn't think it would do to have a single woman in the house."

"But, good heavens, she must be over forty."

"Yes, I think she is. But she's been rather troublesome lately, she's been inclined to take too much on herself, and I thought this was a very good opportunity to give her notice."

"It's certainly one which isn't likely to recur," said Philip.

He took out a cigarette, but his uncle prevented him from lighting it.

"Not till after the funeral, Philip," he said gently.

"All right," said Philip.

"It wouldn't be quite respectful to smoke in the house so long as your poor Aunt Louisa is upstairs."

Josiah Graves, churchwarden and manager of the bank, came back to dinner at the vicarage after the funeral. The blinds had been drawn up, and Philip, against his will, felt a curious sensation of relief. The body in the house had made him uncomfortable: in life the poor woman had been all that was kind and gentle; and yet, when she lay upstairs in her bed-room, cold and stark, it seemed as though she cast upon the survivors a baleful influence. The thought horrified Philip.

He found himself alone for a minute or two in the dining-room with the churchwarden.

"I hope you'll be able to stay with your uncle a while," he said. "I don't think he ought to be left alone just yet."

"I haven't made any plans," answered Philip. "If he wants me I shall be very pleased to stay."

By way of cheering the bereaved husband the churchwarden during dinner talked of a recent fire at Blackstable which had partly destroyed the Wesleyan chapel.

"I hear they weren't insured," he said, with a little smile.

"That won't make any difference," said the Vicar. "They'll get as much money as they want to rebuild. Chapel people are always ready to give money."

"I see that Holden sent a wreath."

Holden was the dissenting minister, and, though for Christ's sake who died for both of them, Mr. Carey nodded to him in the street, he did not speak to him.

"I think it was very pushing," he remarked. "There were forty-one wreaths. Yours was beautiful. Philip and I admired it very much."

"Don't mention it," said the banker.

He had noticed with satisfaction that it was larger than anyone's else. It had looked very well. They began to discuss the people who attended the funeral. Shops had been closed for it, and the churchwarden took out of his pocket the notice which had been printed: "Owing to the funeral of Mrs. Carey this establishment will not be opened till one o'clock."

"It was my idea," he said.

"I think it was very nice of them to close," said the Vicar. "Poor Louisa would have appreciated that."

Philip ate his dinner. Mary Ann had treated the day as Sunday, and they had roast chicken and a gooseberry tart.

"I suppose you haven't thought about a tombstone yet?" said the churchwarden.

"Yes, I have. I thought of a plain stone cross. Louisa was always against ostentation."

"I don't think one can do much better than a cross. If you're thinking of a text, what do you say to: With Christ, which is far better?"

The Vicar pursed his lips. It was just like Bismarck to try and settle everything himself. He did not like that text; it seemed to cast an aspersion on himself.

"I don't think I should put that. I much prefer: The Lord has given and the Lord has taken away."

"Oh, do you? That always seems to me a little indifferent."

The Vicar answered with some acidity, and Mr. Graves replied in a tone which the widower thought too authoritative for the occasion. Things were going rather far if he could not choose his own text for his own wife's tombstone. There was a pause, and then the conversation drifted to parish matters. Philip went into the garden to smoke his pipe. He sat on a bench, and suddenly began to laugh hysterically.

A few days later his uncle expressed the hope that he would spend the next few weeks at Blackstable.

"Yes, that will suit me very well," said Philip.

"I suppose it'll do if you go back to Paris in September."

Philip did not reply. He had thought much of what Foinet said to him, but he was still so undecided that he did not wish to speak of the future. There would be something fine in giving up art because he was convinced that he could not excel; but unfortunately it would seem so only to himself: to others it would be an admission of defeat, and he did not want to confess that he was beaten. He was an obstinate fellow, and the suspicion that his talent did not lie in one direction made him inclined to force circumstances and aim notwithstanding precisely in that direction. He could not bear that his friends should laugh at him. This might have prevented him from ever taking the definite step of abandoning the study of painting, but the different environment made him on a sudden see things differently. Like many another he discovered that crossing the Channel makes things which had seemed important singularly futile. The life which had been so charming that he could not bear to leave it now seemed inept; he was seized with a distaste for the cafes, the restaurants with their ill-cooked food, the shabby way in which they all lived. He did not care any more what his friends thought about him: Cronshaw with his rhetoric, Mrs. Otter with her respectability, Ruth Chalice with her affectations, Lawson and Clutton with their quarrels; he felt a revulsion from them all. He wrote to Lawson and asked him to send over all his belongings. A week later they arrived. When he unpacked his canvases he found himself able to examine his work without emotion. He noticed the fact with interest. His uncle was anxious to see his pictures. Though he had so greatly disapproved of Philip's desire to go to Paris, he accepted the situation now with equanimity. He was interested in the life of students and constantly put Philip questions about it. He was in fact a little proud of him because he was a painter, and when people were present made attempts to draw him out. He looked eagerly at the studies of models which Philip showed him. Philip set before him his portrait of Miguel Ajuria.

"Why did you paint him?" asked Mr. Carey.

"Oh, I wanted a model, and his head interested me."

"As you haven't got anything to do here I wonder you don't paint me."

"It would bore you to sit."

"I think I should like it."

"We must see about it."

Philip was amused at his uncle's vanity. It was clear that he was dying to have his portrait painted. To get something for nothing was a chance not to be missed. For two or three days he threw out little hints. He reproached Philip for laziness, asked him when he was going to start work, and finally began telling everyone he met that Philip was going to paint him. At last there came a rainy day, and after breakfast Mr. Carey said to Philip:

"Now, what d'you say to starting on my portrait this morning?" Philip put down the book he was reading and leaned back in his chair.

"I've given up painting," he said.

"Why?" asked his uncle in astonishment.

"I don't think there's much object in being a second-rate painter, and I came to the conclusion that I should never be anything else."

"You surprise me. Before you went to Paris you were quite certain that you were a genius."

"I was mistaken," said Philip.

"I should have thought now you'd taken up a profession you'd have the pride to stick to it. It seems to me that what you lack is perseverance."

Philip was a little annoyed that his uncle did not even see how truly heroic his determination was.

"'A rolling stone gathers no moss,'" proceeded the clergyman. Philip hated that proverb above all, and it seemed to him perfectly meaningless. His uncle had repeated it often during the arguments which had preceded his departure from business. Apparently it recalled that occasion to his guardian.

"You're no longer a boy, you know; you must begin to think of settling down. First you insist on becoming a chartered accountant, and then you get tired of that and you want to become a painter. And now if you please you change your mind again. It points to..."

He hesitated for a moment to consider what defects of character exactly it indicated, and Philip finished the sentence.

"Irresolution, incompetence, want of foresight, and lack of determination."

The Vicar looked up at his nephew quickly to see whether he was laughing at him. Philip's face was serious, but there was a twinkle in his eyes which irritated him. Philip should really be getting more serious. He felt it right to give him a rap over the knuckles.

"Your money matters have nothing to do with me now. You're your own master; but I think you should remember that your money won't last for ever, and the unlucky deformity you have doesn't exactly make it easier for you to earn your living."

Philip knew by now that whenever anyone was angry with him his first thought was to say something about his club-foot. His estimate of the human race was determined by the fact that scarcely anyone failed to resist the temptation. But he had trained himself not to show any sign that the reminder wounded him. He had even acquired control over the blushing which in his boyhood had been one of his torments.

"As you justly remark," he answered, "my money matters have nothing to do with you and I am my own master."

"At all events you will do me the justice to acknowledge that I was justified in my opposition when you made up your mind to become an art-student."

"I don't know so much about that. I daresay one profits more by the mistakes one makes off one's own bat than by doing the right thing on somebody's else advice. I've had my fling, and I don't mind settling down now."

"What at?"

Philip was not prepared for the question, since in fact he had not made up his mind. He had thought of a dozen callings.

"The most suitable thing you could do is to enter your father's profession and become a doctor."

"Oddly enough that is precisely what I intend."

He had thought of doctoring among other things, chiefly because it was an occupation which seemed to give a good deal of personal freedom, and his experience of life in an office had made him determine never to have anything more to do with one; his answer to the Vicar slipped out almost unawares, because it was in the nature of a repartee. It amused him to make up his mind in that accidental way, and he resolved then and there to enter his father's old hospital in the autumn.

"Then your two years in Paris may be regarded as so much wasted time?"

"I don't know about that. I had a very jolly two years, and I learned one or two useful things."

"What?"

Philip reflected for an instant, and his answer was not devoid of a gentle desire to annoy.

"I learned to look at hands, which I'd never looked at before. And instead of just looking at houses and trees I learned to look at houses and trees against the sky. And I learned also that shadows are not black but coloured."

"I suppose you think you're very clever. I think your flippancy is quite inane."



LIII

Taking the paper with him Mr. Carey retired to his study. Philip changed his chair for that in which his uncle had been sitting (it was the only comfortable one in the room), and looked out of the window at the pouring rain. Even in that sad weather there was something restful about the green fields that stretched to the horizon. There was an intimate charm in the landscape which he did not remember ever to have noticed before. Two years in France had opened his eyes to the beauty of his own countryside.

He thought with a smile of his uncle's remark. It was lucky that the turn of his mind tended to flippancy. He had begun to realise what a great loss he had sustained in the death of his father and mother. That was one of the differences in his life which prevented him from seeing things in the same way as other people. The love of parents for their children is the only emotion which is quite disinterested. Among strangers he had grown up as best he could, but he had seldom been used with patience or forbearance. He prided himself on his self-control. It had been whipped into him by the mockery of his fellows. Then they called him cynical and callous. He had acquired calmness of demeanour and under most circumstances an unruffled exterior, so that now he could not show his feelings. People told him he was unemotional; but he knew that he was at the mercy of his emotions: an accidental kindness touched him so much that sometimes he did not venture to speak in order not to betray the unsteadiness of his voice. He remembered the bitterness of his life at school, the humiliation which he had endured, the banter which had made him morbidly afraid of making himself ridiculous; and he remembered the loneliness he had felt since, faced with the world, the disillusion and the disappointment caused by the difference between what it promised to his active imagination and what it gave. But notwithstanding he was able to look at himself from the outside and smile with amusement.

"By Jove, if I weren't flippant, I should hang myself," he thought cheerfully.

His mind went back to the answer he had given his uncle when he asked him what he had learnt in Paris. He had learnt a good deal more than he told him. A conversation with Cronshaw had stuck in his memory, and one phrase he had used, a commonplace one enough, had set his brain working.

"My dear fellow," Cronshaw said, "there's no such thing as abstract morality."

When Philip ceased to believe in Christianity he felt that a great weight was taken from his shoulders; casting off the responsibility which weighed down every action, when every action was infinitely important for the welfare of his immortal soul, he experienced a vivid sense of liberty. But he knew now that this was an illusion. When he put away the religion in which he had been brought up, he had kept unimpaired the morality which was part and parcel of it. He made up his mind therefore to think things out for himself. He determined to be swayed by no prejudices. He swept away the virtues and the vices, the established laws of good and evil, with the idea of finding out the rules of life for himself. He did not know whether rules were necessary at all. That was one of the things he wanted to discover. Clearly much that seemed valid seemed so only because he had been taught it from his earliest youth. He had read a number of books, but they did not help him much, for they were based on the morality of Christianity; and even the writers who emphasised the fact that they did not believe in it were never satisfied till they had framed a system of ethics in accordance with that of the Sermon on the Mount. It seemed hardly worth while to read a long volume in order to learn that you ought to behave exactly like everybody else. Philip wanted to find out how he ought to behave, and he thought he could prevent himself from being influenced by the opinions that surrounded him. But meanwhile he had to go on living, and, until he formed a theory of conduct, he made himself a provisional rule.

"Follow your inclinations with due regard to the policeman round the corner."

He thought the best thing he had gained in Paris was a complete liberty of spirit, and he felt himself at last absolutely free. In a desultory way he had read a good deal of philosophy, and he looked forward with delight to the leisure of the next few months. He began to read at haphazard. He entered upon each system with a little thrill of excitement, expecting to find in each some guide by which he could rule his conduct; he felt himself like a traveller in unknown countries and as he pushed forward the enterprise fascinated him; he read emotionally, as other men read pure literature, and his heart leaped as he discovered in noble words what himself had obscurely felt. His mind was concrete and moved with difficulty in regions of the abstract; but, even when he could not follow the reasoning, it gave him a curious pleasure to follow the tortuosities of thoughts that threaded their nimble way on the edge of the incomprehensible. Sometimes great philosophers seemed to have nothing to say to him, but at others he recognised a mind with which he felt himself at home. He was like the explorer in Central Africa who comes suddenly upon wide uplands, with great trees in them and stretches of meadow, so that he might fancy himself in an English park. He delighted in the robust common sense of Thomas Hobbes; Spinoza filled him with awe, he had never before come in contact with a mind so noble, so unapproachable and austere; it reminded him of that statue by Rodin, L'Age d'Airain, which he passionately admired; and then there was Hume: the scepticism of that charming philosopher touched a kindred note in Philip; and, revelling in the lucid style which seemed able to put complicated thought into simple words, musical and measured, he read as he might have read a novel, a smile of pleasure on his lips. But in none could he find exactly what he wanted. He had read somewhere that every man was born a Platonist, an Aristotelian, a Stoic, or an Epicurean; and the history of George Henry Lewes (besides telling you that philosophy was all moonshine) was there to show that the thought of each philosopher was inseparably connected with the man he was. When you knew that you could guess to a great extent the philosophy he wrote. It looked as though you did not act in a certain way because you thought in a certain way, but rather that you thought in a certain way because you were made in a certain way. Truth had nothing to do with it. There was no such thing as truth. Each man was his own philosopher, and the elaborate systems which the great men of the past had composed were only valid for the writers.

The thing then was to discover what one was and one's system of philosophy would devise itself. It seemed to Philip that there were three things to find out: man's relation to the world he lives in, man's relation with the men among whom he lives, and finally man's relation to himself. He made an elaborate plan of study.

The advantage of living abroad is that, coming in contact with the manners and customs of the people among whom you live, you observe them from the outside and see that they have not the necessity which those who practise them believe. You cannot fail to discover that the beliefs which to you are self-evident to the foreigner are absurd. The year in Germany, the long stay in Paris, had prepared Philip to receive the sceptical teaching which came to him now with such a feeling of relief. He saw that nothing was good and nothing was evil; things were merely adapted to an end. He read The Origin of Species. It seemed to offer an explanation of much that troubled him. He was like an explorer now who has reasoned that certain natural features must present themselves, and, beating up a broad river, finds here the tributary that he expected, there the fertile, populated plains, and further on the mountains. When some great discovery is made the world is surprised afterwards that it was not accepted at once, and even on those who acknowledge its truth the effect is unimportant. The first readers of The Origin of Species accepted it with their reason; but their emotions, which are the ground of conduct, were untouched. Philip was born a generation after this great book was published, and much that horrified its contemporaries had passed into the feeling of the time, so that he was able to accept it with a joyful heart. He was intensely moved by the grandeur of the struggle for life, and the ethical rule which it suggested seemed to fit in with his predispositions. He said to himself that might was right. Society stood on one side, an organism with its own laws of growth and self-preservation, while the individual stood on the other. The actions which were to the advantage of society it termed virtuous and those which were not it called vicious. Good and evil meant nothing more than that. Sin was a prejudice from which the free man should rid himself. Society had three arms in its contest with the individual, laws, public opinion, and conscience: the first two could be met by guile, guile is the only weapon of the weak against the strong: common opinion put the matter well when it stated that sin consisted in being found out; but conscience was the traitor within the gates; it fought in each heart the battle of society, and caused the individual to throw himself, a wanton sacrifice, to the prosperity of his enemy. For it was clear that the two were irreconcilable, the state and the individual conscious of himself. THAT uses the individual for its own ends, trampling upon him if he thwarts it, rewarding him with medals, pensions, honours, when he serves it faithfully; THIS, strong only in his independence, threads his way through the state, for convenience' sake, paying in money or service for certain benefits, but with no sense of obligation; and, indifferent to the rewards, asks only to be left alone. He is the independent traveller, who uses Cook's tickets because they save trouble, but looks with good-humoured contempt on the personally conducted parties. The free man can do no wrong. He does everything he likes—if he can. His power is the only measure of his morality. He recognises the laws of the state and he can break them without sense of sin, but if he is punished he accepts the punishment without rancour. Society has the power.

But if for the individual there was no right and no wrong, then it seemed to Philip that conscience lost its power. It was with a cry of triumph that he seized the knave and flung him from his breast. But he was no nearer to the meaning of life than he had been before. Why the world was there and what men had come into existence for at all was as inexplicable as ever. Surely there must be some reason. He thought of Cronshaw's parable of the Persian carpet. He offered it as a solution of the riddle, and mysteriously he stated that it was no answer at all unless you found it out for yourself.

"I wonder what the devil he meant," Philip smiled.

And so, on the last day of September, eager to put into practice all these new theories of life, Philip, with sixteen hundred pounds and his club-foot, set out for the second time to London to make his third start in life.



LIV

The examination Philip had passed before he was articled to a chartered accountant was sufficient qualification for him to enter a medical school. He chose St. Luke's because his father had been a student there, and before the end of the summer session had gone up to London for a day in order to see the secretary. He got a list of rooms from him, and took lodgings in a dingy house which had the advantage of being within two minutes' walk of the hospital.

"You'll have to arrange about a part to dissect," the secretary told him. "You'd better start on a leg; they generally do; they seem to think it easier."

Philip found that his first lecture was in anatomy, at eleven, and about half past ten he limped across the road, and a little nervously made his way to the Medical School. Just inside the door a number of notices were pinned up, lists of lectures, football fixtures, and the like; and these he looked at idly, trying to seem at his ease. Young men and boys dribbled in and looked for letters in the rack, chatted with one another, and passed downstairs to the basement, in which was the student's reading-room. Philip saw several fellows with a desultory, timid look dawdling around, and surmised that, like himself, they were there for the first time. When he had exhausted the notices he saw a glass door which led into what was apparently a museum, and having still twenty minutes to spare he walked in. It was a collection of pathological specimens. Presently a boy of about eighteen came up to him.

"I say, are you first year?" he said.

"Yes," answered Philip.

"Where's the lecture room, d'you know? It's getting on for eleven."

"We'd better try to find it."

They walked out of the museum into a long, dark corridor, with the walls painted in two shades of red, and other youths walking along suggested the way to them. They came to a door marked Anatomy Theatre. Philip found that there were a good many people already there. The seats were arranged in tiers, and just as Philip entered an attendant came in, put a glass of water on the table in the well of the lecture-room and then brought in a pelvis and two thigh-bones, right and left. More men entered and took their seats and by eleven the theatre was fairly full. There were about sixty students. For the most part they were a good deal younger than Philip, smooth-faced boys of eighteen, but there were a few who were older than he: he noticed one tall man, with a fierce red moustache, who might have been thirty; another little fellow with black hair, only a year or two younger; and there was one man with spectacles and a beard which was quite gray.

The lecturer came in, Mr. Cameron, a handsome man with white hair and clean-cut features. He called out the long list of names. Then he made a little speech. He spoke in a pleasant voice, with well-chosen words, and he seemed to take a discreet pleasure in their careful arrangement. He suggested one or two books which they might buy and advised the purchase of a skeleton. He spoke of anatomy with enthusiasm: it was essential to the study of surgery; a knowledge of it added to the appreciation of art. Philip pricked up his ears. He heard later that Mr. Cameron lectured also to the students at the Royal Academy. He had lived many years in Japan, with a post at the University of Tokyo, and he flattered himself on his appreciation of the beautiful.

"You will have to learn many tedious things," he finished, with an indulgent smile, "which you will forget the moment you have passed your final examination, but in anatomy it is better to have learned and lost than never to have learned at all."

He took up the pelvis which was lying on the table and began to describe it. He spoke well and clearly.

At the end of the lecture the boy who had spoken to Philip in the pathological museum and sat next to him in the theatre suggested that they should go to the dissecting-room. Philip and he walked along the corridor again, and an attendant told them where it was. As soon as they entered Philip understood what the acrid smell was which he had noticed in the passage. He lit a pipe. The attendant gave a short laugh.

"You'll soon get used to the smell. I don't notice it myself."

He asked Philip's name and looked at a list on the board.

"You've got a leg—number four."

Philip saw that another name was bracketed with his own.

"What's the meaning of that?" he asked.

"We're very short of bodies just now. We've had to put two on each part."

The dissecting-room was a large apartment painted like the corridors, the upper part a rich salmon and the dado a dark terra-cotta. At regular intervals down the long sides of the room, at right angles with the wall, were iron slabs, grooved like meat-dishes; and on each lay a body. Most of them were men. They were very dark from the preservative in which they had been kept, and the skin had almost the look of leather. They were extremely emaciated. The attendant took Philip up to one of the slabs. A youth was standing by it.

"Is your name Carey?" he asked.

"Yes."

"Oh, then we've got this leg together. It's lucky it's a man, isn't it?"

"Why?" asked Philip.

"They generally always like a male better," said the attendant. "A female's liable to have a lot of fat about her."

Philip looked at the body. The arms and legs were so thin that there was no shape in them, and the ribs stood out so that the skin over them was tense. A man of about forty-five with a thin, gray beard, and on his skull scanty, colourless hair: the eyes were closed and the lower jaw sunken. Philip could not feel that this had ever been a man, and yet in the row of them there was something terrible and ghastly.

"I thought I'd start at two," said the young man who was dissecting with Philip.

"All right, I'll be here then."

He had bought the day before the case of instruments which was needful, and now he was given a locker. He looked at the boy who had accompanied him into the dissecting-room and saw that he was white.

"Make you feel rotten?" Philip asked him.

"I've never seen anyone dead before."

They walked along the corridor till they came to the entrance of the school. Philip remembered Fanny Price. She was the first dead person he had ever seen, and he remembered how strangely it had affected him. There was an immeasurable distance between the quick and the dead: they did not seem to belong to the same species; and it was strange to think that but a little while before they had spoken and moved and eaten and laughed. There was something horrible about the dead, and you could imagine that they might cast an evil influence on the living.

"What d'you say to having something to eat?" said his new friend to Philip.

They went down into the basement, where there was a dark room fitted up as a restaurant, and here the students were able to get the same sort of fare as they might have at an aerated bread shop. While they ate (Philip had a scone and butter and a cup of chocolate), he discovered that his companion was called Dunsford. He was a fresh-complexioned lad, with pleasant blue eyes and curly, dark hair, large-limbed, slow of speech and movement. He had just come from Clifton.

"Are you taking the Conjoint?" he asked Philip.

"Yes, I want to get qualified as soon as I can."

"I'm taking it too, but I shall take the F. R. C. S. afterwards. I'm going in for surgery."

Most of the students took the curriculum of the Conjoint Board of the College of Surgeons and the College of Physicians; but the more ambitious or the more industrious added to this the longer studies which led to a degree from the University of London. When Philip went to St. Luke's changes had recently been made in the regulations, and the course took five years instead of four as it had done for those who registered before the autumn of 1892. Dunsford was well up in his plans and told Philip the usual course of events. The "first conjoint" examination consisted of biology, anatomy, and chemistry; but it could be taken in sections, and most fellows took their biology three months after entering the school. This science had been recently added to the list of subjects upon which the student was obliged to inform himself, but the amount of knowledge required was very small.

When Philip went back to the dissecting-room, he was a few minutes late, since he had forgotten to buy the loose sleeves which they wore to protect their shirts, and he found a number of men already working. His partner had started on the minute and was busy dissecting out cutaneous nerves. Two others were engaged on the second leg, and more were occupied with the arms.

"You don't mind my having started?"

"That's all right, fire away," said Philip.

He took the book, open at a diagram of the dissected part, and looked at what they had to find.

"You're rather a dab at this," said Philip.

"Oh, I've done a good deal of dissecting before, animals, you know, for the Pre Sci."

There was a certain amount of conversation over the dissecting-table, partly about the work, partly about the prospects of the football season, the demonstrators, and the lectures. Philip felt himself a great deal older than the others. They were raw schoolboys. But age is a matter of knowledge rather than of years; and Newson, the active young man who was dissecting with him, was very much at home with his subject. He was perhaps not sorry to show off, and he explained very fully to Philip what he was about. Philip, notwithstanding his hidden stores of wisdom, listened meekly. Then Philip took up the scalpel and the tweezers and began working while the other looked on.

"Ripping to have him so thin," said Newson, wiping his hands. "The blighter can't have had anything to eat for a month."

"I wonder what he died of," murmured Philip.

"Oh, I don't know, any old thing, starvation chiefly, I suppose.... I say, look out, don't cut that artery."

"It's all very fine to say, don't cut that artery," remarked one of the men working on the opposite leg. "Silly old fool's got an artery in the wrong place."

"Arteries always are in the wrong place," said Newson. "The normal's the one thing you practically never get. That's why it's called the normal."

"Don't say things like that," said Philip, "or I shall cut myself."

"If you cut yourself," answered Newson, full of information, "wash it at once with antiseptic. It's the one thing you've got to be careful about. There was a chap here last year who gave himself only a prick, and he didn't bother about it, and he got septicaemia."

"Did he get all right?"

"Oh, no, he died in a week. I went and had a look at him in the P. M. room."

Philip's back ached by the time it was proper to have tea, and his luncheon had been so light that he was quite ready for it. His hands smelt of that peculiar odour which he had first noticed that morning in the corridor. He thought his muffin tasted of it too.

"Oh, you'll get used to that," said Newson. "When you don't have the good old dissecting-room stink about, you feel quite lonely."

"I'm not going to let it spoil my appetite," said Philip, as he followed up the muffin with a piece of cake.



LV

Philip's ideas of the life of medical students, like those of the public at large, were founded on the pictures which Charles Dickens drew in the middle of the nineteenth century. He soon discovered that Bob Sawyer, if he ever existed, was no longer at all like the medical student of the present.

It is a mixed lot which enters upon the medical profession, and naturally there are some who are lazy and reckless. They think it is an easy life, idle away a couple of years; and then, because their funds come to an end or because angry parents refuse any longer to support them, drift away from the hospital. Others find the examinations too hard for them; one failure after another robs them of their nerve; and, panic-stricken, they forget as soon as they come into the forbidding buildings of the Conjoint Board the knowledge which before they had so pat. They remain year after year, objects of good-humoured scorn to younger men: some of them crawl through the examination of the Apothecaries Hall; others become non-qualified assistants, a precarious position in which they are at the mercy of their employer; their lot is poverty, drunkenness, and Heaven only knows their end. But for the most part medical students are industrious young men of the middle-class with a sufficient allowance to live in the respectable fashion they have been used to; many are the sons of doctors who have already something of the professional manner; their career is mapped out: as soon as they are qualified they propose to apply for a hospital appointment, after holding which (and perhaps a trip to the Far East as a ship's doctor), they will join their father and spend the rest of their days in a country practice. One or two are marked out as exceptionally brilliant: they will take the various prizes and scholarships which are open each year to the deserving, get one appointment after another at the hospital, go on the staff, take a consulting-room in Harley Street, and, specialising in one subject or another, become prosperous, eminent, and titled.

The medical profession is the only one which a man may enter at any age with some chance of making a living. Among the men of Philip's year were three or four who were past their first youth: one had been in the Navy, from which according to report he had been dismissed for drunkenness; he was a man of thirty, with a red face, a brusque manner, and a loud voice. Another was a married man with two children, who had lost money through a defaulting solicitor; he had a bowed look as if the world were too much for him; he went about his work silently, and it was plain that he found it difficult at his age to commit facts to memory. His mind worked slowly. His effort at application was painful to see.

Philip made himself at home in his tiny rooms. He arranged his books and hung on the walls such pictures and sketches as he possessed. Above him, on the drawing-room floor, lived a fifth-year man called Griffiths; but Philip saw little of him, partly because he was occupied chiefly in the wards and partly because he had been to Oxford. Such of the students as had been to a university kept a good deal together: they used a variety of means natural to the young in order to impress upon the less fortunate a proper sense of their inferiority; the rest of the students found their Olympian serenity rather hard to bear. Griffiths was a tall fellow, with a quantity of curly red hair and blue eyes, a white skin and a very red mouth; he was one of those fortunate people whom everybody liked, for he had high spirits and a constant gaiety. He strummed a little on the piano and sang comic songs with gusto; and evening after evening, while Philip was reading in his solitary room, he heard the shouts and the uproarious laughter of Griffiths' friends above him. He thought of those delightful evenings in Paris when they would sit in the studio, Lawson and he, Flanagan and Clutton, and talk of art and morals, the love-affairs of the present, and the fame of the future. He felt sick at heart. He found that it was easy to make a heroic gesture, but hard to abide by its results. The worst of it was that the work seemed to him very tedious. He had got out of the habit of being asked questions by demonstrators. His attention wandered at lectures. Anatomy was a dreary science, a mere matter of learning by heart an enormous number of facts; dissection bored him; he did not see the use of dissecting out laboriously nerves and arteries when with much less trouble you could see in the diagrams of a book or in the specimens of the pathological museum exactly where they were.

He made friends by chance, but not intimate friends, for he seemed to have nothing in particular to say to his companions. When he tried to interest himself in their concerns, he felt that they found him patronising. He was not of those who can talk of what moves them without caring whether it bores or not the people they talk to. One man, hearing that he had studied art in Paris, and fancying himself on his taste, tried to discuss art with him; but Philip was impatient of views which did not agree with his own; and, finding quickly that the other's ideas were conventional, grew monosyllabic. Philip desired popularity but could bring himself to make no advances to others. A fear of rebuff prevented him from affability, and he concealed his shyness, which was still intense, under a frigid taciturnity. He was going through the same experience as he had done at school, but here the freedom of the medical students' life made it possible for him to live a good deal by himself.

It was through no effort of his that he became friendly with Dunsford, the fresh-complexioned, heavy lad whose acquaintance he had made at the beginning of the session. Dunsford attached himself to Philip merely because he was the first person he had known at St. Luke's. He had no friends in London, and on Saturday nights he and Philip got into the habit of going together to the pit of a music-hall or the gallery of a theatre. He was stupid, but he was good-humoured and never took offence; he always said the obvious thing, but when Philip laughed at him merely smiled. He had a very sweet smile. Though Philip made him his butt, he liked him; he was amused by his candour and delighted with his agreeable nature: Dunsford had the charm which himself was acutely conscious of not possessing.

They often went to have tea at a shop in Parliament Street, because Dunsford admired one of the young women who waited. Philip did not find anything attractive in her. She was tall and thin, with narrow hips and the chest of a boy.

"No one would look at her in Paris," said Philip scornfully.

"She's got a ripping face," said Dunsford.

"What DOES the face matter?"

She had the small regular features, the blue eyes, and the broad low brow, which the Victorian painters, Lord Leighton, Alma Tadema, and a hundred others, induced the world they lived in to accept as a type of Greek beauty. She seemed to have a great deal of hair: it was arranged with peculiar elaboration and done over the forehead in what she called an Alexandra fringe. She was very anaemic. Her thin lips were pale, and her skin was delicate, of a faint green colour, without a touch of red even in the cheeks. She had very good teeth. She took great pains to prevent her work from spoiling her hands, and they were small, thin, and white. She went about her duties with a bored look.

Dunsford, very shy with women, had never succeeded in getting into conversation with her; and he urged Philip to help him.

"All I want is a lead," he said, "and then I can manage for myself."

Philip, to please him, made one or two remarks, but she answered with monosyllables. She had taken their measure. They were boys, and she surmised they were students. She had no use for them. Dunsford noticed that a man with sandy hair and a bristly moustache, who looked like a German, was favoured with her attention whenever he came into the shop; and then it was only by calling her two or three times that they could induce her to take their order. She used the clients whom she did not know with frigid insolence, and when she was talking to a friend was perfectly indifferent to the calls of the hurried. She had the art of treating women who desired refreshment with just that degree of impertinence which irritated them without affording them an opportunity of complaining to the management. One day Dunsford told him her name was Mildred. He had heard one of the other girls in the shop address her.

"What an odious name," said Philip.

"Why?" asked Dunsford.

"I like it."

"It's so pretentious."

It chanced that on this day the German was not there, and, when she brought the tea, Philip, smiling, remarked:

"Your friend's not here today."

"I don't know what you mean," she said coldly.

"I was referring to the nobleman with the sandy moustache. Has he left you for another?"

"Some people would do better to mind their own business," she retorted.

She left them, and, since for a minute or two there was no one to attend to, sat down and looked at the evening paper which a customer had left behind him.

"You are a fool to put her back up," said Dunsford.

"I'm really quite indifferent to the attitude of her vertebrae," replied Philip.

But he was piqued. It irritated him that when he tried to be agreeable with a woman she should take offence. When he asked for the bill, he hazarded a remark which he meant to lead further.

"Are we no longer on speaking terms?" he smiled.

"I'm here to take orders and to wait on customers. I've got nothing to say to them, and I don't want them to say anything to me."

She put down the slip of paper on which she had marked the sum they had to pay, and walked back to the table at which she had been sitting. Philip flushed with anger.

"That's one in the eye for you, Carey," said Dunsford, when they got outside.

"Ill-mannered slut," said Philip. "I shan't go there again."

His influence with Dunsford was strong enough to get him to take their tea elsewhere, and Dunsford soon found another young woman to flirt with. But the snub which the waitress had inflicted on him rankled. If she had treated him with civility he would have been perfectly indifferent to her; but it was obvious that she disliked him rather than otherwise, and his pride was wounded. He could not suppress a desire to be even with her. He was impatient with himself because he had so petty a feeling, but three or four days' firmness, during which he would not go to the shop, did not help him to surmount it; and he came to the conclusion that it would be least trouble to see her. Having done so he would certainly cease to think of her. Pretexting an appointment one afternoon, for he was not a little ashamed of his weakness, he left Dunsford and went straight to the shop which he had vowed never again to enter. He saw the waitress the moment he came in and sat down at one of her tables. He expected her to make some reference to the fact that he had not been there for a week, but when she came up for his order she said nothing. He had heard her say to other customers:

"You're quite a stranger."

She gave no sign that she had ever seen him before. In order to see whether she had really forgotten him, when she brought his tea, he asked:

"Have you seen my friend tonight?"

"No, he's not been in here for some days."

He wanted to use this as the beginning of a conversation, but he was strangely nervous and could think of nothing to say. She gave him no opportunity, but at once went away. He had no chance of saying anything till he asked for his bill.

"Filthy weather, isn't it?" he said.

It was mortifying that he had been forced to prepare such a phrase as that. He could not make out why she filled him with such embarrassment.

"It don't make much difference to me what the weather is, having to be in here all day."

There was an insolence in her tone that peculiarly irritated him. A sarcasm rose to his lips, but he forced himself to be silent.

"I wish to God she'd say something really cheeky," he raged to himself, "so that I could report her and get her sacked. It would serve her damned well right."



LVI

He could not get her out of his mind. He laughed angrily at his own foolishness: it was absurd to care what an anaemic little waitress said to him; but he was strangely humiliated. Though no one knew of the humiliation but Dunsford, and he had certainly forgotten, Philip felt that he could have no peace till he had wiped it out. He thought over what he had better do. He made up his mind that he would go to the shop every day; it was obvious that he had made a disagreeable impression on her, but he thought he had the wits to eradicate it; he would take care not to say anything at which the most susceptible person could be offended. All this he did, but it had no effect. When he went in and said good-evening she answered with the same words, but when once he omitted to say it in order to see whether she would say it first, she said nothing at all. He murmured in his heart an expression which though frequently applicable to members of the female sex is not often used of them in polite society; but with an unmoved face he ordered his tea. He made up his mind not to speak a word, and left the shop without his usual good-night. He promised himself that he would not go any more, but the next day at tea-time he grew restless. He tried to think of other things, but he had no command over his thoughts. At last he said desperately:

"After all there's no reason why I shouldn't go if I want to."

The struggle with himself had taken a long time, and it was getting on for seven when he entered the shop.

"I thought you weren't coming," the girl said to him, when he sat down.

His heart leaped in his bosom and he felt himself reddening. "I was detained. I couldn't come before."

"Cutting up people, I suppose?"

"Not so bad as that."

"You are a stoodent, aren't you?"

"Yes."

But that seemed to satisfy her curiosity. She went away and, since at that late hour there was nobody else at her tables, she immersed herself in a novelette. This was before the time of the sixpenny reprints. There was a regular supply of inexpensive fiction written to order by poor hacks for the consumption of the illiterate. Philip was elated; she had addressed him of her own accord; he saw the time approaching when his turn would come and he would tell her exactly what he thought of her. It would be a great comfort to express the immensity of his contempt. He looked at her. It was true that her profile was beautiful; it was extraordinary how English girls of that class had so often a perfection of outline which took your breath away, but it was as cold as marble; and the faint green of her delicate skin gave an impression of unhealthiness. All the waitresses were dressed alike, in plain black dresses, with a white apron, cuffs, and a small cap. On a half sheet of paper that he had in his pocket Philip made a sketch of her as she sat leaning over her book (she outlined the words with her lips as she read), and left it on the table when he went away. It was an inspiration, for next day, when he came in, she smiled at him.

"I didn't know you could draw," she said.

"I was an art-student in Paris for two years."

"I showed that drawing you left be'ind you last night to the manageress and she WAS struck with it. Was it meant to be me?"

"It was," said Philip.

When she went for his tea, one of the other girls came up to him.

"I saw that picture you done of Miss Rogers. It was the very image of her," she said.

That was the first time he had heard her name, and when he wanted his bill he called her by it.

"I see you know my name," she said, when she came.

"Your friend mentioned it when she said something to me about that drawing."

"She wants you to do one of her. Don't you do it. If you once begin you'll have to go on, and they'll all be wanting you to do them." Then without a pause, with peculiar inconsequence, she said: "Where's that young fellow that used to come with you? Has he gone away?"

"Fancy your remembering him," said Philip.

"He was a nice-looking young fellow."

Philip felt quite a peculiar sensation in his heart. He did not know what it was. Dunsford had jolly curling hair, a fresh complexion, and a beautiful smile. Philip thought of these advantages with envy.

"Oh, he's in love," said he, with a little laugh.

Philip repeated every word of the conversation to himself as he limped home. She was quite friendly with him now. When opportunity arose he would offer to make a more finished sketch of her, he was sure she would like that; her face was interesting, the profile was lovely, and there was something curiously fascinating about the chlorotic colour. He tried to think what it was like; at first he thought of pea soup; but, driving away that idea angrily, he thought of the petals of a yellow rosebud when you tore it to pieces before it had burst. He had no ill-feeling towards her now.

"She's not a bad sort," he murmured.

It was silly of him to take offence at what she had said; it was doubtless his own fault; she had not meant to make herself disagreeable: he ought to be accustomed by now to making at first sight a bad impression on people. He was flattered at the success of his drawing; she looked upon him with more interest now that she was aware of this small talent. He was restless next day. He thought of going to lunch at the tea-shop, but he was certain there would be many people there then, and Mildred would not be able to talk to him. He had managed before this to get out of having tea with Dunsford, and, punctually at half past four (he had looked at his watch a dozen times), he went into the shop.

Mildred had her back turned to him. She was sitting down, talking to the German whom Philip had seen there every day till a fortnight ago and since then had not seen at all. She was laughing at what he said. Philip thought she had a common laugh, and it made him shudder. He called her, but she took no notice; he called her again; then, growing angry, for he was impatient, he rapped the table loudly with his stick. She approached sulkily.

"How d'you do?" he said.

"You seem to be in a great hurry."

She looked down at him with the insolent manner which he knew so well.

"I say, what's the matter with you?" he asked.

"If you'll kindly give your order I'll get what you want. I can't stand talking all night."

"Tea and toasted bun, please," Philip answered briefly.

He was furious with her. He had The Star with him and read it elaborately when she brought the tea.

"If you'll give me my bill now I needn't trouble you again," he said icily.

She wrote out the slip, placed it on the table, and went back to the German. Soon she was talking to him with animation. He was a man of middle height, with the round head of his nation and a sallow face; his moustache was large and bristling; he had on a tail-coat and gray trousers, and he wore a massive gold watch-chain. Philip thought the other girls looked from him to the pair at the table and exchanged significant glances. He felt certain they were laughing at him, and his blood boiled. He detested Mildred now with all his heart. He knew that the best thing he could do was to cease coming to the tea-shop, but he could not bear to think that he had been worsted in the affair, and he devised a plan to show her that he despised her. Next day he sat down at another table and ordered his tea from another waitress. Mildred's friend was there again and she was talking to him. She paid no attention to Philip, and so when he went out he chose a moment when she had to cross his path: as he passed he looked at her as though he had never seen her before. He repeated this for three or four days. He expected that presently she would take the opportunity to say something to him; he thought she would ask why he never came to one of her tables now, and he had prepared an answer charged with all the loathing he felt for her. He knew it was absurd to trouble, but he could not help himself. She had beaten him again. The German suddenly disappeared, but Philip still sat at other tables. She paid no attention to him. Suddenly he realised that what he did was a matter of complete indifference to her; he could go on in that way till doomsday, and it would have no effect.

"I've not finished yet," he said to himself.

The day after he sat down in his old seat, and when she came up said good-evening as though he had not ignored her for a week. His face was placid, but he could not prevent the mad beating of his heart. At that time the musical comedy had lately leaped into public favour, and he was sure that Mildred would be delighted to go to one.

"I say," he said suddenly, "I wonder if you'd dine with me one night and come to The Belle of New York. I'll get a couple of stalls."

He added the last sentence in order to tempt her. He knew that when the girls went to the play it was either in the pit, or, if some man took them, seldom to more expensive seats than the upper circle. Mildred's pale face showed no change of expression.

"I don't mind," she said.

"When will you come?"

"I get off early on Thursdays."

They made arrangements. Mildred lived with an aunt at Herne Hill. The play began at eight so they must dine at seven. She proposed that he should meet her in the second-class waiting-room at Victoria Station. She showed no pleasure, but accepted the invitation as though she conferred a favour. Philip was vaguely irritated.



LVII

Philip arrived at Victoria Station nearly half an hour before the time which Mildred had appointed, and sat down in the second-class waiting-room. He waited and she did not come. He began to grow anxious, and walked into the station watching the incoming suburban trains; the hour which she had fixed passed, and still there was no sign of her. Philip was impatient. He went into the other waiting-rooms and looked at the people sitting in them. Suddenly his heart gave a great thud.

"There you are. I thought you were never coming."

"I like that after keeping me waiting all this time. I had half a mind to go back home again."

"But you said you'd come to the second-class waiting-room."

"I didn't say any such thing. It isn't exactly likely I'd sit in the second-class room when I could sit in the first is it?"

Though Philip was sure he had not made a mistake, he said nothing, and they got into a cab.

"Where are we dining?" she asked.

"I thought of the Adelphi Restaurant. Will that suit you?"

"I don't mind where we dine."

She spoke ungraciously. She was put out by being kept waiting and answered Philip's attempt at conversation with monosyllables. She wore a long cloak of some rough, dark material and a crochet shawl over her head. They reached the restaurant and sat down at a table. She looked round with satisfaction. The red shades to the candles on the tables, the gold of the decorations, the looking-glasses, lent the room a sumptuous air.

"I've never been here before."

She gave Philip a smile. She had taken off her cloak; and he saw that she wore a pale blue dress, cut square at the neck; and her hair was more elaborately arranged than ever. He had ordered champagne and when it came her eyes sparkled.

"You are going it," she said.

"Because I've ordered fiz?" he asked carelessly, as though he never drank anything else.

"I WAS surprised when you asked me to do a theatre with you." Conversation did not go very easily, for she did not seem to have much to say; and Philip was nervously conscious that he was not amusing her. She listened carelessly to his remarks, with her eyes on other diners, and made no pretence that she was interested in him. He made one or two little jokes, but she took them quite seriously. The only sign of vivacity he got was when he spoke of the other girls in the shop; she could not bear the manageress and told him all her misdeeds at length.

"I can't stick her at any price and all the air she gives herself. Sometimes I've got more than half a mind to tell her something she doesn't think I know anything about."

"What is that?" asked Philip.

"Well, I happen to know that she's not above going to Eastbourne with a man for the week-end now and again. One of the girls has a married sister who goes there with her husband, and she's seen her. She was staying at the same boarding-house, and she 'ad a wedding-ring on, and I know for one she's not married."

Philip filled her glass, hoping that champagne would make her more affable; he was anxious that his little jaunt should be a success. He noticed that she held her knife as though it were a pen-holder, and when she drank protruded her little finger. He started several topics of conversation, but he could get little out of her, and he remembered with irritation that he had seen her talking nineteen to the dozen and laughing with the German. They finished dinner and went to the play. Philip was a very cultured young man, and he looked upon musical comedy with scorn. He thought the jokes vulgar and the melodies obvious; it seemed to him that they did these things much better in France; but Mildred enjoyed herself thoroughly; she laughed till her sides ached, looking at Philip now and then when something tickled her to exchange a glance of pleasure; and she applauded rapturously.

"This is the seventh time I've been," she said, after the first act, "and I don't mind if I come seven times more."

She was much interested in the women who surrounded them in the stalls. She pointed out to Philip those who were painted and those who wore false hair.

"It is horrible, these West-end people," she said. "I don't know how they can do it." She put her hand to her hair. "Mine's all my own, every bit of it."

She found no one to admire, and whenever she spoke of anyone it was to say something disagreeable. It made Philip uneasy. He supposed that next day she would tell the girls in the shop that he had taken her out and that he had bored her to death. He disliked her, and yet, he knew not why, he wanted to be with her. On the way home he asked:

"I hope you've enjoyed yourself?"

"Rather."

"Will you come out with me again one evening?"

"I don't mind."

He could never get beyond such expressions as that. Her indifference maddened him.

"That sounds as if you didn't much care if you came or not."

"Oh, if you don't take me out some other fellow will. I need never want for men who'll take me to the theatre."

Philip was silent. They came to the station, and he went to the booking-office.

"I've got my season," she said.

"I thought I'd take you home as it's rather late, if you don't mind."

"Oh, I don't mind if it gives you any pleasure."

He took a single first for her and a return for himself.

"Well, you're not mean, I will say that for you," she said, when he opened the carriage-door.

Philip did not know whether he was pleased or sorry when other people entered and it was impossible to speak. They got out at Herne Hill, and he accompanied her to the corner of the road in which she lived.

"I'll say good-night to you here," she said, holding out her hand. "You'd better not come up to the door. I know what people are, and I don't want to have anybody talking."

She said good-night and walked quickly away. He could see the white shawl in the darkness. He thought she might turn round, but she did not. Philip saw which house she went into, and in a moment he walked along to look at it. It was a trim, common little house of yellow brick, exactly like all the other little houses in the street. He stood outside for a few minutes, and presently the window on the top floor was darkened. Philip strolled slowly back to the station. The evening had been unsatisfactory. He felt irritated, restless, and miserable.

When he lay in bed he seemed still to see her sitting in the corner of the railway carriage, with the white crochet shawl over her head. He did not know how he was to get through the hours that must pass before his eyes rested on her again. He thought drowsily of her thin face, with its delicate features, and the greenish pallor of her skin. He was not happy with her, but he was unhappy away from her. He wanted to sit by her side and look at her, he wanted to touch her, he wanted... the thought came to him and he did not finish it, suddenly he grew wide awake... he wanted to kiss the thin, pale mouth with its narrow lips. The truth came to him at last. He was in love with her. It was incredible.

He had often thought of falling in love, and there was one scene which he had pictured to himself over and over again. He saw himself coming into a ball-room; his eyes fell on a little group of men and women talking; and one of the women turned round. Her eyes fell upon him, and he knew that the gasp in his throat was in her throat too. He stood quite still. She was tall and dark and beautiful with eyes like the night; she was dressed in white, and in her black hair shone diamonds; they stared at one another, forgetting that people surrounded them. He went straight up to her, and she moved a little towards him. Both felt that the formality of introduction was out of place. He spoke to her.

"I've been looking for you all my life," he said.

"You've come at last," she murmured.

"Will you dance with me?"

She surrendered herself to his outstretched hands and they danced. (Philip always pretended that he was not lame.) She danced divinely.

"I've never danced with anyone who danced like you," she said.

She tore up her programme, and they danced together the whole evening.

"I'm so thankful that I waited for you," he said to her. "I knew that in the end I must meet you."

People in the ball-room stared. They did not care. They did not wish to hide their passion. At last they went into the garden. He flung a light cloak over her shoulders and put her in a waiting cab. They caught the midnight train to Paris; and they sped through the silent, star-lit night into the unknown.

He thought of this old fancy of his, and it seemed impossible that he should be in love with Mildred Rogers. Her name was grotesque. He did not think her pretty; he hated the thinness of her, only that evening he had noticed how the bones of her chest stood out in evening-dress; he went over her features one by one; he did not like her mouth, and the unhealthiness of her colour vaguely repelled him. She was common. Her phrases, so bald and few, constantly repeated, showed the emptiness of her mind; he recalled her vulgar little laugh at the jokes of the musical comedy; and he remembered the little finger carefully extended when she held her glass to her mouth; her manners like her conversation, were odiously genteel. He remembered her insolence; sometimes he had felt inclined to box her ears; and suddenly, he knew not why, perhaps it was the thought of hitting her or the recollection of her tiny, beautiful ears, he was seized by an uprush of emotion. He yearned for her. He thought of taking her in his arms, the thin, fragile body, and kissing her pale mouth: he wanted to pass his fingers down the slightly greenish cheeks. He wanted her.

He had thought of love as a rapture which seized one so that all the world seemed spring-like, he had looked forward to an ecstatic happiness; but this was not happiness; it was a hunger of the soul, it was a painful yearning, it was a bitter anguish, he had never known before. He tried to think when it had first come to him. He did not know. He only remembered that each time he had gone into the shop, after the first two or three times, it had been with a little feeling in the heart that was pain; and he remembered that when she spoke to him he felt curiously breathless. When she left him it was wretchedness, and when she came to him again it was despair.

He stretched himself in his bed as a dog stretches himself. He wondered how he was going to endure that ceaseless aching of his soul.