Christophe was not wrong in thinking duty exceptional. But love is so no less. Everything is exceptional. Everything that is of worth has no worse enemy--not the evil (the vices are of worth)--but the habitual. The mortal enemy of the soul is the daily wear and tear.

Ada was beginning to weary of it. She was not clever enough to find new food for her love in an abundant nature like that of Christophe. Her senses and her vanity had extracted from it all the pleasure they could find in it. There was left her only the pleasure of destroying it. She had that secret instinct common to so many women, even good women, to so many men, even clever men, who are not creative either of art, or of children, or of pure action,--no matter what: of life--and yet have too much life in apathy and resignation to bear with their uselessness. They desire others to be as useless as themselves and do their best to make them so. Sometimes they do so in spite of themselves: and when they become aware of their criminal desire they hotly thrust it back. But often they hug it to themselves: and they set themselves according to their strength--some modestly in their own intimate circle--others largely with vast audiences--to destroy everything that has life, everything that loves life, everything that deserves life.

The critic who takes upon himself to diminish the stature of great men and great thoughts--and the girl who amuses herself with dragging down her lovers, are both mischievous beasts of the same kind.--But the second is the pleasanter of the two.

Ada then would have liked to corrupt Christophe a little, to humiliate him.

In truth, she was not strong enough. More intelligence was needed, even in corruption. She felt that: and it was not the least of her rankling feelings against Christophe that her love could do him no harm. She did not admit the desire that was in her to do him harm: perhaps she would have done him none if she had been able. But it annoyed her that she could not do it. It is to fail in love for a woman not to leave her the illusion of her power for good or evil over her lover: to do that must inevitably be to impel her irresistibly to the test of it. Christophe paid no attention to it. When Ada asked him jokingly:

"Would you leave your music for me?"

(Although she had no wish for him to do so.)

He replied frankly:

"No, my dear: neither you nor anybody else can do anything against that. I shall always make music."

"And you say you love?" cried she, put out.

She hated his music--the more so because she did not understand it, and it was impossible for her to find a means of coming to grips with this invisible enemy and so to wound Christophe in his pa.s.sion. If she tried to talk of it contemptuously, or scornfully to judge Christophe's compositions, he would shout with laughter; and in spite of her exasperation Ada would relapse into silence: for she saw that she was being ridiculous.

But if there was nothing to be done in that direction, she had discovered another weak spot in Christophe, one more easy of access: his moral faith.

In spite of his squabble with the Vogels, and in spite of the intoxication of his adolescence, Christophe had preserved an instinctive modesty, a need of purity, of which he was entirely unconscious. At first it struck Ada, attracted and charmed her, then made her impatient and irritable, and finally, being the woman she was, she detested it. She did not make a frontal attack. She would ask insidiously:

"Do you love me?"

"Of course!"

"How much do you love me?"

"As much as it is possible to love."

"That is not much ... after all!... What would you do for me?"

"Whatever you like."

"Would you do something dishonest."

"That would be a queer way of loving."

"That is not what I asked. Would you?"

"It is not necessary."

"But if I wished it?"

"You would be wrong."

"Perhaps.... Would you do it?"

He tried to kiss her. But she thrust him away.

"Would you do it? Yes or no?"

"No, my dear."

She turned her back on him and was furious.

"You do not love me. You do not know what love is."

"That is quite possible," he said good-humoredly. He knew that, like anybody else, he was capable in a moment of pa.s.sion of committing some folly, perhaps something dishonest, and--who knows?--even more: but he would have thought shame of himself if he had boasted of it in cold blood, and certainly it would be dangerous to confess it to Ada. Some instinct warmed him that the beloved foe was lying in ambush, and taking stock of his smallest remark; he would not give her any weapon against him.

She would return to the charge again, and ask him:

"Do you love me because you love me, or because I love you?"

"Because I love you."

"Then if I did not love you, you would still love me?"

"Yes."

"And if I loved some one else you would still love me?"

"Ah! I don't know about that.... I don't think so.... In any case you would be the last person to whom I should say so."

"How would it be changed?"

"Many things would be changed. Myself, perhaps. You, certainly."

"And if I changed, what would it matter?"

"All the difference in the world. I love you as you are. If you become another creature I can't promise to love you."

"You do not love, you do not love! What is the use of all this quibbling?

You love or you do not love. If you love me you ought to love me just as I am, whatever I do, always."

"That would be to love you like an animal."

"I want to be loved like that."

"Then you have made a mistake," said he jokingly. "I am not the sort of man you want. I would like to be, but I cannot. And I will not."

"You are very proud of your intelligence! You love your intelligence more than you do me."

"But I love you, you wretch, more than you love yourself. The more beautiful and the more good you are, the more I love you."

"You are a schoolmaster," she said with asperity.

"What would you? I love what is beautiful. Anything ugly disgusts me."