After a time she left the place, slipped out through the garden-gate into the green field behind the _manoir_ and wandered unseeingly along the hedge, and at length flung herself down on the ground, sobbing. She was alone, so utterly alone. The one in whose hands she had put her whole life had betrayed her and deserted her. It was worse than death.

They were there in that dim, silent room, in the utmost intimacy, and she lay here outside, robbed and abandoned.... She rose to get farther away from the place, when she heard steps approaching on the other side of the hedge. Kneeling close to the ground, she could see through the thick roots of the hedge and watch the two as they came up the lane. It was her husband and the Russian woman. They were not closeted in the house. She had been wrong. They had been for a stroll after his work, and were coming back now for their tea, silently and companionably, side by side. For the merest moment Milly had a sense of relief: it might not be true what her heart had said, after all. But almost at once she knew that it made no difference just what their relations were or had been.

She could read their faces as they came slowly towards her,--the Russian woman's slanting glance from covered eyes of hateful content as she looked at the artist. The "one who eats what she wants!"... They walked very slowly, as if full of thoughts and weary with the day. Bragdon's head was high, his glance fell far off across the fields, his mind intent on something within, his brow slightly contracted as in stern resolve. He was pale, and he seemed to his wife older, much older than she remembered. He was a man, not the careless boy she had married so many, many years ago, and her heart tightened anew with intolerable pain.... His glance fell to the expectant face of his companion, and both smiled with profound intimacy as at a meeting where words are needless.... Milly's hand grasped the p.r.i.c.kly vines of the hedge, and she held herself still until they had pa.s.sed. No, it made no difference to her now what they thought or did. She knew.

She fled. She heard her name faintly through the din of rushing blood in her ears, but she stumbled across the field out into the lane, towards the sea. There followed the most atrocious hour Milly was ever to know in her life, while she wandered aimlessly to and fro on the lonely beach. Her marriage was over--that thought returned like a mournful chant in the storm of blind feeling. Latterly she had come to take her husband as a matter of course, as a part of the married life of a woman.

Though she had said to Nettie Gilbert, "I'm as much in love with Jack as when I married him," and believed it, she hadn't been. But now that another had dared to take her husband from her, if only for a few days or hours, she was outraged. She persistently focussed her whole anguish upon this foreign creature with her vampire mouth, though she might know in the depth of her heart that her quarrel was not with the Russian or any woman, but with fate.... She kept repeating to herself,--"He doesn't love me any longer. He loves her--_her_!... He will be hers now--for a time. They are all like that,--artists. It's _bourgeois_ to love one woman always." So Womanhood from the beginning of time seemed outraged in her person.

Had she not joyfully "given up everything for him," as all women did for the men they loved? (Even her worldly prospects when she married the penniless artist began to seem to her brighter than they really had been.) Had she not, at any rate, given _herself_ to him, first, and always, and only? And borne him a child in pain and danger? What more could woman do? He was her debtor for eternity, as every man was to the woman who gave herself to him. And four years had barely pa.s.sed before another one plucked him easily from her side!... Women were cheated always in the game of life because of their hearts, fated unfairly in the primal scheme of things. Marion Reddon knew--she probably had had _her_ experiences. But at least she had the child.

On that note her heart became centred, and she hurried back to the hotel and began aimlessly to gather her clothes together and throw them into the trunks. She must take her child and leave at once. She did not want to see him again.... But where should she go--how? Jack always arranged everything for her: she couldn't even make out a time-table or buy a railroad ticket. Marriage had made her dependent--she would have to learn.

At this moment Bragdon entered the room. His face still wore the stern expression she had noted, which gave him the look of age.

"What are you doing?" he demanded abruptly.

"Don't you see--packing!"

"What for?... I've cabled home for more money--I'm going to stay here and paint."

She thought swiftly to herself that the Other had persuaded him to do what he had refused to do for her. She made no reply, but continued to put things blindly into the trunk.

XI

CRISIS

When two human beings--above all when man and wife--meet at such tense moments, one of Virgil's beneficent clouds should descend upon them, hiding all, and they should be wafted apart to remote places, there to abide until once more a sense of the proportion and the harmony in this mundane system has taken possession of them, and they have become, if not G.o.ds and G.o.ddesses, at least reasonable human beings. The least the historian can do under the circ.u.mstances is to imitate Virgil and draw a merciful veil between the cruel battle-field and all profane eyes. The more so as few of the hot words then uttered, the sharp agony displayed, the giving and the baring of wounds have any real effect upon the result. What is done counts, and that is about all, always.

It might be that afterwards Milly derived some deeper understanding of herself, of her husband, and of the married way of life from the agony she then experienced. It might be that the young artist, headstrong in his first triumphant mastery, the first achievement of his whole being, entertained, for some moments at least, the idea of cutting the knot then and there and taking his freedom which he had surrendered at the altar, choosing what might seem to him then spiritual life instead of prolonged death. The blood was in his head, the scent of delirious deeds which he knew now that he could do. But he was an honest and loyal young American, no matter what he had done: he could not hesitate long. One glance at the sleeping form of his small child, dependent upon him for the best in life, probably settled the matter.

In the calm of the still night it _was_ settled--and by him.

The little colony of the Hotel du Pa.s.sage were genuinely concerned over the hurried departure of the Bragdons, who were much liked. All--but one--were at the pier that September morning to wish them farewell and good luck and much happiness. It was understood that family matters had recalled them unexpectedly to the States. Too bad! Bragdon was a promising chap, the great painter p.r.o.nounced at _dejeuner_,--willing to work, intelligent, with his own ideas. Had any one seen Madame Saratoff's portrait? He had kept very quiet about that--perhaps it had not come off. Well, he needed years of hard work, which he wouldn't get in America, worse luck. With a sigh he went to his day's task of completing the thirty-seventh edition of the well-known landscape,--"Beside the Bay at Klerac," with a fresh variation of four colored sails on the horizon instead of three....

And meanwhile the slow train to Paris was carrying a man, who having climbed his hill and looked upon the promised land from afar, must turn his back for the present upon all its glories and await Opportunity.

XII

"COME HOME"

It is a long and tiresome journey in a second-cla.s.s compartment from the farther end of Brittany to Paris, even under the best of circ.u.mstances.

To Jack Bragdon and Milly, with the vivid memory of their personal wreck on that rocky coast, it was monotonously painful. They dared not ask each other,--"What next?" At first Milly thought there could be no next, though she was really glad not to be making this journey alone with her child, as she had expected to do. To the man who sat in the opposite corner with closed eyes and set lips, it seemed to matter little for the present what the next step was to be.

Happily an impersonal fate settled this for them. Bragdon found at the bankers in Paris an answer to his appeal for funds. The curt cable read, without the aid of code,--"Come Home." Probably that would have been the wisest thing to do in any case. But it would have meant a hard struggle with himself to turn his back so quickly upon the promised land of accomplishment. Now it was beyond his power to do otherwise, unless he were willing to force Milly and the child to starve on what he could make. If that had ever been possible, it surely was not any longer.

So with the last of the h.o.a.rd he bought their tickets, and all three sailed for New York on the next steamer.

PART FOUR

REALITIES

I

HOME ONCE MORE

There was no one at the dock to greet them.

"Your friends come down to see you off," Milly reflected sadly, while Bragdon was struggling with the inspectors, "but they let you find your way back by yourself!"

It was hot and very noisy,--the New World,--and no one seemed to care about anything. As they made their way up town through the crowded streets, Milly felt it must be impossible for human beings to do more than keep alive in this maelstrom. The aspect of an American city with its savage roar, especially of New York in the full cry of the day's work, was simply terrifying after two years of Europe. There was something so sordidly repellent in the flimsily furnished rooms of the hotel where they went first, that she shed a few tears of pure homesickness. She longed to take the first train west; for the sights and the sounds of Chicago, if no gentler, were at least more familiar.

She did not know what they would do; husband and wife had not discussed plans on the homeward voyage or referred in any way to the future, both shrinking from the quaking bog that lay between them. Now their course must speedily be settled. When Bragdon went out after establishing them in their hotel, Milly felt curiously like a pa.s.senger on a ship whose ticket had been taken for her and all arrangements made by another. All she could do, for the present at least, was to wait and see what would happen....

Towards evening Big Brother came in with Jack and welcomed her back nonchalantly. He had the New York air of unconcern over departures and arrivals, living as he had all his life in a place where coming and going was the daily order of life. He declared that Milly had grown prettier than ever and accepted his niece with condescending irony,--"h.e.l.lo, missy, so you came along, too? Made in France, eh!" and chuckled over the worn joke.

It seemed that no business disaster had caused him to send his cable recalling them. Business, he declared, was "fine, fine, better all the time," in the American manner. It was merely on general principles that he had cabled,--"Come home." Two years was enough for any American to spend out of his own country, even for an artist. Eying his younger brother humorously, he remarked,--"I thought you'd better get a taste of real life, and earn a few dollars. You can go back later on for another vacation.... I saw Clive Reinhard on the Avenue the other day. He wanted to know how you were getting on. Think he has another of his books on the way. You'd better see him, Jack. He's a money-maker!"

The artist meantime sat cross-legged on his chair and stroked his mustache meditatively, saying nothing. Milly glanced at him timidly, but she could not divine what he was thinking of all this. As he was American-trained he was probably realizing the force of Big Brother's wholesome doctrine. He could not live on other people's bounty and prosecute the artist's vague chimeras. Having taken to himself a wife and added thereto a child, he must earn their living and his own, like other men, by offering the world something it cared to pay for.

Nevertheless, there smouldered in his eyes the hint of another thought,--a suggestion of the artist's fierce egotism, the desire to fulfil his purpose no matter at whose cost,--the willingness to commit crime rather than surrender his life purpose. It was the complement of the Russian's "will to eat," only deeper, more impersonal, and more tragic. But nowadays men like Jack Bragdon neither steal nor murder--nor commit lesser crimes--for the sake of Art.

Instead he inquired casually,--"Where is Reinhard staying? The same place?" and when his brother replied,--"He's got an apartment somewhere up town. They'll know at the club--he's been very successful,"--Bragdon merely nodded. And the next morning after breakfast he sallied from the hotel, leaving Milly to dispose of herself and the child as she would.

For several days she hardly saw him. He had caught the key of the New World symphony at once, and had set forth on the warpath without losing time to get the Job. He succeeded without much difficulty in securing the ill.u.s.tration of Reinhard's new piece of popular sentimentality and also put himself in touch with the editors of a new magazine. Then to work, not his own work, but the world's work,--what it apparently wanted, at least would pay well for. And the first step was to find some sort of abiding-place where his family could live less expensively than at the hotel. Here Milly came in.

The one distinct memory Milly kept of that first year in New York was of hunting apartments and moving. It seemed to her that she must have looked at a cityful of dark, noisy rooms ambitiously called apartments, each more impossible than the others. (As long as they lived in New York she never gave up the desire for light and quiet,--the two most expensive luxuries in that luxurious metropolis.) They settled temporarily in a small furnished "studio-apartment" near Washington Square, where they were constantly in each other's way. Milly called it a tenement. Although they had done very well in two rooms in Brittany, it required much more s.p.a.ce than the studio-apartment offered to house two people with divided hearts. So in the spring they moved farther up-town to a larger and more expensive apartment without a studio.

Bragdon preferred, anyway, to do his work outside and shared a studio with a friend. Milly regarded this new abode as merely temporary--they had taken it for only one year--and they talked intermittently of moving.

Once or twice Jack suggested going to one of the innumerable suburbs or abandoning the city altogether for some small country place, as other artists had done. It would be cheaper, and they could have a house, their own patch of earth, and some quiet. Milly received this suggestion in silence. Indeed they both shrank from facing each other in suburban solitude. They were both by nature and training c.o.c.kneys. Milly especially had rather perch among the chimney-pots and see the procession go by from the roof than possess all that Nature had to offer. And they were still young, she felt: much might happen in the city, "if they didn't give up." But she said equivocally,--

"Your work keeps you so much in the city; you have to see people."

What he wanted to reply was that he should abandon all this job-hunting and live lean until he could sell his real work, instead of striving to maintain the semblance of an expensive comfort in the city by selling himself to magazines and publishers. But Milly would not understand the urgency of that--how could she? And what had he to offer her now for the sacrifice he should be demanding? What would she do with the long, silent days in the country, while he worked and destroyed what he did, only to begin again on the morrow at the ceaseless task, with its doubtful result? If there had been real companionship, or if the flame of their pa.s.sion had still burned, then it might not have proved an intolerable exile for the woman....