The Nest, The White Pagoda, The Suicide, A Forsaken Temple, Miss Jones and the Masterpiece. Anne Douglas Sedgwick
for a night seemed like quaint marionettes crossing a stage that now and then they agreed to have set up before the bower. These figures, their own relation to them, quickened the sense of secrecy and love. Their eyes sought each other past unconscious eyes; they had lovers' dexterities in meeting unobserved by their guests, gay little escapades when they would run away for an hour drifting on the river or wandering in the woods. And the formalities and chatter of social life—all these queer people interested in queer things, people who used the present only for the future, who were always planning and looking forward—made the hidden truths the sharper and sweeter. Nothing, for the two lovers, was to go on. That was the truth that made the marionettes so insignificant and that made their love so deep. There was, for them, no looking forward, no adapting of means to ends. There were no ends, or, rather, they were always at the end. And there was nothing for them to do except to love each other.
"I feel sometimes as if we had become a Pierrot and a Pierrette," Holland said to her. "It's for that, I suppose, that a Pierrot is such an uncanny and charming creature;—the future doesn't exist for him at all."
Kitty, who had always been a literal person, and whose literalness had now become so beautifully appropriate—for what is literalness but a seeing of the fact as standing still?—Kitty tried to smile but begged him not to jest about such things.
"I'm not jesting, darling. I'm only musing on our strange state. It's like a fairy-tale, the life we lead."
She turned her head, with the pathetic gesture grown habitual with her of late, and hid her eyes on his shoulder. "Oh, darling," she said, "do you hate to leave me!"
She had felt the moment of detached fancy as separative, and he had now to soothe her passionate weeping.
He found that there was a certain pendulum-swing of mood in Paradise. Emotion was the being of this mood, and to keep emotion one must swing.
Either he must soothe Kitty or Kitty must soothe him, or they must transcend the dark necessities of their case by finding in each other a joy including in its ecstasy the sorrow it obliterated. This pendulum swung spontaneously during those first weeks, it swung as their hearts beat, from need to response. And, at the beginning of the third week, it was not so much a faltering in the need or the response that Holland knew, as a mere lessening of the swing;—it didn't go quite so fast or carry him quite so far. He became conscious of an unequal rhythm; Kitty seemed to swing even faster and further.
She saw him as dead; that was the urgent vision that lay behind her demonstrations and ministrations; she saw him as more dead with every day that passed, and every moment of every day was, to her, of passionate significance. No one had ever been idealised as he was idealised, or clung to as he was clung to. The sense of desperate tendrils enlacing him was almost suffocating, and each tendril craved for recognition; a lapse, a look, an inattention was the cutting of something that bled, and clung the closer. Every moment was precious, and any not given to love was a robbery from her dwindling store. As the time grew less her need for significance grew greater. Her sense of her own tragedy grew with her sense of his, and he must share both. Resignation to his fate was a resignation of her, and a crime against their love. Holland by degrees grew conscious of keeping himself up to a mark.
It was then that the blossoms began to look a little over-blown, the paths to become monotonous, the bowers to grow oppressive with their heavy sweetness as though a noonday sun beat down changelessly upon them. The dew was gone, and though Kitty remained a primitive Eve, he himself knew that in his conscious ardour there hovered the vague presence of something no longer pure, something unwholesome and enervating.
She saw him as dead, and the thought of death, always with her, renewed her pity and her adoration; he knew that his own background lent a charm enthralling and poignant to his every word, look and gesture. But for him this charm and this renewal were lacking. He could not feel such pity, either for her or for himself. She was to live, poor little Kitty, and, by degrees, the tragedy would fade and the beauty of their last weeks together would remain with her. There was no cavern yawning behind Kitty's figure; life, inexorably, showed him her smiling future.
And, for himself; well, if it was tragic to have to die, it was a tragedy one got used to. He might have felt it more if only Kitty hadn't been there to feel it so superabundantly for him. No: he could keep up; he could see to it that the pendulum didn't falter; but he couldn't hide from himself that its swing was growing mechanical.
By the end of the third week the serpent was awake and walking in Paradise. Holland was tired; profoundly tired.
He found his wife's eyes on him one day as they sat with books under the trees on the lawn. He tried to read the books now, though in a casual manner that would offer no offence to Kitty's unoccupied hands and eyes. He wanted very much to read and to forget himself—to forget Kitty—for a little while. It was difficult to do this when such a desultory air must be assumed, when he must be ready to answer anything she said at a moment's notice, and must remember to look up and smile at her or to read some passage aloud to her at every few pages. But he had been trying thus to combine oblivion and alertness when a longer interval than usual of the first held him beguiled, and alertness, when it returned, returned too late. Kitty's eyes made him think of the eyes she had gazed with on the day of revelation in the library. They were candid, they were frightened; the eyes of the real child. Now, as then, they were drinking in some new knowledge; a new fear and an old fear, come close at last, were pressing on her. He felt so tired that he would have liked to look away and to have pretended not to see; but he was not so tired as to be cruel, and he tried to smile at her, as, tilting his hat over his eyes so that they were shadowed, he asked her what she was thinking of.
She rose and came to him, kneeling down beside his chair and putting her hands on his shoulders.
"What is the matter, Kitty?" he asked her, as he had asked on that morning three weeks before.
"Nicholas—Nicholas—are you feeling worse?" she returned.
Holland was surprised and almost relieved. It was no new demand, it was merely a sharper fear. And perhaps she was right, perhaps he was feeling worse and the end was approaching. If so, any languor would be taken as symptomatic of dissolution and not of indifference, and he might relax his hold. Actually a deep wave of satisfaction seemed to go lapping through him.
"I don't feel badly, dear," he said, smoothing back her hair. "You know, I shall suffer hardly any pain; but I do feel very tired."
"In what way tired?" Another alarm was in her voice.
"Bodily fatigue, dear. Of course, one doesn't die without fading."
He felt, when he had said it, that the words, in spite of his care, were cruel; that she would feel them as cruel; he had gone too fast; had tried to grasp at his immunity too hastily.
"Nicholas!" she gasped. "You speak as if I were accusing you!"
"Accusing me, darling! How could you be! Of what?"
"Oh, Nick," she sobbed, hiding her face on his breast—"Am I tiring you? Do you sometimes want me to go away and to leave you more alone?"
His heart stood still. Over her bowed head he looked at the sunlit trees and flowers, the hazy glory of the summer day, a phantasmagoric setting to this knot of human pain and fear, and he said to himself that unless he were very careful he might hurt her irremediably; he might rob her of the memory that was to beautify everything when he was gone.
He had found in a moment, he felt sure, just the right quiet tone, expressing a comprehension too deep for the fear of any misunderstanding between them. "There would be no me left, Kitty, if you went away. I am you—all that there is of me. You are life itself; don't talk of robbing me of any of it; I have so little left."
She was silent for a moment, not lifting her face, no longer weeping. Then in a voice curiously hushed and controlled she said: "How quiet you are; how peaceful you are—how terribly peaceful."
"You want me to be at peace, don't you, dear?"
"You don't mind leaving life. You don't mind leaving me," she said.
"Kitty—Kitty——"