The Call of the Blood Part 7

"Emile, I'm so happy, so--so happy! I think you must understand why now.

You don't wonder any more, do you?"

"No, I don't wonder. But did I ever express any wonder?"

"I think you felt some. But I knew when you saw him it would go. He's got one beautiful quality that's very rare in these days, I think--reverence.

I love that in him. He really reverences everything that is fine, every one who has fine and n.o.ble aspirations and powers. He reverences you."

"If that is the case he shows very little insight."

"Don't abuse yourself to me to-night. There's nothing the matter now, is there?"

Her intonation demanded a negative, but Artois did not hasten to give it.

Instead he turned the conversation once more to Delarey.

"Tell me something more about him," he said. "What sort of family does he come from?"

"Oh, a very ordinary family, well off, but not what is called specially well-born. His father has a large shipping business. He's a cultivated man, and went to Eton and Oxford, as Maurice did. Maurice's mother is very handsome, not at all intellectual, but fascinating. The Southern blood comes from her side."

"Oh--how?"

"Her mother was a Sicilian."

"Of the aristocracy, or of the people?"

"She was a lovely contadina. But what does it matter? I am not marrying Maurice's grandmother."

"How do you know that?"

"You mean that our ancestors live in us. Well, I can't bother. If Maurice were a crossing-sweeper, and his grandmother had been an evilly disposed charwoman, who could never get any one to trust her to char, I'd marry him to-morrow if he'd have me."

"I'm quite sure you would."

"Besides, probably the grandmother was a delicious old dear. But didn't you like Maurice, Emile? I felt so sure you did."

"I--yes, I liked him. I see his fascination. It is almost absurdly obvious, and yet it is quite natural. He is handsome and he is charming."

"And he's good, too."

"Why not? He does not look evil. I thought of him as a Mercury."

"The messenger of the G.o.ds--yes, he is like that."

She laid her hand on his arm, as if her happiness and longing for sympathy in it impelled her to draw very near to a human being.

"A bearer of good tidings--that is what he has been to me. I want you to like and understand him so much, Emile; you more, far more, than any one else."

The cab was now in a steep and narrow street leading down from the Strand to the Thames Embankment--a street that was obscure and that looked sad and evil by night. Artois glanced out at it, and Hermione, seeing that he did so, followed his eyes. They saw a man and a woman quarrelling under a gas-lamp. The woman was cursing and crying. The man put out his hand and pushed her roughly. She fell up against some railings, caught hold of them, turned her head and shrieked at the man, opening her mouth wide.

"Poor things!" Hermione said. "Poor things! If we could only all be good to each other! It seems as if it ought to be so simple."

"It's too difficult for us, nevertheless."

"Not for some of us, thank G.o.d. Many people have been good to me--you for one, you most of all my friends. Ah, how blessed it is to be out here!"

She leaned over the wooden ap.r.o.n of the cab, stretching out her hands instinctively as if to grasp the s.p.a.ce, the airy darkness of the spreading night.

"s.p.a.ce seems to liberate the soul," she said. "It's wrong to live in cities, but we shall have to a good deal, I suppose. Maurice needn't work, but I'm glad to say he does."

"What does he do?"

"I don't know exactly, but he's in his father's shipping business. I'm an awful idiot at understanding anything of that sort, but I understand Maurice, and that's the important matter."

[Ill.u.s.tration: "'s.p.a.cE SEEMS TO LIBERATE THE SOUL,' SHE SAID"]

They were now on the Thames Embankment, driving slowly along the broad and almost deserted road. Far off lights, green, red, and yellow, shone faintly upon the drifting and uneasy waters of the river on the one side; on the other gleamed the lights from the houses and hotels, in which people were supping after the theatres. Artois, who, like most fine artists, was extremely susceptible to the influence of place and of the hour, with its gift of light or darkness, began to lose in this larger atmosphere of mystery and vaguely visible movement the hitherto dominating sense of himself, to regain the more valuable and more mystical sense of life and its strange and pathetic relation with nature and the spirit behind nature, which often floated upon him like a tide when he was creating, but which he was accustomed to hold sternly in leash. Now he was not in the mood to rein it in. Maurice Delarey and his business, Hermione, her understanding of him and happiness in him, Artois himself in his sharply realized solitude of the third person, melted into the crowd of beings who made up life, whose background was the vast and infinitely various panorama of nature, and Hermione's last words, "the important matter," seemed for the moment false to him. What was, what could be, important in the immensity and the baffling complexity of existence?

"Look at those lights," he said, pointing to those that gleamed across the water through the London haze that sometimes makes for a melancholy beauty, "and that movement of the river in the night, tremulous and cryptic like our thoughts. Is anything important?"

"Almost everything, I think, certainly everything in us. If I didn't feel so, I could scarcely go on living. And you must really feel so, too. You do. I have your letters to prove it. Why, how often have I written begging you not to lash yourself into fury over the follies of men!"

"Yes, my temperament betrays the citadel of my brain. That happens in many."

"You trust too much to your brain and too little to your heart."

"And you do the contrary, my friend. You are too easily carried away by your impulses."

She was silent for a moment. The cabman was driving slowly. She watched a distant barge drifting, like a great shadow, at the mercy of the tide.

Then she turned a little, looked at Artois's shadowy profile, and said:

"Don't ever be afraid to speak to me quite frankly--don't be afraid now.

What is it?"

He did not answer.

"Imagine you are in Paris sitting down to write to me in your little red-and-yellow room, the morocco slipper of a room."

"And if it were the Sicilian grandmother?"

He spoke half-lightly, as if he were inclined to laugh with her at himself if she began to laugh.

But she said, gravely:

"Go on."

"I have a feeling to-night that out of this happiness of yours misery will be born."

"Yes? What sort of misery?"

"I don't know."