She had already ignored the advice he had given her on one point; for Horace had long ago told her plainly that there was no use in editing their grandfather's posthumous works; that on any subject other than textual criticism, Sir Joseph was absurd.

Meanwhile, by sympathy perhaps, Rickman also had become discreet. He entered on his new week a new man. As if he had divined that he was on his trial, he redoubled his prodigious efforts, he applied himself to his hideous task with silent and concentrated frenzy. He seemed to live and move and have his being in the catalogue raisonne. Whenever Lucia had occasion to look up at him he was assiduous, rapid, absorbed, He never stopped to talk about AEschylus and Euripides. Now and then they exchanged a necessary word, but not more than once or twice in the morning. If Lucia by any chance gave him an opening he ignored it. He maintained a silence that was almost stern.

Mr. Rickman was undergoing a process of regeneration.

He would not have called it by so fine a name. In fact, in its earlier stages he seemed to himself to be merely pushing to the point of mania a strong predilection for personal cleanliness. He was first of all possessed, recklessly, ruinously, by a passion for immaculate shirts. He had telegraphed to Spinks to send down all of his linen that he could lay his hands on; meanwhile he had supplied deficiencies at the local haberdashers. At Mrs. Downey's there was a low standard for the more slender particulars of the toilette, and Mr. Rickman had compared favourably with his fellow-boarders. Now he looked back with incredulity and horror to his former self. Since his person had been brought into daily contact with Miss Harden he had begun to bestow on it a solemn, almost religious care. In the matter of the pocket handkerchief he practised an extreme ritual, permitting himself none but the finest lawn, which he changed after the first trivial crumpling. The pocket-handkerchief being thus glorified and exalted in the hierarchy of dress, one source of painful misgiving was removed.

For the first few days he had been merely formal in this cult of the person. Piety was appeased with external rites and symbols, with changes of vestment, excessive lustrations, and the like. Now he had grown earnest, uncompromising, in his religion; and consistency entailed a further step. Clearly his person, the object of such superstitious veneration, must be guarded from all unbecoming and ridiculous accidents; such an accident, for instance, as getting drunk. If you came to think of it, few things could be more compromising to the person than that (Heavens! if Miss Harden had seen it last Wednesday night!). And since any friendship with ladies of doubtful character might be considered equally derogatory from its dignity, he further resolved to eliminate (absolutely) Miss Poppy Grace. He took no credit for these acts of renunciation. They seemed to him no more morally meritorious than the removal of dust from his coat sleeves, or of ink-stains from his hands.

But though he exterminated the devil in him with so light a touch, it was gravely, tragically almost, that he turned to the expulsion of the Cockney. Intoxication was an unlucky casualty; so, if you came to think of it, was a violent infatuation for Miss Poppy Grace; infinitely more disastrous, more humiliating, were the fatal habits of his speech. Take the occasional but terrific destruction of the aitch. It was worse than drink; it wrecked a man more certainly, more utterly beyond redemption and excuse. It was anxiety on this point that partly accounted for his reserve. He simply dared not talk about AEschylus or Euripides, because such topics were exciting, and excitement was apt to induce this lapse.

But most of all he dreaded the supreme agitation of love. For he knew now perfectly well what had happened to him; though he had never known it happen to him in this manner before. It was love as his heart had imagined it in the days before he became the thrall of Miss Poppy Grace. He had known the feeling, but until now he had not known the woman who could inspire it. It was as if his heart had renewed its primal virginity in preparation for some divine experience.

The night of Sunday beheld the withdrawal of Mr. Rickman into the immensity of his preposterous dream. From this blessed state he emerged on Monday morning, enlightened as to the whole comedy and tragedy of his passion. To approach Lucia Harden required nothing less than a change of spirit; and Mr. Rickman doubted whether he could manage that. He could only change his shirts. And at this point there arose the hideous fear lest love itself might work to hinder and betray him.

As it turned out, love proved his ally, not his enemy. So far from exciting him, it produced a depression that rendered him disinclined for continuous utterance. In this it did him good service. It prevented him from obtruding his presence unduly on Miss Harden. In his seat at the opposite table he had achieved something of her profound detachment, her consummate calm. And Lucia said to herself, "Good. He can keep quiet for a whole day at a time, which is what I doubted."

Six days had passed in this manner, and he had not yet attempted to penetrate the mystery and seclusion of the Aldine Plato, the Neapolitan Horace and the Aurea Legenda of Wynkyn de Worde. He turned away his eyes from that corner of the bookcase where he had good reason to suppose them to be. He would have to look at them some time, meanwhile he shrank from approaching them as from some gross impiety. His father had written to him several times, making special inquiries after the Aldine Plato, the Neapolitan Horace, and the Aurea Legenda of Wynkyn de Worde. He replied with generalities in a guarded manner. He was kept very busy, and was as yet unable to send him any more detailed information. He had begun to feel it strange that these questions should be put, to marvel at the assumption that they could in any way concern him. Rickman's had ceased altogether to exist for him.

He was beginning to lose all sense of strangeness in his position. The six days might have been six years and Court House the home of his infancy, Lucia's presence filled it with so warm an atmosphere of kindness and of love. The very servants had learnt something of her gentle, considerate ways. He was at home there as he had never been at home before. He knew every aspect of the library, through all the changes of the light, from the first waking of its blues and crimsons in the early morning to the broad and golden sweep of noonday through the south window; from the quick rushing flame of the sunset to its premature death among the rafters. Then the lamps; a little light in the centre where they sat, and the thick enclosing darkness round about them.

Each of those six days was like a Sunday, and Sunday to Rickman was always a day of beatitude, being the day of dreams. And she, in her sweet unfamiliar beauty, only half real, though so piercingly present to him, was an incarnate dream. She always sat with her back to the south window, so that her head and shoulders appeared somewhat indistinct against the outer world, a background of flower-beds and green grass and sky, covered with the criss-cross of the leaded lozenge panes and the watery shimmer of the glass. The outline of her head was indicated by a little line of light that threaded her hair and tipped the curve of her small ears. He knew every change of her face, from its serene, faint-tinted morning look, to its flower-like pallor in the dusk. He knew only too well its look under the lamp-light after a hard day's work; the look that came with a slight blurring of its soft contours, and a drooping of tired eyelids over pathetic eyes. He saw what Jewdwine had failed to see, that Lucia was not strong.

Six days, and three days before that, nine days in all; and it was as if he had known that face all his life; he could not conceive a time when he had not known it. As for the things he had known, horrible, curious and incredible things, such as Rickman's, Mrs. Downey's, St. Pancras Church, and the editor of The Museion (whose last letter he had left unanswered), they belonged to an infinitely remote and unimaginable past. It seemed the entirely obvious and natural thing that he should be sitting there alone with Lucia Harden. He was never very far from her. The east window looked across the courtyard to the window of her drawing-room; he could see her there, sitting in the lamp-light; he could hear the music that she made. Her bedroom was above the library; it was pleasant to him to know that when she left him it was to sleep there overhead. The deep quiet of his passion had drawn him again into his dream.

And then all of a sudden, he woke up and broke the silence. It was ten o'clock on Saturday evening. Lucia had shifted the shade of the lamp. From where he sat her face was in twilight and her body in darkness. He had got up to put a book into its place, when he saw her leaning back and covering her eyes with her hand.

The sight was too much for him. He came up and stood beside her.

"Miss Harden, I don't like this. I—I can't stand it any longer."

She looked up. She had been unaware of Mr. Rickman for the last hour, and certainly did not expect to find him there.

"What is it that you can't stand?"

"To see you working from morning to night. It—it isn't right, you know. You're paying me for this, and doing the half of it yourself."

"I'm not doing a quarter of it. You forget that you're working three times as fast as I can."

"And you forget that you're working three times as hard."

"No. I'm leaving the hard work to you."

"I wish you'd leave it all to me."

"In that case we should never have finished," said the lady.

He smiled. "Perhaps not. At any rate you've worked so hard that I can finish it now by myself."

She looked round the room. Undisguised fatigue was in the look. What they had done was nothing to what they had yet to do.

"You can't," she said.

"I can. Easily. I miscalculated the time it would take."

She said nothing, for she knew that he had lied. His miscalculation was all the other way. She bent again over her work. It was all that he could do not to lift her arms gently but firmly from the table, to take away her pen and ink, and put out her lamp. He would have liked to have done some violence to the catalogue.

"I say, you know, you'll make yourself ill. You're burning the candle at both ends. May I suggest that the game isn't worth the candle?"

"Have you very much more to do?"

"About two hours' work. Would it be impertinent to say that I could do it better by myself?"

She looked at her watch and ignored his last question. "You can't do two hours' work. It's twenty minutes past your time already."

Past his time, indeed! As if he hadn't been working past his time every night since he came. She had grown mighty particular all of a sudden!

"The presence of these engaging little Elzevirs is a terrible temptation to a second-hand bookseller, still I believe you can trust me with them alone."

From the expression of her face he gathered that this remark was even more impertinent than the other. He had meant it to be.

"I really think," said the lady, "that you had better go."

"Just as you please; I shall only have to sit up two hours later to-morrow night."

He walked to his place with his head thrown farther back and his chin thrust farther forward than ever. He began to sort and arrange his papers preparatory to his departure. It took him five minutes. At the end of the five minutes he was aware that Lucia had risen and was bidding him Good-night.

"You were quite right," she was saying. "I am tired, and I had better leave off. If you had rather stay and finish, please stay."

At those words Mr. Rickman was filled with a monstrous and amazing courage. He made for the door, crossing without a tremor the whole length of the library. He reached the door before Miss Harden, and opened it. He returned her good-night with a hope that she would be rested in the morning. And as he went back to his solitary labour he smiled softly to himself, a smile of self-congratulation.

He had meant her to go—and she had gone.

Upstairs in her room overhead Lucia communed with her own face in the glass.

"My private secretary?"

The face in the glass looked dubious.

"Of course I would rather have a gentleman for my private secretary. Some people would say he isn't a gentleman." (She had said it herself the other day.)

The face in the glass smiled dimly, between two parted veils of hair.

"What is a gentleman?"

The face in the glass suggested that this was indeed a subtle and a difficult question.

"It was not his business if I chose to tire myself. Would it have been his business if he'd been a gentleman?"

The face in the glass offered no opinion.

"I think I like him best when he's impertinent. He is so very funny, poor dear, when he tries to be polite."

The face in the glass, framed by two white arms raising a column of hair, was suffused with rosy mirth.

"I wonder what Horace really thinks of him?"

The face, triumphantly crowned with its dark coil, looked grave.

"He is a gentleman. At least, he lied like one."

By this time Lucia was in bed, and there was no face in the glass to dispute or corroborate that statement.



CHAPTER XXIII

The next morning he gave into her hands the manuscript of Helen in Leuce. It had arrived two or three days ago, packed by Spinks between his new shirts. She had expected to feel a little guilty as she received the familiar sheets; but as she glanced over them she saw that they were anything but familiar; what she had to deal with was a clean new draft.

She had a fairly clear recollection of the outline of the play.

In Act I Helen lands in the enchanted island of Leuce, and is found watching the ship that brought her sailing away with the dead Menelaus, for he, being altogether mortal, may not follow her there. The Chorus tells the story of Helen, her rape by Theseus, her marriage with Menelaus, her flight with Paris, the tragedy of Troy and her return to Argos. It tells how through all her adventures the godhead in her remained pure, untouched, holding itself apart.

In Act II Helen is asleep, for the soul of Leda still troubles her divinity, and her mortality is heavy upon her. Helen rises out of her sleep; her divinity is seen struggling with her mortality, burning through the beauty of her body. Desire wakens in Achilles, and in Helen terror and anguish, as of one about to enter again into the pain of mortal life. But he may not touch her till he, too, has put on immortality. Helen prays for deliverance from the power of Aphrodite. She rouses in Achilles a great anger against Aphrodite by reminding him of the death of Patroclus; so that he calls down upon the goddess the curses of all the generations of men.

It was this Act that lived in Lucia's memory. Act III she had not yet read, but she had gathered from the argument that Pallas Athene was there to appear to Achilles and divest him of his mortality; that she was to lead him to Helen, whose apotheosis was supposed to be complete; the Act concluding with two choruses, an epithalamium celebrating the wedding of Helen and Achilles, and a Hymn in praise of Athene.

She remembered how when Horace had first told her of the subject, Helen in Leuce, she had looked it up in Lempriere, found a reference in Homer and another in Euripides, had shaken her head and said, "What can he make of that?"

Now for the first time she saw what he had made of it. Rickman's Helen was to the Helena of Euripides what Shelley's Prometheus is to the Prometheus of AEschylus. Rickman had done what seemed good in his own eyes. He had made his own metres, his own myth and his own drama. A drama of flesh and blood, a drama of spirit, a drama of dreams. Only a very young poet could have had the courage to charge it with such a weight of symbolism; but he had contrived to breathe into his symbols the breath of life; the phantoms of his brain, a shadowy Helen and Achilles, turned into flesh and blood under his hands. It was as if their bodies, warm, throbbing, full-formed, instinct with irresistible and violent life, had come crashing through the delicate fabric of his dream.

As she read Lucia's mind was troubled, shaken out of its critical serenity. She heard a new music; she felt herself in the grasp of a new power, a new spirit. It was not the classic spirit. There was too much tumult in its harmonies, as if the music of a whole orchestra had been torn from its instruments and flung broadcast, riding triumphantly on the wings of a great wind. There were passages (notably the Hymn to Aphrodite in the second Act) that brought the things of sense and the terrible mysteries of flesh and blood so near to her that she flinched. Rickman had made her share the thrilling triumph, the flushed passion of his youth. And when she was most hurt and bruised under the confusion of it, he lifted her up and carried her away into the regions of spiritual beauty and eternal strength.

It was all over; the tumult of the flesh and the agony of the spirit; over, too, the heaven-piercing singing, the rapture of spirit and of flesh made one. Rickman had ended his amazing drama with the broad majestic music of his Hymn to Athene. Lucia had borne up under the parting of Helen and Menelaus; but she was young, and at that touch of superb and ultimate beauty, two tears, the large and heavy tears of youth, fell upon Rickman's immaculate manuscript, where their marks remain to this day. The sight of them had the happy effect of making her laugh, and then, and not till then, she thought of Rickman—Mr. Rickman. She thought of him living a dreadful life among dreadful people; she thought of him sitting in his father's shop, making catalogues raisonnes; she thought of him sitting in the library making one at that very moment. And this was the man she had had the impertinence to pity; whom Horace would say she now proposed to patronize. As she stood contemplating the pile of manuscript before her, Miss Lucia Harden felt (for a great lady) quite absurdly small.

In that humble mood she was found by Miss Palliser.

"What's up?" said Kitty.

"Kitty, that little man in there—he's written the most beautiful play. It's so terribly sad."

"What, the play?"

"No, the little man. It's a classic, Kitty—it'll live."

"Then I'm sure you needn't pity him. Let's have a look at the thing." Miss Palliser dipped into the manuscript, and was lost.

"By Jove," she said, "it does look ripping. Where does the sadness come in?"

"He thinks he'll never write another."

"Well, perhaps he won't."

"He will—think of it—he's a genius, the real thing, this time. Only—he has to stand behind a counter and make catalogues."

Miss Palliser meditated. "Does he—does he by any chance drop his aitches?"

"Kitty, he does."

"Then Lucy, dear child, beware, beware, his flashing eyes, his floating hair—"

"Don't. That little man is on my mind."

"I shouldn't let him stop there too long, if I were you. He might refuse to get on."

"I must do something for him, and I must do it now. What can I do?"

"Not much, I imagine."

"I—I think I'll ask him to dinner."

"I wouldn't. You said he drops his aitches. Weave," said Miss Palliser, "a circle round him thrice, and close your eyes with holy dread, but whatever you do, don't ask him to dinner."

"Why not?"

"Because ten to one it would make him most horribly uncomfortable. Not that that matters so much. But wouldn't the faithful Robert think it a little odd?"

"Robert is too faithful to think anything at all."

"I'm not so sure of that. Personally, I wish you would ask him to dinner—I seem to foresee a certain amount of amusing incident."

"Well, I don't think I will ask him—to dinner. Perhaps he wouldn't enjoy it. But as I've got to talk over his play with him, I should like to ask him to something."

"Ask him to coffee afterwards."

"Coffee hardly seems enough."

"It depends. Serve it festively—on a table, and pour it out yourself. Offer him strange and bewitching forms of food. Comfort him with—with angel cake—and savoury sandwiches and bread and butter."

"I see—a sort of compromise?"

"Exactly. Society, my child, is based on compromise."

"Very well, then, I'll write him a note."

She wrote it, and sent Robert with it to the library.

"I suppose," said she, "it's about time to dress for dinner?"

"Don't make yourself too pretty, dear."

Lucia looked back through the doorway.

"I shall make myself as pretty as ever I can. He has had nothing but ugly things to look at all his life."

Miss Palliser apostrophized the departing figure of her friend.

"Oh Lucy, Lucy, what an angelic little fool you are!"



CHAPTER XXIV

Half-past six, and Miss Harden had not yet appeared in the library. It was the first time that Rickman had passed a whole day without seeing her. He began to be uneasy, to wonder whether she were really ill. At seven he was leaving the house as usual for his hotel when Robert brought him a little three-cornered note.

"Dear Mr. Rickman," it said (Dear Mr. Rickman!) "you see I have taken your advice, and given myself a holiday. I have spent it very pleasantly—reading Helen in Leuce. It would give me much pleasure if you would come in for coffee this evening, about eight o'clock. We can then talk it over.

"Very truly yours,

"LUCIA HARDEN.

"You need only send a verbal answer."

A verbal answer? No. That would never do. He could not trust himself with speech, but in writing he knew he was impeccable.

"Dear Miss Harden. How very kind of you! But I am sorry that you did not give yourself a complete rest. I should be sorrier, if I were not so grateful for the trouble you have taken. It will give me great pleasure to come in this evening at the time you name.

"With many thanks, yours very truly,

"S.K. RICKMAN."

He was not pleased with it; it erred on the side of redundancy; he had not attained the perfect utterance, the supreme simplicity. But he was obliged to let it go. Two hours later Robert announced that coffee was served in the drawing-room.

It seemed that to reach the drawing-room you had to cross the whole length of the house from west to east. In this passage he realized (what his mind had not greatly dwelt upon), the antiquity of the Hardens, and the march of their splendid generations. Going from the Tudor Library into the grim stone hall of the Court House, he took a cold plunge backward into time. Thence his progress was straightforward, bringing him into the Jacobean picture gallery that cut the house from north to south. Here he paused, perceiving that the double line of portraits began with a Vandyck and a Lely. Robert stood with his hand on the brass rose knob of an oak door; in his eternal attitude of affection, mingled with immobile respect, he waited for the moment when Mr. Rickman should elect to tear himself from the Lely and the Vandyck. The moment came, and Mr. Rickman heard himself announced in a clear high voice as he passed over the threshold.

He found himself in a long oak-panelled room; that room whose west window looked out across the courtyard to the east window of the library. It was almost dark except for a small fire-lit, lamp-lit, square at the far end. Lucia was sitting in a low chair by the fireplace, under the tall shaded lamp, where the light fell full on her shoulders. She was not alone. On a settee by the other side of the open hearth sat the young lady who had intruded on his solitude in the library. The presence of the young lady filled him with anxiety and dismay.

He had to cross a vast, dim space before he reached that lighted region. With what seemed to him a reeling and uncertain gait, he approached over the perilously slippery parquet. Miss Harden rose and came forward, mercifully cutting short that frightful passage from the threshold to her chair.

Lucia had not carried out the intention she had announced to Kitty. She had dressed in haste; but in Rickman's eyes the effect was that which Kitty had seen fit to deprecate. She had made herself very pretty indeed. He could not have given a very clear account of it, could not have said whether the thing she wore, that floating, sweeping, curling, trailing, folding and caressing garment were made of grey gossamer in white or white in grey, but he was aware that it showed how divinely her slender body carried its flower, her head; showed that her arms, her throat, and the first sweep and swell of her shoulders, were of one tone with the luminous pallor of her face. Something in the dress, in her bearing and manner of approach, gave her the assured charm of womanhood for the unfinished loveliness of youth.

She introduced him to her friend Miss Palliser, whose green eyes smiled in recognition. He bowed with the stiffness of a back unaccustomed to that form of salutation. He hardly knew what happened after that, till he found himself backing, nervously, ridiculously backing into a lonely seat in the middle of the room.

The three were now grouped in a neat geometrical figure, Mr. Rickman, on the chair of his choice, forming the apex of a prolonged triangle, having the hearthrug for its base. He was aware that Miss Harden and Miss Palliser were saying something; but he had no idea of what they said. He sat there wondering whether he ought to be seated at all, whether he ought not rather to be hovering about that little table, ready to wait upon Miss Palliser. He was still wondering when Miss Palliser got up with the evident intention of waiting upon him.

That, he knew, was all wrong; it was not to be permitted for a moment. Inspired by a strange, unnatural courage, he advanced and took his coffee from her hand, retreating with it to his remote and solitary position.

He sat silent, moodily looking at his coffee, stirring it from time to time and wondering whether he would ever be brave enough to drink it. He waited for an opportunity of dispatching it unperceived. The presence of Miss Palliser paralysed him. He wondered whether he ought to say anything to her or to Miss Harden, or to neither or to both; he tried to think of something suitable to say.

Meanwhile Miss Palliser talked for all three. It seemed that she had dined with her friend on her way to an "at home" in Harmouth.

"Bread and butter?" said she judicially "N—no, I think not, thanks. I've got to eat jellies and sandwiches and things for two hours straight on end. It sounds horrible, but I shall be driven to it. At the Flossers," she explained for her friend's benefit, "you must either eat or talk; and if you can't talk scandal you're not expected to talk at all." And still talking Miss Palliser slowly bore down upon Mr. Rickman with a plate of bread and butter.

Mr. Rickman's earnest and chivalrous endeavour to forestall her caused a rug to slide under his feet. It slid, and Mr. Rickman with it, for quite a considerable distance; and though Mr. Rickman, indeed, preserved the erect attitude by a series of complicated movements (a superb triumph of muscular ingenuity, but somewhat curious and fantastic as a spectacle), his coffee cup flung itself violently on its side, and poured out its contents at the lady's feet.

He looked at Miss Harden. She was smiling; for who wouldn't have smiled? But her smile became almost tender in her perception of his distress.

Miss Palliser continued to talk.

"Ah," said Miss Palliser, "I was waiting for that to happen. I've been wondering which of us would do it first. I rather thought it would be me; but for pure, delightful unexpectedness, give me a parquet floor. I wouldn't mop it up with my pocket handkerchief, if I were you."

"No—please—it doesn't matter. It happens every day."

"And it puts a visitor on an agreeable footing at once. You can't keep up any stiffness or formality, when what you took for a drawing-room turns itself into a skating rink."

"Quite so," said Rickman, "and if you fall, it breaks the ice." He was entering shyly into her humour. "I'm afraid my be-h-haviour wasn't quite so h-happy and spontaneous as it might have been."

"I assure you it was extremely naive and natural, as far as it went," said Kitty, laughing.

"I think you were very clever to keep your balance," said Lucia.

"Too clever by half. If you'd been a really genial person, Mr. Rickman, you'd have lost it."

Thus lightly did they cover his confusion, thus adroitly turn the malignant hand of circumstance.

"Kitty," said Lucia, "I don't want to hurry you, but it's past nine, and you'll have to hurry if you don't want to be late."

"But I do want to be late. I mean to be late. I can't eat sandwiches for more than two hours."

And Kitty flung herself on her settee again in crosslegged, unpremeditated ease, and there she conversed with Mr. Rickman as if she had known him all her life. Kitty was amused at last.

So was Mr. Rickman. He found himself answering with appropriate light-heartedness; he heard himself laughing in the manner of one infinitely at ease. It was impossible to be anything else in Kitty Palliser's society. He was, in fact, surprised. Though it was only by immense expenditure of thought and effort that he managed to secure the elusive aspirate, still he secured it. Never for a moment did he allow himself to be cheated into the monstrous belief that its absence was, or could be unperceived.

But though he was grateful to Miss Palliser, he wished all the time that she would go. At last she rose and drew her fur-collared cloak about her with a slow, reluctant air.

"Well, I suppose I must be off. I shall be back before eleven, Lucy. Good-night, Mr. Rickman, if I don't see you again."

He was alone with Lucia Harden.

It was one thing to be alone with Lucia Harden in the library or on Harcombe Moor, and quite another thing to be left with her in that lamp-lit, fire-lit room. The library belonged to her race and to their historic past; the moor to nature and to all time; this room to her and to the burning present. There was no sign or suggestion of another presence.

A kindly room (barring that parquet floor!); a beautiful room; full of warm lights, and broad and pleasing shadows; furnished with an extreme simplicity, such bareness as musicians love. He was struck by that absence of all trivial decoration, all disturbing and irrelevant detail. In such a room, the divinity of the human form was not dwarfed or obscured by excess of furniture. Such a room, he reflected, was also eminently disadvantageous to any figure that was not entirely sure of its divinity. But for two persons who desired to know each other better there couldn't be a better place. It left them so securely, so intimately alone.

For the first time, then, he was alone with Lucia Harden.

She had risen and had unlocked a drawer in the writing-table near her, and taken out the thick pile of manuscript. He noticed that she detached from it some loose pencilled sheets and put them back into the drawer. She seated herself in her old place and signed to him to take the low chair beside her.

He approached her (for the first time) without nervousness or embarrassment; for he saw his Helen lying on her knees and knew that she held his dreams in her soul. He had made her acquainted with the best and highest in him, and she would judge him by that alone. In her sight his genius would stand apart from all in him that was jarring and obscure. It at least was untouched by the accident of his birth, the baseness of his false position.

"I sent for you," said she, "because I wanted to talk to you about this, while it is all fresh in my mind. I thought we could talk better here."

"Thanks. I want awfully to know what you have to say."

"I can't have anything to say that you don't know already."

"I—I know nothing." (What a hypocrite he felt as he said it!)

"Nor I. As far as knowledge goes I haven't any right to speak. Only—the other evening, you expressed such absolute disbelief in yourself—"

"I was perfectly sincere."

"I know you were. That's what made me believe in you."

(Well then, if that was what made her believe in him he would continue to express disbelief in himself.)

She paused. "It's the little men, isn't it, the men of talent, that are always so self-conscious and so sure? I don't know much about it, but it seems to me that genius isn't bound to be like that. It might be so different from your ordinary self that you couldn't be aware of it in the ordinary way. There would always be a sort of divine uncertainty about it."

"I'm afraid I don't agree with you. All the great geniuses have been not only aware of themselves, but most uncommonly certain."

"Still, their genius may have been the part of themselves they understood least. If they had tried to understand it, they would have doubted too."

"There's something in that. You mean genius understands everything—except itself?

"I think that's what I meant."

"Yes; but whether genius understands itself or not, whatever it does, you see, it doesn't doubt."

"Doesn't it? Have you read Keats' letters? He doubted."

"Only when he was in love with Fanny Brawne."

He paused abruptly. He was seized by an idea, a rushing irresistible idea that lifted him off his feet and whirled him suddenly into a region of light, tumultuous and profound. Keats was in love when he doubted. Could that be the explanation of his own misgiving?

"That," he said hastily, "that's another thing altogether. Any way, if you don't believe in yourself, you'll have some difficulty in making other people believe in you."

"And if other people do believe in you, before you believe in yourself?"

"Before? It might be done before, but not after. You may make a man conceited, but you can't give him back the conceit he had on Saturday, if he's lost it all by Monday."

"That means that you know you've written a beautiful thing and you only think you'll never write another."

"Perhaps it does." (He had to keep it up for the pleasure of hearing her say she believed in him.)

"Well, I don't suppose you will write another Helen in Leuce."

"I'm afraid not." He went on to tell her that the wonder was how he wrote the thing at all. It had been done anyhow, anywhere, in successive bursts or spasms of creative energy; the circumstances of his life (he referred to them with some diffidence) not being exactly favourable to sustained effort. "How did you feel about it?" he inquired.

"I can hardly tell you. I think I felt as you feel about anything beautiful that comes to you for the first time. I don't know what it is you've done. It's as if something had been done to me, as if I'd been given a new sense. It's like hearing Beethoven or Wagner for the first time." As she spoke she saw the swift blood grow hot in his face, she saw the slight trembling of the hand that propped his chin and she thought, "Poor fellow, so much emotion for a little praise?"

"What did you mean by it?" she said.

He considered a moment—as who should say "What the dickens did I mean by it?"

Lucia leaned back now, for the first time, in the breathing space he gave her, attentively watching the man she proposed to make her secretary; and as she watched him she found herself defending him against her own criticism. If he dropped his aitches it was not grossly as the illiterate do; she wouldn't go so far as to say he dropped them; he slipped them, slided them; it was no more than a subtle slur, a delicate elision. And that only in the commoner words, the current coin of his world. He was as right as possible, she noticed, in all words whose acquaintance he had made on his own account. And his voice—his voice pleaded against her prejudice with all its lyric modulations. Much may be forgiven to such voices. And there were other points in his favour.

Kitty was right. He was nice to look at. She was beginning to know the changes of his face; she liked it best when, as now, its features became suddenly subtle and serious and straight. At the moment his eyes, almost opaque from the thickness of their blue, were dull under the shadow of the eye-bone. But when he grew excited (as he frequently did) they had a way of clearing suddenly, they flashed first colour at you, then light, then fire. That was what they were doing now; for now he let himself go.

His Helen, he said, was the eternal Beauty, the eternal Dream. Beauty perpetually desirous of incarnation, perpetually unfaithful to flesh and blood; the Dream that longs for the embrace of reality, that wanders never satisfied till it finds a reality as immortal as itself. Helen couldn't stay in the house of Theseus, or the house of Menelaus or the house of Priam. Theseus was a fool if he thought he would take her by force, and Paris was a fool if he thought he could keep her for pleasure; and Menelaus was the biggest fool of all if he expected her to bear him children and to mind his house. They all do violence to the divinity in her, and she vindicates it by eluding them. Her vengeance is the vengeance of an immortal made victim to mortality. Helen of Argos and Troy is the Dream divorced from reality.

"Yes—yes. I see." She leaned back in her chair, fascinated, while the wonderful voice went on, covering its own offences with exquisite resonances and overtones.

"This divorce is the cause of all the evil that can happen to men and women. Because of it Helen becomes an instrument in the hands of Aphrodite—Venus Genetrix—do you see? She's the marriage-breaker, the destroyer of men. She brings war and pestilence and death. She is the supreme illusion. But Helen in Leuce is the true Helen. In Leuce, you know, she appears as she is, in her divine form, freed from the tyranny of perpetual incarnation. I can't explain it, but that's the idea. Don't you see how the chorus in praise of Aphrodite breaks off into a prayer for deliverance from her? And at the end I make Athene bring Helen to Achilles, who was her enemy in Troy.—That's part of the idea, too."

"And Achilles?"

"Achilles is strength, virility, indestructible will."

It seemed that while trivial excitement corrupted, intense feeling purified his speech, and as he pronounced these words every accent was irreproachable. A lyric exaltation seemed to have seized him as it had seized him in the reading of Sophocles.

"The idea is reconciliation, the wedding of the Dream to reality. I haven't made up my mind whether the last chorus will be the Epithalamium or the Hymn to Pallas Athene."

He paused for reflection, and in reflection the lyric rapture died. He added pensively. "The 'Ymn, I think."

Lucia averted her ardent gaze before the horror in his young blue eyes. They were the eyes of some wild winged creature dashed down from its soaring and frenzied by the fall. Lucia could have wept for him.

"Then this," said she, feigning an uninterrupted absorption in the manuscript, "this is not what my cousin saw?"

"No, h—he only saw the first draft of the two first Acts. It was horribly stiff and cold. He said it was classical; I don't know what he'd say it is now. I began it that way, and it finished itself this way, and then I re-wrote the beginning."

"I see. I see. Something happened to you." As she spoke she still kept her eyes fixed on the manuscript, as if she were only reading what was written there. "You woke up—in the middle of the second Act, wasn't it?—and came to life. You heard the world—the real world—calling to you, and Helen and Achilles and all the rest of them turned to flesh and blood on your hands."

"Yes," he said, "they were only symbols and I'd no notion what they meant till they left off meaning it."

She looked from the manuscript to him. "You know in your heart you must be certain of yourself. And yet—I suspect the trouble with you is that your dream is divorced from reality."

He stared in amazement at the young girl who thus interpreted him to herself. At this rate he saw no end to her powers of divination. There were depths in his life where her innocence could not penetrate, but she had seized on the essential. It had been as she had said. That first draft was the work of the young scholar poet, the adorer of classic form, the dreamer who found in his dreams escape from the grossness of his own lower nature and from the brutalities of the world he lived in. A great neo-classic drama was to be his protest against modernity and actuality. Then came an interval of a year in which he learnt many things that are not to be found in books, or adequately expressed through neo-classic drama; and the thing was finished and re-written at a time when, as she had said, something had happened to him; when that same gross actual world was making its claims felt through all his senses. And he was suffering now the deep melancholy of perspicuous youth, unable to part with its dreams but aware that its dreams are hopelessly divorced from reality. That was so; but how on earth did she know it?

"It's hardly a divorce," he said, laughing. "I think it's separation by mutual consent."

"That's a pity," said she, "life is so lovable."

"I don't always find it either lovable or loving. But then it's life in a fifth-rate boarding-house in Bloomsbury—if you know what that is."

She did not know what that was, and her silence suggested that she conceived it to be something too unpleasant to discuss with him.

"I work eight hours a day in my father's shop—"

"And when your work is done?"

"I go back to the boarding-house and dine."

"And after dinner?"

Mr. Rickman became visibly embarrassed. "Oh, after dinner, there are the streets, and the theatres, and—and things."

"Nothing else?"

"Nothing. Except a club I belong to."

"That's something, isn't it? You make friends."

"I don't know anybody in it, except Mr. Jewdwine; and I don't really know him. It's the shop, you know. You forget the shop."

"No I don't forget it; but I wish you would. If only you could get away from it, away from everything. If you could get away from London altogether for a while."

"If—if? I shall never get away."

"Why not? I've been thinking it over. I wonder whether things could not be made a little easier for you? You ought to make your peace with the world, you know. Supposing you could go and live where the world happens to be beautiful, in Rome or Florence or Venice, wouldn't that reconcile you to reality?"

"It might. But I don't see how I'm to go and live there. You see there's the shop. There always is the shop."

"Would it be impossible to leave it for a little while?"

"Not impossible, perhaps; but"—he smiled, "well—highly imprudent."

"But if something else were open to you?"

"Nothing else is, at present. Most doors seem closed pretty tight except the one marked Tradesmen's Entrance."

"You can't 'arrive' by that."

"Not, I admit, with any dignity. My idea was to walk up the steps—there are a great many steps, I know—to the big front door and keep on knocking at it till they let me in."

"I'm afraid the front door isn't always open very early in the day. But there may be side doors."

"I don't know where to find them. And if I did, they would be bolted, too."

"Not the one I am thinking of. Would you like to go abroad, to Italy?"

"There are a great many things I should like to do, and not the remotest chance of doing them."

"Supposing that you got the chance, some way—even if it wasn't quite the best way—would you take it?"

"The chance? I wish I saw one!"

"I think I told you I was going abroad to join my father. We shall be in Italy for some time. When we are settled, in Rome, for the winter, I shall want a secretary. I'm thinking of editing my grandfather's unpublished writings, and I can't do this without a scholar's help. It struck me that if you want to go abroad, and nothing better turns up, you might care to take this work for a year. For the sake of seeing Italy."

Seeing Italy? Italy that he had once desired with all his heart to see. And now it was nothing to him that he would see Italy; the point was that he would see her. Talk of open doors! It was dawning on him that the door of heaven was being opened to him. He could say nothing. He leaned forward staring at his own loosely clasped hands.

She mistook his silence for hesitation, and it was her turn to become diffident and shy. "The salary would not be very large, I'm afraid—"

The salary? He smiled. She had opened the door of heaven for him and she actually proposed to pay him for walking in!

"But there would be no expenses, and you would have space and time. I should not want your help for more than three or four hours in the morning. After that you would be absolutely free."

And still he said nothing. But the fine long nervous hands tortured each other in their clasp. So this was what came of keeping up the farce?

"Of course," she said, "you must think it over."

"Miss Harden, I don't know how to thank you. I don't know what to say."

"Don't say anything. Think."

"I don't know what to think."

But he was thinking hard; trying to realize where he was and what was being proposed to him. To have entertained the possibility of such a proposal in the middle of last week would have argued that he was drunk. And here he was indubitably, conspicuously sober. Sober? Well, not exactly. He ought never to have taken that little cup of black coffee! Was there any difference between drinking champagne with Miss Poppy Grace and drinking coffee with Lucia Harden, when the effect was so indistinguishably the same? Or rather, for completeness and splendour of hallucination there was no comparison. He was drunk, drunk as he had never been drunk before, most luminously, most divinely intoxicated with that little cup of black coffee.

And yet her scheme was entirely in keeping with that ideal and fantastic world he lived in; a world which in the last six days had yet, for him, the illusion of reality. He was aware that it was illusion. An illusion which she blindly shared.

He was overcome by the appalling extent of his knowledge and her ignorance. She thought she was rich; he knew that she was in all probability poor. She thought a hundred a year (or thereabouts) an insignificant sum; he knew that before long she might have less than that to live on. She thought herself at the present moment a wise and understanding woman. He knew that she was a child. A child playing with its own beautiful imagination.

He wondered how much of him she understood. Should he tell her that she did not understand him at all; that she was engaging as her private secretary a young man who drank, who was quite shockingly drunk no longer ago than the middle of last week; a young man who was an intimate friend of a lady whom it was impossible to describe accurately in her presence? Or did she understand him better than he understood himself? Had she, with her child's innocence, the divine lucidity of a child? Did she fail to realize his baser possibilities because they were the least real part of him? Or was she, in this, ideal and fantastic too?

Whichever it was, her fascination was so persuasive that he found himself yielding to her proposal as if it were the most natural thing in the world. He accepted it as humbly, as gratefully, as gravely, as if it were a thing actually in her power to bestow. If he could have suspected her of any intention to patronize him, he could not have resented it, knowing as he did its pathetic impotence.

"I know it isn't the best way," she said, "but it is a way.

"It's a glorious way."

"I don't know about the glory. But you will see Florence and Venice and Rome, and they are glorious."

Yes, he would see them, if she said so. Why not? In this ideal and fantastic world, could any prospect be more ideal and fantastic than another?

"And you will have plenty of time to yourself. You will be a great deal alone. Too much alone perhaps. You must think of that. It might really be better for you to stay in London where you are beginning to make friends."

Was she trying to break it to him as gently, as delicately as possible that there would be no intimacy between him and her? That as her private secretary his privacy would be painfully unbroken?

She saw it and corrected herself. "Friends, I mean, who may be able to help you more. You must choose between the two advantages. It will be a complete break with your old life."

"That would be the best thing that could happen to me."

This time she did not see. "Well—don't be in a hurry. There isn't any hurry. Remember, it means a whole year out of your life."

A whole year out of his life? Was that the way she looked at it?

Yes. She was giving him his chance; but she did not conceive herself to be giving him anything more. She understood him sufficiently to trust him; her insight went so far and no farther. She actually believed that there could be a choice for him between seeing her every day for a whole year and never seeing her again. Evidently she had not the remotest conception of his state of mind. He doubted whether it could have occurred to her to allow for the possibility of her private secretary falling in love with her in the innermost privacy of his secretaryship. He saw that hers was not the order of mind that entertains such possibilities on an intimate footing. She was generous, large-sighted; he understood that she would let herself be carried away on the superb sweep of the impersonal, reckless of contingencies. He also understood that with this particular private secretary she would consider herself safe. The social difference was as much her protection as some preposterous incompatibility of age. And as if that were not enough, in their thoughts they were so akin that she might feel herself guarded from him by some law of spiritual consanguinity.

"Oh, my life—" he said with a queer short laugh that sounded like a sob,—"well, I must be getting back to my work."

"You are not going to work again to-night?"

"I must." Yet he did not get up to go. He seemed to be waiting to say something. "I—I haven't thanked you. I don't know how to."

"Don't try. I've done nothing. There is little that one person can do for another."

"There's something that you might do for me—some day—if I might ask—if you would."

"What is that?"

She followed his gaze as it travelled into the depth of the room beyond the circle of the lamp-light, where the grand piano stood. Its keyboard shone in an even band of white, its massive body merged in the gleaming darkness.

"If you would play to me—some day."

"I will play to you with pleasure." Her voice sounded as if she were breathing more freely; perhaps she had wondered what on earth he was going to say. "Now, if you like."

Why not? If she had enjoyed his music, had he not a right to enjoy hers? Why should she not give him that little pleasure, he who had so few?

"What shall I play?"

"I should like to hear that thing you were playing the other night."

"Let me think. Oh, the Sonata Appassionata."

"Yes, if it isn't too late." The moment he had said it he reflected that that was a scruple that might have been better left to the lady.

He watched her grey-white figure departing into the dusk of the room. He longed to follow, but some fear restrained him. He remained where he was, leaning back in the deep chair under the lamp while she sat down there in the dusk, playing to him the Sonata Appassionata.

The space around the lamp grew dim to him; she had gathered into herself all the whiteness of the flame; the music was a part of her radiance, it was the singing of her pulses, the rhythm of her breath.

When she had stopped playing he rose and held out his hand to say good-night.

"Thank you. I don't think so badly of my life now. You've given me one perfect moment."

"Are you so fond of music?"

She was about to ring when he prevented her.

"Please don't ring. I can find my way. I'd rather."

She judged that he desired to keep the perfection of his moment unimpaired. She understood his feeling about it, for the Sonata Appassionata is a most glorious and moving composition, and she had played it well.

It was true that he desired to be alone; and he took advantage of his solitude to linger in the picture gallery. He went down the double row of portraits that began with Sir Thomas, the maker of madrigals, and ended with Sir Frederick, the father of Lucia. He paused at each, searching for Lucia's likeness in the likeness of those dead and gone gentlemen and ladies; gentlemen with grave and intellectual faces, some peevish, others proud (rather like Jewdwine), ladies with faces joyous, dreamy, sad, voluptuous, tender and insipid, faces alike only in their indestructible racial distinction. Lucia had taken nothing from them but what was beautiful and fine; hers was the deep-drawn unconscious beauty of the race; beauty of flesh and blood purified, spiritualized in its passage through the generations, beauty that gives the illusion of eternity, being both younger and older than the soul. It was as if Nature had become Art in the making of Lucia, forming her by the subtlest processes of selection and rejection.

Having gone the round of the gallery, he paused before the modern portraits which brought him again to the door of the drawing-room. Sir Frederick held him with his joyous satyr-face, for it was curiously, incredibly like his daughter's (to be sure, Sir Frederick had blue eyes and reddish hair, which made a difference). His eyebrows had a far-off hint of her; she lingered in the tilted corners of his mouth and eyes. And if there could be any likeness between a thing so gross and a thing so spiritual, his upper lip took a sweep that suggested Lucia's with its long-drawn subtle curve.

He was startled out of these reflections by the opening of the door. Lucia stood beside him. She had a lamp in her hand which she raised for an instant, so that the light fell full upon the portrait. Her own face appeared as if illuminated from within by the flaming spirit of love.

"That is my father," she said simply, and passed on.

He looked again at the portrait, but the likeness had vanished. In the frank sensuality of Sir Frederick's crimson smirk he could find no affinity to Lucia's grave and tender smile.

"There are some things," he said to himself, "that she could never see."



CHAPTER XXV

If Lucia was not, as her father had pronounced her, the worst educated young woman in Europe, there was a sense (not intended by Sir Frederick) in which her education might be called incomplete. She had learnt the things that she liked, and she had left unlearnt the things that she did not like. It was the method of discreet skipping; and it answered so well in the world of books that she had applied it to the world of men and women. She knew the people she liked, and she left unknown those whom she did not like. Here in Harmouth her peculiar art or instinct of selection earned for her, as Kitty Palliser had lately told her, the character of exclusiveness. This, by the way was family tradition again. From time immemorial there had been a certain well-recognized distance between Court House and the little Georgian town. And when Harmouth was discovered by a stock-broker and became a watering-place, and people began to talk about Harmouth society, Court House remained innocently unaware that anything of the sort existed. Lucia selected her friends elsewhere with such supreme fastidiousness that she could count them on the fingers of one hand, her instinct, like all great natural gifts, being entirely spontaneous and unconscious.

And now it seemed she had added Mr. Savage Keith Rickman to the list. She owned quite frankly that in spite of everything she liked him.

But Rickman was right. Lucia with all her insight had not the remotest conception of his state of mind. The acquaintance had arisen quite naturally out of her desire to please Horace, and if on this there supervened a desire to please Mr. Rickman, there was not a particle of vanity in it. She had no thought of being Mr. Rickman's inspiration; her attitude to his genius was humbly reverent, her attitude to his manhood profoundly unconscious. She had preserved a most formidable innocence. There had been nothing in Horace Jewdwine's slow and well-regulated courtship to stir her senses, or give her the smallest inkling of her own power that way. Kitty's suggestion seemed to her preposterous; it was only the Kittishness of Kitty, and could have no possible application to herself.

All this was not humility on her part—nothing of the sort. So far from being humble, Miss Lucia Harden held the superb conviction that any course she adopted was consecrated by her adoption. It was as if she had been aware that her nature was rich, and that she could afford to do what other women couldn't; "there were ways," she would say, "of doing them."

And in Mr. Savage Keith Rickman she had divined a nature no less generously gifted. He could afford to take what she could afford to offer; better still, he would take just so much and no more. With some people certain possibilities were moral miracles; and her instinct told her that this man's mind was incapable of vulgar misconception. She was safe with him. These things she pondered during that brief time when Rickman lingered in the portrait gallery.

He saw her again that night for yet another moment. Lucia was called back into the picture gallery by the voice of Kitty Palliser, whose return coincided with his departure. Kitty, from the safe threshold of the drawing-room, looked back after his retreating figure.

"Poor darling, he has dressed himself with care."

"He always does. He has broken every literary convention."

Lucia drew Kitty into the room and shut the door.

"Has he been trying any more experiments in diminished friction on polished surfaces?"

"No; there was a good deal more repose about him after you left. The friction was decidedly diminished. What do you think of him?"

"Oh, I rather like the way he drops his aitches. It gives a pathetic piquancy to his conversation."

"Don't Kitty."

"I won't. But, after all, how do we know that this young man is not a fraud?"

"How do we know anything?"

"Oh, if you're going to be metaphysical, I'm off to my little bed."

"Not yet, Kitty. Sit down and toast your toes. I want to talk to you."

"All right, fire away."

But Lucia hesitated; Kitty was in an unpropitious mood.

"What do you think I've done?" she said.

Kitty's green eyes danced merrily; but in spite of their mockery Lucia told her tale.

"It was the best I could do," said she.

Kitty's eyes had left off dancing.

"Lucia, you can't. It's impossible. You must not go on being so kind to people. Remember, dear, if he is a heaven-born genius, he's not—he really is not a gentleman."

"I know. I've thought of that. But if he isn't a gentleman, he isn't the other thing. He's something by himself.

"I admit he's a genius, but—he drops his aitches."

"He doesn't drop half as many as he did. He only does it when he's flustered. And I won't let him be flustered. I shall be very kind to him."

"Oh," groaned Kitty, "there's no possible doubt about that."

"On the whole I think I'm rather glad he isn't a gentleman. He would be much more likely to get in my way if he were. I don't believe this little man would get in my way. He's got eyes at the back of his head, and nerves all over him; he'd see in a minute when I didn't want him. He'd see it before I did, and be off."

"You don't know. You might have to be very unpleasant to him before you said good-bye."

"No, I should never have to be unpleasant to him; because he would know that would be very unpleasant for me."

"All this might mean that he was a gentleman; but I'm afraid it only means that he's a genius."

"Genius of that sort," said Lucia, "comes to very much the same thing." And Kitty reluctantly admitted that it did. She sat silent for some minutes gazing into the fire.

"Lucia, does it never occur to you that in your passion for giving pleasure you may be giving a great deal of pain?"

"It doesn't occur to me that I'm giving either in this case; and it will not occur to him. He knows I'm only giving him his chance. I owe it him. Kitty—when you only think what I've done. I've taken this wonderful, beautiful, delicate thing and set it down to the most abominable drudgery for three weeks. No wonder he was depressed. And I took his Easter from him—Kitty—think—his one happy breathing-time in the whole hateful year."

"Whitsuntide and Christmas yet remain."

"They're not at all the same thing."

"That's you, Lucy, all over; you bagged his Bank Holiday, and you think you've got to give him a year in Italy to make up."

"Not altogether to make up."

"Well, I don't know what to say. There's no doubt you can do a great many things other women can't; still, it certainly seems a risky thing to do."

"How risky?"

"I don't want to be coarse, but—I'm not humbugging this time—supposing, merely supposing—he falls in love with you, what then?"

"But he won't."

"How do you know?"

"Because he's in love already, in love with perfection."

"But as he'll be sure to identify perfection with you—"

"He will see very little of me."

"Then he's all the more likely to."

"Kitty, am I the sort of woman who allows that sort of thing to happen—with that sort of man?"

"My dear, you're the sort of woman who treats men as if they were disembodied spirits, and that's the most dangerous sort I know. If I'm not mistaken Mr. Savage Keith Rickman's spirit is very much embodied."

"What is the good of trying to make me uncomfortable when it's all settled? I can't go back on my word."

"No, I suppose you've got to stick to it. Unless, of course, your father interferes."

"Father never interferes. Did you ever know him in his life refuse me anything I wanted?"

"I can't say I ever did." Kitty's tone intimated that perhaps it would have been better if he sometimes had. "Still, Sir Frederick objects strongly to people who interfere with him, and he may not care to have the young Savage poet, or poet Savage, hanging about."

"Father? He won't mind a bit. He says he's going to take part of the Palazzo Barberini for six months. It's big enough to hold fifty poets."

"Not big enough to hold one like Mr. Savage Keith Rickman." Kitty rose to her feet; she stood majestic, for the spirit of prophecy was upon her; she gathered herself together for the deliverance of her soul. "You say he won't be in the way. He will. He'll be most horribly in the way. He'll go sliding and falling all over the place, and dashing cups of coffee on the marble floor of the Palazzo; he'll wind his feet in the tails of your best gowns, not out of any malice, but in sheer nervous panic; he'll do unutterable things with soup—I can see him doing them."

"I can't."

"No. I know you can't. I don't say you've no imagination; but I do say you're deficient in a certain kind of profane fancy."



CHAPTER XXVI

It was extraordinary; if he had given himself time to reflect on it he might even have considered it uncanny, the peace that had settled on him with regard to the Harden Library.

It remained absolutely unshaken by the growing agitation of his father's letters. Isaac wrote reproachfully, irritably, frantically, and received only the briefest, most unsatisfactory replies. "I can't tell you anything more than I have. But I wouldn't be in a hurry to make any arrangements with Pilkington, if I were you." Not the smallest reference to the Aldine Plato, the Neapolitan Horace or the Aurea Legenda of Wynkyn de Worde.

Why indeed should he trouble himself? He couldn't understand his father's state of mind. He had now a positive intuition that Sir Frederick would recover in the manner of a gentleman whose motto was Invictus; an infinite assurance was conveyed by that tilted faun-like smile. He even found himself believing in his own delightful future as Miss Harden's private secretary, so entirely had he submitted to the empire of divine possibility.

Meanwhile he redoubled his attentions to the catalogue. (Could there be anything more unreasonable than that catalogue raisonne?) He had frequently got up and worked at it for an hour or two before breakfast, lifted out of bed by the bounding of his heart. But whereas he had been in the habit of leaving it at any time between nine o'clock and midnight, he now sat up with it till the small hours of the morning. This extreme devotion was necessary if he was to finish it by the twenty-seventh. It was now the fifteenth.

He had told Miss Harden that he could work better by himself, and apparently she had taken him at his word; she had left him to finish the catalogue alone. As it happened he didn't work a bit better by himself. What with speculating on the chance of her appearing, listening for her voice and her footsteps on the stairs, or the distant sound of her playing, to say nothing of his desperate efforts not to stare out of the windows when he knew her to be in the garden, Lucia absent was even more disturbing than Lucia on the spot. He tried to console himself with the reflection that she was no longer overworking herself; and herein appeared the great purity and self-abnegation of Mr. Rickman's love. Rather than see her making herself ill, he was actually manoeuvring so as not to see her at all. He kept his vigils secret, having a suspicion that if she heard of them she would insist on returning to her hideous task.

To this end he devised an ingenious system of deceit. He left off work for an hour every afternoon, alleging his need of air and exercise. He then asked permission to sit up a little later than usual by way of making good the time thus lost. He knew that by eleven the lights would be out, and Lucia and the servants all in bed. He demanded black coffee to keep him awake and the key of the side door to let himself out. All on the understanding that he would leave the house by half-past eleven or twelve at the latest. He could thus put in a good five hours extra without any one being any the wiser; and four o'clock would find Mr. Rickman stealing back to his hotel over the grey and dewy grass.

For three days and three nights love's miraculous energy sustained him. On the fourth night he was overcome by a slight fatigue, and at one o'clock he lay down on the hearth rug to sleep, registering in his brain his intention to wake punctually at two.

And for three days and three nights Lucia hardly gave a thought to Mr. Rickman. She was busy with preparations for her departure, trying to see as much of Kitty Palliser as possible, and thinking a great deal of that adorable father whom she would meet on the twenty-seventh.

Lucia's room, as Mr. Rickman knew, was in the west wing, over the south-west end of the library, and from her window she could see the pale yellow green shaft of light that Mr. Rickman's lamp flung across the lawn. The clock on the stable belfry struck the hours one by one, and Lucia, fast asleep, never knew that the shaft of light lay there until the dawn.

On the fourth night, the night of Thursday, the fifteenth, Lucia did not sleep so well. She dreamed, but her dreams were too light and transparent to veil the reality that lay on the waking side of them. Three times that night she started on her journey to Cannes, three times she missed her train, and three times she said to herself, "It's only a dream, so of course it doesn't matter." When, after prodigious efforts extending over interminable time, she found herself on Harmouth platform, shuddering in her nightgown before a whole train full of people, she was not in the least disconcerted, because of her perception of that reality behind her dream; no, not even when Mr. Rickman appeared just as she was saying to herself, "It doesn't matter. This is only the fifteenth and I don't really start till the twenty-sixth." His presence was so transparent, so insubstantial, that it didn't seem to matter either. He said, "Miss 'Arden, you've made a miscalculation. You must start this minute if you're to be there in time." His statement seemed to her to be founded on some solid reality; but when she asked him what he was doing there, he spoilt it all by saying that as private secretary he was in charge of the expedition. By that, and by something unnatural and absurd in his appearance, she knew that she was dreaming. Then, for more time than she could measure, she lay watching herself dream, with a curious sense of being able to foretell and control the fantastic procession of events.

And now she was aware of something that moved with their movement, a trouble or a terror that hovered out there, not on the waking border but in the region of reality that lay on the other side. Almost discernible behind the transparent insubstantial walls of sleep, it waited to break through them and invade her dream. For refuge from it she plunged deeper into her dream. She came out walking on a terrace of grey grass set with strange clusters of swords, sharp-pointed and double-edged. Tall grey trees shot up into a grey white sky; they were coated with sharp scales, grey and toothed like the scales of a shark's skin; and some bore yet more swords for branches, slender and waving swords; and some, branchless, were topped with heads of curled scimitars, the blades pointing downwards. All these scaly, spiky, two-edged things stood out piercing and distinct against the grey; and she knew that they were aloes and palm-trees, and that she had come to the end of her journey and was walking in the garden of the Villa des Palmes. And the thing she dreaded was still waiting a little way beyond the garden, beyond the insubstantial walls; it was looking for her, crying after her, it stretched out its arms to draw her from her sleep.

A little twilight wind came creeping over the grey grass, it covered her feet like water, it rose higher and higher above the sword points of the aloes, and she sank in it and floated, floated and sank. And now it tossed and rolled and shook the palm-trees till all their blades rattled like steel; and beyond the wind she heard the calling of the thing she feared, the thing that had hunted her from dream to dream. She feared it no longer; she too was looking and crying; all her desire was to find what she had feared; to answer it, to see it face to face. Her body was clasped tight by the arms of the wind; yet her yearning was so strong that she struggled with them and flung them from her, breaking through the bonds and barriers of sleep.

Lucia was awake and accounting for her dream. The weather had changed in the night, and a cold wind was rushing through the open window on to her bed. She had been lying with her feet uncovered, and the bed-clothes heaped on to her chest. She had been waked by the rattling of a loosened lattice in the room below. She got out of bed and looked out of the window. There was a vast movement in the sky, as if the darkness were being visibly upheaved and rolled away westwards by the wind. Over the garden was the dense grey blackness of an obliterated dawn. The trees, not yet detached from the ground of night, showed like monstrous skeletons of the whole immense body of gloom, while the violent rocking of their branches made them one with that dark and wandering tumult of cloud and wind.

The shaft of light no longer lay upon the lawn; Mr. Rickman's lamp was out; therefore, she argued, Mr. Rickman had gone; having, in the recklessness of his genius, forgotten to close the library windows.

One of the west windows creaked and crashed by turns as it swung heavily in its leaded frame. Lucia put on her dressing gown and slippers, threw a light shawl about her shoulders, and went down to fasten the lattice. A small swinging lamp gave light to the hall and staircase. A gleam followed her into the library; it lay in a pool behind her, its thin stream lost in the blackness of the floor. She could distinguish nothing in the room but the three dim white busts on their dusky pedestals. Behind the latticework the window panes were like chequered sheets of liquid twilight let down over the face of the night.

The wind held the open lattice backwards, and she had some difficulty in reaching the hasp. A shallow gust ran over the floor, chilling her half-naked feet. As she leaned out on the sill a great fear came over her, the fear that had always possessed her in childhood at the coming and passing of the night. As she struggled with the lattice, she had a sense of pulling it against some detaining hand. It swung slowly round and the figure of a man slid with it side-long, and stood behind it looking in. The figure seemed to lean forward out of the darkness; its face, pressed close against the panes, was vivid, as if seen in a strong daylight. She saw the flame of its red moustache and hair, the flicker of its faun-like tilted smile. Its eyes were fixed piercingly on hers.

It stood so for the space of six heart-beats. The window slipped from her hand and swung back on its hinges. The cloud was heaved from the edges of the world, and face and figure were wiped out by the great grey sweep of the dawn. Lucia (strangely as it seemed to her afterwards) was not startled by the apparition, but by the aspect of the world it had appeared in. She stood motionless, as if afraid of waking her own fear; she caught the lattice, drew it towards her and deliberately secured it by the hasp. She turned with relief from the terrible twilight of the windows to the darkness of the room. She crossed it with slow soft footsteps, lest she should give her terror the signal to pursue.

There was a slight stir on the hearth as a mound of ashes sank and broke asunder, opening its dull red heart.

Lucia turned in the direction of the sound, came forward and saw that she was not alone.

Stretched on the rug in front of the fireplace with his feet towards her lay Mr. Rickman.

Her first feeling was of relief, protection, deliverance. She stood looking at him, finding comfort in the sheer corporeality of his presence. But as she looked at him that emotion merged in concern for Mr. Rickman himself. He lay on his back in a deep sleep; one arm was flung above his head, the hand brushing back his damp hair; his forehead was beaded with the thick sweat of exhaustion. He must have been lying so for hours, having dropped off to sleep when the night was still warm. He had thrown back his coat and loosened his shirt-collar, and lay undefended from the draught that raked the floor. The window at this end of the room had been left open too, and the fire was almost dead.

Lucia looked doubtfully at the window. She knew its ways; it sagged on its hinges and was not to be shut without the grating shriek of iron upon stone. She looked, still more doubtfully, at Mr. Rickman. His face in the strange light showed white and sharp and pathetically refined.

And as she looked her heart was filled with compassion for the helpless sleeper. She moved very softly to the fireplace, where an oak chest stood open stored with wood; she gathered the embers together and laid on them a few light logs. The first log dropped through the ashes to the hearth, and Mr. Rickman heaved a deep sigh and turned on his side.

Lucia knelt there motionless, till his breathing assured her that he still slept. With swift noiseless movements she went on building up the dying fire. The wood crackled; a little flame leapt up, and Mr. Rickman opened his eyes. For a moment he kept them open, fixed in sleepy wonder on the woman who knelt beside him by the hearth. He was obscurely aware that it was Lucia Harden, but his wonder was free from the more vivid and disturbing element of surprise; for he had been dreaming about her and was still under the enchantment of his dream. Never had she seemed more beautiful to him.

Her head was bowed, her face turned from him and shaded by her hair; and with her hands she tended a dying flame. Her shawl had slipped from her shoulders, and he saw the delicate curve of her body as she knelt; it was overlaid by her hair that fell to her hips in a loose flat braid. He closed his eyes again, feigning abysmal sleep. He kept guard over his breath, over his eyelids, lest a tremor should startle her into shame-faced flight. Yet he knew that she had risen and that her face was set towards him; that she turned from him and then paused in her going; that she looked at the fire again to make sure of its burning, and at him to make sure of his sleep (so intently that she never noticed the white thing which had slipped from her shoulders as she stood upright); that she stooped to draw his coat more closely over him. He heard the flowing of her gown, and saw without seeing her feet shining as she went from him.

And his desire went after her, and the mere bodiless idea of her became a torment to his body as it had been a joy to his soul.

He took up her shawl which lay there by the hearth and looked at it; he stroked it, unfolded it, spread it out and looked at it again; he held it to his face; its whiteness and its tender texture were as flame to his sight and touch, the scarcely perceptible scent of it pierced him like a delicate pain. He gathered it up again in a heap and covered it with kisses. Then, because it made his longing for her insupportable, he flung it back, that innocent little white shawl, as if shaking off her touch and her presence.

He rose to his feet and ramped up and down the room savagely, like a wild animal in a cage. With every thought of Lucia his torment returned upon him. He tried to think of the whiteness and the beauty of her soul, and he could think of nothing but the whiteness of her face and the beauty of her bending body.

He sat down, stretched his arms on the table and laid his miserable head upon them, all among the pages of the catalogue raisonne. He had passed from his agony of desire to an agony of contrition. He felt that the very vehemence of his longing was an affront to her white unconsciousness Up till now he had not admitted that he was "in love" with Lucia; he was indeed hardly aware of it. He imagined his feeling for her to be something altogether immaterial and incorruptible. It now seemed to him that in the last few minutes he had lowered it almost to the level of the emotion inspired by Miss Poppy Grace. It was not, and it never could be, what it had been three weeks ago. Why, he could not even recall his sensations of Easter Sunday, that strange renewal of his heart's virginity his first vague imperfect vision of the dawn of love, his joy when he discerned its tender and mysterious approach. He knew that it held no rights, or held them only on the most subtle and uncertain tenure, that his soul touched the soul of Lucia Harden by the extreme tips of its wings stretched to the utmost. Still his passion for her had been, so far, satisfied by that difficult and immaterial relationship. He was bound to her by an immaterial, intangible link.

But he had put an end to that relationship; he had broken the immaterial, intangible link. It was as if he had given a body to some delicate and spiritual dream, and destroyed it in a furious embrace. And in destroying it he had destroyed everything.

Then he reflected that though this deed seemed to belong wholly to the present moment, it had in reality been done a long time before, when he first became the slave of that absurd and execrable passion for Miss Poppy Grace. Rickman the poet had believed in Love, the immortal and invincible, the highest of high divinities, and as such had celebrated him in song. But he had been unfortunate in his first actual experience of him. He had found him, not "pacing Heaven's golden floor," but staggering across Miss Grace's drawing-room, a most offensive, fifth-rate, disreputable little god. Of course he knew it wasn't the same thing, it wasn't the same thing at all. But he was bound by his past. He had forged a chain of infamous but irresistible association that degraded love in his eyes, that in his thoughts degraded her. Every hour that he had spent in the little dancer's society had its kindred with this hour. In his passion for Lucia Harden there leapt up the passion of that night—that night three weeks ago. It was then—then—that he had sinned against her.

He had not meant—he had not meant to love her—like that. And yet he perceived how all along, unremittently, imperceptibly, this passion had waylaid him and misled him and found him out. It was it that had drawn him every morning across the fields to Court House, that upheld him on his giddy perch on the library steps, that chained him to his chair at the library table and kept him sweating over that abominable catalogue till four o'clock in the morning. It had looked at him with so pure and spiritual a face that he had not recognized it. But how otherwise could he have stayed here for three weeks, fooling with that unlucky conscience of his; persuading it one minute that he had nothing to do with Miss Harden, and that her father's affairs were no business of his, the next that they were so much his business that he was bound not to betray them; while as for Miss Harden, he had so much to do with her that it was his duty to stay where he was and protect her? He had had absolutely no duty in the matter except to tell her the truth and clear out.

Telling the truth—it ought to have been easy for him who was so truthful, so passionately sincere. And yet almost anything would have been easier, for the next step to telling the truth was going away. Of course he had suffered in staying, but he would have suffered anything rather than go.

It had been so insidious. His feet had been caught in a net so fine that he had thought it woven of the hairs split by an exceedingly acute and subtle conscience. He should have stood still and snapt them one by one; but he had struggled, until he was so entangled that he could not get out. And now he perceived that the net which seemed so fine was the strong net woven by desire. All his subtle reasonings, his chivalry, his delicacy, his sincerity itself, could be reduced to this simple and contemptible element. Positively, his whole character, as he now contemplated it seemed to slip away from him and dissolve in the irresistible stream, primeval, monstrous, indestructible.

The horror of his position returned upon him, the burden of his knowledge and her ignorance. If only she knew, if only he could go to her and tell her everything, all that he knew and all that he guessed! He was still firm in his conviction that he had no moral right to his knowledge; it was a thing he almost seemed to have come by dishonestly. If Miss Harden knew nothing of her father's affairs, it was to be presumed that they had been purposely kept from her to save her pain. He had no right to tell her.

No matter, he would tell her, he would tell her this morning, and having told her, he would go away.

He got up and paced to and fro again. He stood before the open window till he had chilled himself through; then he came back and cowered over the fire. A white thing lay by the hearth at his feet, it was Lucia Harden's shawl, lying crumpled where he had thrown it. It was the sign and symbol of her presence there. It was also the proof of it.

How would she feel if she knew that he had been aware of it all the time? The fact remained that she had risked his waking; there was comfort for him in that. She had always been kind to him, and he had never had even a momentary illusion as to the source and the nature of her kindness. He had taken it, as he had taken her extreme courtesy, for the measure of the distance that divided them. It showed her secure in her detachment, her freedom from any intimate thought of him, from any thought of him at all. But in this last act of kindness it could hardly be that she had not taken him into consideration. She could hardly have been pleased if she knew he had been awake, yet she had risked his waking. Before she risked it she must have credited him with something of her own simplicity of soul.

And this was how he had repaid her.

He saw her as she had knelt by him, mending the dying fire, as she had stood looking at him, as she had stooped over him to cover him, and as she had turned away; and he saw himself, sinning as he had sinned against her in his heart.