To-night he had left his proofs untouched on the writing-table, and had settled himself comfortably to his pipe, with the voluptuous satisfaction of a man who has put off a disagreeable duty. He felt that delicious turmoil of ideas which with him accompanied the building up of a story round its central character. Not that he yet understood that character. Wyndham had his intuitions, but he was not the man to trust them as such; it was his habit to verify them by a subsequent logic. His literary conscience allowed nothing to take the place of the experimental method, the careful observation, and arranging of minute facts, intimate a.n.a.lytical study from the life. No action was too small, no emotion too insignificant, for his uncompromising realism. He had applied the same method to his own experience. Whatever came in his way, the tragedy or comedy of his daily life, his moods of pa.s.sion and apathy, the aspirations of his better moments, all underwent the same disintegrating process. He had the power of standing aloof from himself, of arresting the flight of his own sensations, and criticising his own actions as a disinterested spectator. Thus he made no experiment on others that he had not first tried on his own person. If any man ever understood himself, that man was Langley Wyndham. He was by no means vain of this distinction; on the contrary, he would have said that as a man's inner consciousness is the only thing he has any direct knowledge of, he must be a fool if he can live with himself--the closest of all human relations--for thirty-five years without understanding his own character.

What he really prided himself on was his knowledge of other people, especially of women. Unfortunately, for the first few years of his literary life he knew no women intimately: he had many acquaintances among them, a few enemies, but no friends; and the little he knew of individuals had not tended to raise his opinion of women in general.

Consequently he drew them all, as he saw them, from the outside; the best sort with a certain delicacy and clearness of outline, the result of unerring eyesight and the gift of style; the worst sort with an incisive, almost brutal touch that suggested the black lines bitten out by some powerful acid. His work "took" because of its coa.r.s.er qualities, the accentuated bitterness, the startling irony, the vigorous, characteristic phrase. Those black strokes were not introduced to throw up the grey wash or pencilled shading; Wyndham's cynicism was no mere literary affectation, it was engrained in his very nature. He had gone through many phases of disillusionment (including disgust at his own success) before that brief crisis of feeling which ended in his engagement to Miss Fraser. Then, for the first time in his life, a woman's nature had been given to him to know. It was a glorious opportunity for the born a.n.a.lyst; and for the first time in his life he let an opportunity go. He loved Alison Fraser, and he found that love made understanding impossible. He never wanted to understand her; the relentless pa.s.sion for a.n.a.lysis was absorbed in a comprehensive enthusiasm which embraced the whole of Alison and took no count of the parts. To have pulled her to pieces, even with a view to reconstruction, would have been a profanation of her and of his love. For a whole year the student of the earthly and the visible lived on the substance of things unseen--on faith in the goodness of Alison Fraser. By a peculiar irony it was her very goodness--for she was a good woman--which made her give up Wyndham. As Miss Gladys Armstrong had guessed (or as she would have put it, diagnosed), a detail of Wyndham's past life had come to Miss Fraser's knowledge, as these details always come, through a well-meaning friend. It was one which made it difficult for her to reconcile her marriage with Wyndham to her conscience. And because she loved him, because the thought of him, so hard to other women, so tender to herself, fascinated her reason and paralysed her will--flattering the egoism inherent even in the very good--because she was weak and he was irresistibly strong, she cut herself from him deliberately, open-eyed, and with one stroke. She had just sufficient strength for the sudden breaking off of their engagement, none for explanation, and none, alas!

to save her from regretting her act of supererogatory virtue.

Wyndham gave no sign of suffering. He simply sank back into himself, and became the man he had been before, plus his experience of feeling, and minus the ingenuousness of his self-knowledge. He took instead to self-mystification, trying to persuade himself that because he could not have Alison, Alison was not worth having. After that, it was but a step to palming off on his reason the monstrous syllogism that because Alison was unworthy, and Alison was a woman, therefore all women were unworthy.

Except for purely literary purposes, he had done with the s.e.x. He became if anything more intently, more remorselessly a.n.a.lytical, more absolutely the student of human nature. He lived now in and for his work.

He struck out into new paths; he was tired of his neutral washes, and striking effects in black and white. He had begun to dream of glorious subtilties of design and colour. Novels were lying in his head ten deep.

He had whole note-books full of germs and embryos, all neatly arranged in their separate pigeon-holes. In some he had jotted down a name and a date, or a word which stood for a whole train of ideas. In others he had recorded some ill.u.s.tration as it occurred to him; or a single sentence stood flanked by a dozen variants--Wyndham being a careful worker and sensitive to niceties of language. To-night he was supremely happy. He saw his way to a lovely little bit of psychological realism. All that had been hitherto wanting to this particular development of his art had been the woman. In Audrey Craven he had found the indispensable thing--intimacy without love, or even, as he understood the word, friendship. She was the type he had long desired, the feminine creature artless in perpetual artifice, for ever revealing herself in a succession of disguises.

He was beginning to adjust his latest impressions to his earlier idea of her. He recalled the evening when he had first seen her--the hot, crowded drawing-room, the heavy atmosphere, the dull faces coming and going, and the figure of Audrey flashing through it all. She had irritated him then, for he had not yet cla.s.sified her. He had tried not to think of her. She dogged his thoughts with most unmaidenly insistence; her image lay in wait for him at every cross-road of a.s.sociation; it was something vivid yet elusive, protean yet persistent.

He recalled that other evening of her dinner-party--their first recognised meeting. Her whole person, which at first sight had impressed him with its emphatic individuality, now struck him as characterless and conventional. And yet--what was she like? She was like a chameleon. No, she wasn't; he recollected that the change of colour was a vital process in that animal. She was like an opal--all sparkle when you move it, and at rest dull, most undeniably dull. No, _that_ wasn't it exactly. She was a looking-gla.s.s for other people's personalities (he hated the horrid word, and apologised to himself for using it), formless and colourless, reflecting form and colour. After a moment's satisfaction with this last fancy, he became aware that he was being made the fool of metaphor. That was not his way. To find out what lay at the bottom of this shifting personality, what elemental thoughts and feelings, if any, the real Audrey was composed of; to see for himself the play of circ.u.mstances on her plastic nature, and know what reaction it was capable of--in a word, to experimentalise in cold blood on the living nerve and brain tissue, was his plan of work for the year 1896.

Making a mental note of several of the above phrases for future use, Wyndham knocked the ashes out of his pipe and went to bed, where he dreamed that the Devil, in evening dress, was presenting him with Audrey's soul--done up in a brown wrapper marked "MS. only"--for dissection.

CHAPTER XI

It was in no direct accordance with his literary plans, though it may have been preordained in some divine scheme of chances, that Wyndham found himself next Sunday attending evensong at St. Teresa's, Lambeth.

It so happened that Audrey and the Havilands had chosen that very evening to go and hear, or, as Ted expressed it, see Flaxman Reed. He wanted Flaxman Reed's head for a study. Ted seldom condescended to enter any church of later date than the fifteenth century, and, architecturally speaking, he feared the worst from St. Teresa's. Indeed, smoke, fog, and modern Gothic genius have made the outside of that building one with the grimy street it stands in, and Ted was not prepared for the golden beauty of the interior. His judgment halted as if some magic effect of colour had blinded it to stunted form and pitiful perspective. But the glory of St. Teresa's is its music. The three late-comers were shown into seats in the chancel as the choir were singing the _Magnificat_. Music was the one art to which Audrey's nature responded spontaneously after its kind. She knelt down and covered her face with her hands for a prayer's s.p.a.ce, while the voices of the choir and organ shook her on every side with a palpable vibration. She was conscious then of a deep sense of religion merging in a faint expectancy, a premonition of things to follow. She rose from her knees and found an explanation of this in the fact that Langley Wyndham was standing in the opposite seat below the choir. She was not surprised; for her the unexpected was always about to happen. It had happened now.

She tried not to see or think of him; but she felt him as something illuminating and intensifying her consciousness. She heard the vicar's voice like a fine music playing in the background. Then organ and choir burst into the anthem. It was a fugue; the voices seemed to have gathered together from the ends of the world, flying, pursuing and flying, doubled, trebled, quadrupled in their flight, they met and parted, they overtook and were overtaken. And now it was no longer a fugue of sounds--it was a fugue of all sensations. The incense rose and mingled with the music; the music fled and rose, up among the cl.u.s.tering gas-jets, up to the chancel roof where it lost itself in a shimmering labyrinth of gold and sapphire, and died in a diminuendo of light and sound. Audrey looked up, and as her eyes met Wyndham's, it seemed as if a new and pa.s.sionate theme had crashed into her fugue, dominating its harmonies, while the whole rushed on, more intricate, more tumultuous than before. Her individuality that had swum with the stream became fluent and coalesced with it now, soul flooded with sense, and sense with soul. She came to herself exhausted and shivering with cold.

Flaxman Reed was in the pulpit. He stood motionless, with compressed lips and flashing eyes, as he watched the last deserters softly filing out through the side-aisles. The lights were turned low in nave and chancel; Ted wriggled in his seat until he commanded a good view of the fine head, in faint relief against a grey-white pillar, stone on stone; and Flaxman Reed flung out his text like a challenge to the world: "The things which are seen are temporal; but the things which are not seen are eternal." The words suggested something piquantly metaphysical, magnificently vague, and Audrey followed the sermon a little way. But Flaxman Reed was in his austerest, most militant mood. He was a master of ant.i.thesis, and to Audrey there was something repellent in his steel-clad thoughts, his clear diamond-pointed sentences. No eloquence had any charm for her that was not as water to reflect her image, or as wind to lift and carry her along. Her fancy soon fluttered gently down to earth, and she caught herself wondering whether Wyndham would walk back to Piccadilly or go in a hansom.

She was still pursuing this train of thought as they left the church, when she proposed that they should go back to Chelsea by Westminster instead of Lambeth Bridge. Wyndham overtook them as they turned down to the river by St. Thomas's Hospital. He stopped while Audrey pointed out the beauty of the scene with her little air of unique appreciation.

"Isn't it too lovely for words? The suggestion--the mystery of it!" Her voice had a pa.s.sionate impatience, as if she chafed at the limitations of the language. "Who says London's cold and grey? It's blue. And yet what would it be without the haze?" Wyndham smiled inscrutably: perhaps he wondered what Miss Audrey Craven would be without the haze?

"What did you think of the service?" she asked presently. By this time she and Wyndham were walking together a little in advance of the others.

"I didn't hear it. I was watching Flaxman Reed all the time." This statement, as Audrey well knew, was not strictly correct.

"So was I. My uncle says if he stays in the church he'll be the coming man."

"The coming man? H'm. He's been going back ever since I knew him. At present he's got to the thirteenth century; he may arrive at the Nicene age, but he'll never have a hold on his own. He's nothing but a holy anachronism."

"Oh? I thought you didn't understand him?"

"In one way I do, in another I don't. You see I knew him at Oxford when I was a happy undergraduate." (Audrey could not imagine Langley Wyndham ever being an undergraduate; it seemed to her that he must always have been a Master of Arts.) "I knew the real Flaxman Reed, and he was as logical a sceptic as you or I. There was an epidemic of ideas in our time, and the poor fellow was frightened, so he took it--badly. Of course he made up his mind that he was going to die, and he was horribly afraid of dying. So instead of talking about his interesting symptoms, as you or I might do" ("You or I"--again that flattering a.s.sociation!), "he quietly got rid of the disease by attacking its source."

"How?"

"Well, I forget the precise treatment, but I think he took equal parts of St. Augustine and St. Thomas Aquinas, diluted with _aqua sacra_. He gave me the prescription, but I preferred the disease."

"At any rate he was in earnest."

"Deadly earnest. That's the piety of the fraud."

"You surely don't call him a fraud?"

"Well--a self-deceiver. Isn't that the completest and most fatal form of fraud? He fights and struggles to be what he isn't and calls it renouncing self."

"He renounces the world too--and everything that's pleasant."

"I'm afraid that doesn't impress me. I can't forget that he renounced reason because it was unpleasant. Rather than bear a little spiritual neuralgia, he killed the nerve of thought."

"How terrible!" said Audrey, though she had no very precise notion of what was involved in that operation.

"To us--not to him. Yet he talks about doing good work for his generation."

"Why shouldn't he? He works hard enough."

"Unfortunately his generation doesn't want his work or him either. It's too irrevocably pledged to reality. There's one thing about him though--his magnificent personality. I believe he has unlimited influence over some men and most women."

Audrey ignored the last suggestion. "You seem to find him very interesting."

"He is profoundly interesting. Not in himself so much, but in his a.s.sociations. Do you know, when I saw you in church to-night it struck me that he might possibly influence _you_."

"Never! I should have to give up my intellect first, I suppose. I'm not prepared to do _that_." Wyndham smiled again. "Why, what made you think he would influence me?"

"I'd no right to think anything at all about it, but I know some women take him for a hierophant."

"Some women? Do you think I'm like them?"

"You are like nothing but yourself. I was only afraid that he might persuade you to renounce yourself and become somebody else, which would be a pity."

"Don't be alarmed. I'm not so impressionable as you think."

"Aren't you? Be frank. Didn't you feel to-night that he might have a revelation for you?"

"No. And yet it's odd you should say so. I have felt that, but--not with him. I shall never come under that influence."

"I hope not." (It was delightful to have Langley Wyndham "hoping" and being "afraid" for her.) "He belongs to the dead--you to the living."

What a thing it is to have a sense of style, to know the words that consecrate a moment! They were crossing Westminster Bridge now, and Audrey looked back. On the Lambeth end of the bridge Ted and Katherine were leaning over the parapet; she looked at them as she might have looked at two figures in a crowd. Lambeth and St. Teresa's seemed very far away. She said so, and her tone implied that she had left illusion behind her on the Surrey side.

Wyndham said good-bye at Westminster. Audrey was not quite pleased with his manner of hailing a hansom; it implied a conscious loss of valuable time.

"What fools we were to let him catch us up," said Ted as they walked towards Pimlico. Audrey made no answer. She was saying to herself that Langley Wyndham had read her, and--well, she hardly thought he would take the trouble to read anything that was not interesting.

CHAPTER XII