"There! I guess that can rest now."

Rachel put aside her painting. She sat down near him. Her eyes narrowed and she listened with a sleepy smile as he began carefully to recite to her incidents that had happened during his day. But he became silent.

She didn't mind that. She desired to sit as she was, her emotion a dream that escaped her thought. Hazlitt fumbled with his pipe. It was out. He dropped it into a pocket. His shrewdness and his weariness had left him. He felt almost that he was alone.

"You're wonderful," he whispered; and he grew frightened of his voice.

Rachel saw his face light with an unusual expression. He would be kind now and let her smile.

"I'm glad you came," she sighed. "I don't know why. I feel different to-night."

She had a habit of short, begrudging sentences delivered in a quick monotone--a habit of speech against which Hazlitt had often raged. But now her words--flurried, breathless, begrudging as always--stirred him.

They could be believed. She was a child that way. She spoke quickly thoughts that were uppermost in her mind.

"I never thought I could be glad to see you. But I am."

Hazlitt felt suddenly weak. Her face before him was something in a dream. It was turned away and he could watch her breathing. Bewilderedly he remembered a thousand Rachels, different from this one, who was glad he had come. But the beauty of her burned away uncomfortable memories.

She was the Rachel of his loneliness. Out of George Hazlitt vanished the vigor and directness of a young man who knows his own soul. There came a vision--a thing uncertain and awesome, and he sat humbled before it.

He reached her hand and closed his fingers over it. An awe squeezed at his throat. Her hand lay without protest within his. He had never touched her before. She had been a symbol and a dream. Now he felt the marvel of the fact that she was a woman. Her hand, warm and alive, astonished him with the news.

Rachel, during his speechlessness, looked at him unbelievingly. The grip of his fingers was bringing an ache into her heart. It was sad. The night and the room were sad. She could feel sadness opening little wounds in her b.r.e.a.s.t.s. And before she had been happy. She heard him whispering, "I can't talk to you. I can't. Oh, you are beautiful!"

His eyes made her think he was suffering. Then he was sad, too. She stood up because his hand drew her. Why did he want her to stand up? His body touched her and she heard him gasp. Her heart seemed adrift. She was unreal. There was another Rachel somewhere else. He was saying, but he was not talking to her, "Oh, Rachel, I love you. I love you, Rachel!"

Still she waited unbelievingly, the ache in her dragging at her senses.

She had fallen asleep and was dreaming something that was sad. But his face was suddenly too close. His eyes were too near and bright. They awakened her.

"Let me go, quick."

His hands clung. For an instant she failed to understand his resistance.

He was saying jerkily, "No ... no!"

She twisted out of his arms and stood breathless, as if she were choking. Hazlitt looked at her, a bit pensively. His heart lost in a dream and a rapture could only grimace a child's protest out of his stare. He hadn't kissed her. But that would come soon. Not everything at once. He must not be a brute. He smiled. His good-natured face glowed as if in a light. Then he heard her talking,

"Go away. At once. I never want to see you again. I'll die if I see you again."

Her hands were in her hair.

"Go away. Please.... Oh, G.o.d, I can't stand you. You--horrify me!"

The panic in Rachel's voice seemed to dull his ears to her words. He saw her for a vivid moment against the opened window and then he found himself alone, looking into a night that was haunted with an image of her. He remembered her going, but it seemed to him he still saw her against the window, his eyes bringing to him a vision of her face as she had looked.

He had grown white. In the memory of her face, as in an impossible mirror, he saw a loathsome image of himself. Her eyes had blazed with it. He sickened and his thought grew faint. Then the night came before him and the echo of the words Rachel had spoken beat in his head. He walked with his hat politely in his hand out of the door.

On the stairs his eyes grew weak and warm. Tears rushed from them. He stumbled and clutched at the banister. She had led him on. She had looked at him with love. Love ... but he had dreamed that. What was it, then? Her eyes burning toward him had told him he was loathsome. There was something wrong with him. He wept. He put his hat on mechanically.

He dried his eyes. There was something wrong.

On her bed Rachel lay mumbling to herself, mumbling as if the words were a pain to her ears. "Erik Dorn ... Erik Dorn."

CHAPTER VI

The world in which Erik Dorn lived was compounded of many surfaces. Of them Anna, his wife, was the most familiar. It was a familiarity of absorption. Weeks of intimacy pa.s.sed between them, of lover-like attentiveness during which Dorn remained unconscious of her existence.

Her unending talk of her love for him--words and murmurs that seemed an inexhaustible overflow of her heart--pa.s.sed through his mind as a part of his own thought. Hers was a more definite contribution to the emptiness of the life through which he moved.

Yet in his unconsciousness of her there lived a shadowy affection. On occasions in which they had been separated there had always awakened in him an uneasiness. In his nights alone he lay sleepless, oppressed, a nostalgia for her presence growing in him. With his eyes opened at the darkness of a strange room he experienced then an incompleteness as if he himself were not enough. The emptiness in which he was living became suddenly real. He would feel a despair. Words unlike the sophisticated patter of his usual thought would come to him.... "What is there ... I would like something ... what?..." A sense of life as an unpeopled vastness would frighten him vaguely. Night sounds ... strange, shadow-hidden walls. They made him uneasy. Memories then; puzzling, mixed-up pictures that had lost their outlines. Things that had left no impression on his thought--sterile little incidents through which he had moved with automatic gestures--returned like sad little outcasts pleading with him. Faces he could not remember and that were yet familiar peered at him in his sleeplessness with poignant eyes that frightened.

There would come to him the memory of the time he had been a boy and had lain like this in his mother's home, startled with fears that sat like insanities in his throat. The memory of his being a boy seemed to restore him to the fears long forgotten. Words would come ... "I was a boy ..." and he would lie thinking of how people grew old; of how he had grown old without seeming to change, and yet changing--as if he had been gently vanishing from himself and even now was moving slowly away. He was like a house from which issued a dim procession of guests never pausing for farewells. He had been a boy, a youth, a man ... each containing days and thoughts. And they moved slowly away from him--completed figures fully dressed. Slowly, without farewells, with faces intensely familiar yet no longer known. Thus he would continue to vanish from himself, remaining unchanged but diminishing, until there were no more guests to forsake and he stood alone waiting a last farewell--a curious, unimaginable good-bye to himself. Nothing ...

nothing. A long wait for a good-bye. And then nothing again. Already he was half shadow--half a procession of Erik Dorns walking away from him and growing dimmer.

In the dark of the strange room, his eyes staring and fearful, he would reach suddenly for Anna, embracing her almost as if she were beside him.

Her smile that forever shone upon him like the light of lilies and candles from a sad, quiet altar; her words that forever flowed like a dream from her heart, the warmth of her body that she offered him as if it no longer existed for herself--to these his loneliness sought vainly to carry him. And he would find himself tormented by a desire for her, lying with her name on his lips and her image alone alive in the empty dread of his thought.

United again in their home, he lapsed into the unconsciousness of her, sometimes vaguely startled by the tears he felt on her cheeks as they lay together at night. Out of this unconsciousness he made continual love to her, giving her back her endearments and caresses. Of this he never tired. His kisses unaware of her, his tendernesses without meaning to him, he yet felt in her presence the shadow of a desire. The love that filled his wife seemed to animate his phrases with an amorous diction that echoed her own. He would hold her in his arms, bestowing kisses upon her, and watch as in wonder of some mysterious make-believe, the radiance that his meaningless gestures brought to her.

There were times, however, when Dorn became aware of his wife, when she thrust herself before him as a far-away-eyed and beautiful-faced stranger. He had frequently followed her in the street, watching her body sway as she walked, observing with quickening surprise her trim, lyre-like shoes, her silken ankles, the agile sensualism of her litheness under a stranger's dress. He had noticed that she had coils of red hair with bronze and gold lights slipping over it, that her face tilted itself with a hint of determination and her eyes walked proudly over the heads of the crowd. He watched other men glimpse her and turn for an instant to follow with their stares the promise of her body and lighted face. Dorn, walking out of her sight, got a confused sense of her as if she were speaking to the street, "I am a beautiful woman. In my head are thoughts. I am a stranger to you. You do not know what my body looks like or what dreams live in me. I have destinations and emotions that are mysterious to you. I am somebody different from yourselves."

On top of this sense of her had come each time a sudden vivid picture--Anna in their bedroom attaching her garters to the tops of her stockings; Anna tautening her body as she slipped out of her nightgown ... or a picture of her pressing his head against her b.r.e.a.s.t.s and whispering pa.s.sionately, "Erik, I adore you." The strangeness then would leave her and again she was something he had absorbed. When he looked for her she had vanished in the scribble of the crowd and he walked with the same curious unconsciousness of her existence as of his own.

There were times too in their home when Anna became a reality before his eyes--an external that startled him. This was such a time now. Rachel had come to visit them. She sat silent, fugitive-bodied amid overfed, perspiring-eyed guests. And he stood looking at Anna and listening to her.

He wondered why he looked at Anna and not at Rachel. But his wife in black velvet and silken pumps, like a well-limned character out of some work of stately fiction, held his attention. He desired to talk to her as if she were a stranger. She sat without surprise at his unusual verbal animation in her behalf, listening to his banter with an intent, almost preoccupied smile in her eyes. While he talked, asking her questions and pressing for answers, he thought. "She's not paying any attention to my words, but to me. Her love is like a robe about her, covering her completely." Yet she seemed strange. Behind this love lived a person capable of thinking and reasoning. Dorn, as sometimes happened, grew curious about her thoughts. He increased his efforts to rivet her attention, as if he were trying to coax a secret out of her. The easiest way to arouse her was to say things that frightened her, to make remarks that might give her the feeling he had some underlying idea in his head hostile to their happiness.

The company of faces in the room emitted laughter, uttered words of shocked contradiction, pressed themselves eagerly forward upon his phrases. A red-faced man whose vacuity startled from behind a pair of owlish gla.s.ses exclaimed, "That's all wrong, Dorn. Women don't want war.

Your wife would rather cut off her arm than see you go to war. And mine, too."

The wife of the red-faced man giggled. A younger, unmarried woman posed carelessly on the black piano bench in an effort to exaggerate the charms of her body, spoke with a deliberate sigh.

"No, I don't agree with you, Mr. Harlan. Women are capable of sacrifice."

She thrust forward a lavender-stockinged leg and contemplated it with a far-away sacrificial light in her eyes. The red-faced one observed her with sudden owlish seriousness. His argument seemed routed.

"Of course that's true," he agreed. Mr. Harlan came of a race whose revolutionary notions expired apologetically before the first plat.i.tude to cross their path. "We must always bear in mind that women are capable of sacrifice; that women ..." The lavender stocking was withdrawing itself and Mr. Harlan stammered like an orator witnessing a sudden exodus of his audience, "that women are really capable of remarkable things," he concluded.

Dorn was an uncommonly clever fellow, but a bit radical. He'd like to think of something to say to him just to show him there was another side to it. Not that he gave a d.a.m.n. Some other time would do. The red face turned with a great attentiveness toward the hoa.r.s.ely oracular Mr.

Warren, his eyes dropping a furtive curtsy in the direction of the vanished stocking.

"I never agree with Dorn," Warren was remarking, "for fear of displeasing him."

He gazed belligerently at Anna whose eyes were attracting attention. She was watching her husband in a manner unbecoming a hostess. A middle-aged youth toying politely with the blue sash of a girl in a white dress--he had recently concluded a tense examination of the two antique rings on her fingers--saw an occasion for laughter and embraced it. The girl glanced somewhat timidly toward Anna and addressed her softly, as if desiring to engage in some conversation beyond the superficial excitement of the moment.

"I'm just mad about blue sashes," she whispered. "I think the sash is coming back, don't you?"

Anna nodded her head. Erik had resumed his talk, his eyes still on her.

"Women are two things--theory and fact," he was saying. "The theory of them demands war. If we get into this squabble you'll find them cheering the loudest and waving the most flags. War is something that kills men; therefore, it is piquantly desirable to their subconscious hate of our s.e.x." He smiled openly at Anna. "It's also something that plays up the valor and superiority of man and therefore offers a vindication for her submission to him."