Part 5

"It is too kind of you," said she. "I had forgotten that. So send it to him."

"Certainly. But help me to make it then as good as I can."

"Tell me how?" she asked, feeling inexplicably uneasy.

"Why, laugh," he said. "That is how I see you. You laugh so seldom, and you might laugh so often. Why don't you laugh oftener?"

Then an impulse of simple honesty came to her.

"Because I am usually bored," she said.

"Ah, you really mustn't be bored while I am painting you," he said. "I could do nothing with it if you were bored. Besides, it would be so uncharacteristic."

"How is that, when I am bored so often?" she asked.

"Oh, it isn't the things we do often that are characteristic of us," said he. "It is the things we do eagerly, with intention."

She laughed at this.

"Then you are right," she said. "I am never eagerly bored. And to tell you the truth, I don't think I shall be bored when I sit to you. Ah, there is Philip. He does not see us; I wonder whether he will?"

Philip's white-fronted figure had appeared at this moment at the French window leading out of the drawing-room, and his eyes, fresh from the bright light inside, were not yet focussed to the obscurity of the dusk. At that moment Madge found herself suddenly wishing that he would go back again. But as soon as she was conscious she wished that, she resolutely stifled the wish and called to him.

"Evelyn there, too?" he asked. "Evelyn, you've got to go in and take my place."

"And you will take mine," said he with just a shade of discontent in his voice.

"No, my dear fellow," said Philip. "I shall take my own."

He laughed.

"I congratulate you again," he said, and left them.

Philip stood for a moment in silence by the girl, looking at her with a sort of shy, longing wonder.

"Ah, what luck!" he said at length. "What stupendous and perfect luck."

"What is luck, Philip?" she asked.

"Why, this. You and me. Think of the chances against my meeting you in this big world, and think of the chances against your saying 'Yes.' But now--now that it has happened it couldn't have been otherwise."

Some vague, nameless trouble took possession of the girl, and she shivered slightly.

"You are cold, my darling?" he said quickly.

She had been leaning against the stone balustrade of the terrace, but stood upright, close to him.

"No, not in the least," she said.

"What is it, then?" he asked.

"It is nothing. Only I suppose I feel it is strange that in a moment the whole future course of one's life is changed like this."

He took her hands in his, and the authentic fire of love burned in his eyes.

"Strange?" he said. "Is it not the most wonderful of miracles? I never knew anything so wonderful could happen. It makes all the rest of my life seem dim. There is just this one huge beacon of light. All the rest is in shadow."

She raised her face to him half imploringly.

"Oh, Philip, is it all that to you?" she asked. "I--I am afraid."

"Because you have made me the happiest man alive?"

A sudden, inevitable impulse of honesty prompted Madge to speak out.

"No, but because I have perhaps meddled with great forces about which I know nothing. I like you immensely; I have never liked anyone so much. I esteem you and respect you. I am quite willing to lead the rest of my life with you; I want nothing different. But will that do? Is that enough? I have never loved as I believe you love me. I do not think it is possible to me. There, I have told you."

Philip raised her hands to his lips and kissed them.

"Ah, my dearest, you give me all you have and are, and yet you say, 'Is that enough?'" he whispered. "What more is possible?"

She looked at him a moment, the trouble not yet quite gone from her face. Then she raised it to his.

"Then take it," she said.

The night was very warm and windless, and for some time longer they walked up and down, or stood resting against the terrace wall looking down over the hushed woods. A nightingale, the same perhaps that had been charmed to Tom's finger two evenings ago, poured out liquid melody, and the moon began to rise in the East. Gradually their talk veered to other subjects, and Madge mentioned that Evelyn was willing to do her portrait.

"He will begin at once," she said, "because it appears his impression of me isn't a thing that will keep. He is putting off another order for it."

"That is dreadfully immoral," said Philip, "but I am delighted to hear it."

"Oh, and another thing. He gives it us--to you and me I think he said--as a wedding present."

"Ah, I can't have that," said Philip quickly. "That is Evelyn all over. There never was such an unthinking, generous fellow. But it is quite impossible. Why, it would mean a sixth part of his year's income."

"I know; I felt that."

Philip laughed rather perplexedly.

"I really don't know what is to be done with him," he said. "Last year he gave my mother a beautiful pearl brooch. That sort of thing is so embarrassing. And if she had not accepted it, he would have been quite capable of throwing it into the Thames. Indeed he threatened to do so. And he will be equally capable of throwing his cheque into the fire."

"All the same, I like it enormously," she said; "his impulse, I mean."

"I know, but it offends my instincts as a man of business. I might just as well refuse to charge interest on loans. However, I will see what I can do."

They went in again soon after this, for it was growing late, and found Lady Ellington preparing to leave the table of her very complete conquests. It had fallen to Evelyn to provide her with a no-trump hand containing four aces, and she was disposed to be gracious. The news, furthermore, that he would begin her daughter's portrait at once was gratifying to her, and she was anxious that the sittings should begin at once. As both they and he would be in town for the next month, the matter was easily settled, and it was arranged that the thing should be put in hand immediately.

Philip followed Evelyn to the billiard-room as soon as the women went upstairs, and found him alone there.

"The Hermit has gone to commune with Nature," he said. "He will die of natural causes if he doesn't look out. He called me a Pagan this morning, Philip. Wasn't it rude? And the fact that it is true seems to me to make it ruder."

Philip lit his cigarette.

"I'm going to be rude too, old chap," said he. "Evelyn, you really mustn't make a present of the portrait to Madge and me. It is awfully good of you, and just like you, but I simply couldn't accept it."

Evelyn shrugged his shoulders.

"Then there will be no portrait at all," he said shortly. "I tell you I won't paint it as an order."

Philip held out his hand.

"I appreciate it tremendously," he said. "It is most awfully good of you. But it's your profession. Hullo, here's the Hermit back."

Tom Merivale entered at this moment.

"Aren't we going to sit out to-night?" he said.

Evelyn rose.

"Yes, let's go out," he said. "Well, Philip, not a line will I draw unless you take it. Or I'll give it to Miss Ellington and not you."

"You really musn't," said Philip.

"But don't you see I want to paint her? I said so to you only the other day. Hang it all, I tell you that I do it for pleasure. I shall also be the vast gainer artistically. I've got an idea about her, in fact, and if you don't let me paint her I shall do it from memory, in which case it will not be so good."

An idea struck Philip.

"Well, paint me as well," he said, "and let me pay you for that."

Evelyn followed Tom out.

"Oh, I can't haggle," he said. "Yes, I'll paint you if you like. But I will paint Miss Ellington first. In fact, you shall be painted when I've nothing else to do. Well, Hermit, seen Pan to-day?"

"No, you scoffer," said Tom.

"Call me when you do. I should like to see him, too. Let's see, he was a man with goat's legs; sort of things you see in Barnum's."

Tom shifted in his chair.

"Some day, perhaps, you may think it serious," he said.

"I daresay; a man with goat's legs is not to be taken lightly," said Evelyn. "And he sits by the roadside, doesn't he, or so Browning says, playing the pipes? What pipes, I wonder? Bagpipes, do you suppose?"

Tom laughed; his equanimity was quite undisturbed even by chaff upon what was to him the most serious subject in the world.

"Ah, who was frightened at a nightingale coming to sit on my finger a few nights ago? Evelyn, if you are not serious, I'll frighten you again."

"Well, but is it bagpipes?" asked he.

Tom suddenly got grave.

"No, it sounded more like a glass flute very far off," he said. "No explanations are forthcoming, because I haven't got any."

Evelyn was silent a moment.

"And when did you hear this glass flute very far off?" he asked.

"Two mornings ago, up above the house in that big clearing in the woods," he answered. "I know nothing more about it. It frightened me rather, and then it stopped."

"What did it play?" asked Philip.

"A world-without-end tune," he said. "The catechising is now over. I shall go to bed, I think. I must leave to-morrow, Philip."

"I hoped you would stop a day or two longer. Must you really go?"

"I must, I find."

"Appointment with Pan in the New Forest," remarked Evelyn, dodging the cushion that was thrown at him.

Philip had to spend the inside of the next day in London, and left with Tom Merivale by an early train, leaving Evelyn alone with his mother, Lady Ellington, and Madge. It came about very naturally that Lady Ellington gravitated to Mrs. Home, and Evelyn, finishing his background sketch in front of a great clump of purple clematis, found Madge on the terrace when he went out, with an unopened book on her lap.

The book had lain there, indeed, in the same state for half an hour before he came, for Madge had been very fully occupied with her own thoughts. She had had a talk to her mother the night before, which this morning seemed to her to be more revealing of herself than even her own confession to Philip in their stroll on the terrace had been. She had told her just what she had told him, namely, that she gave him very willingly all that she knew of herself, liking, esteem, respect, adding out of Philip's mouth that this more than contented him. But then Lady Ellington, for the first time perhaps for many years, had made a strategical error, allowing her emotion, not her reason, to dictate to her, and had said--

"Ah, Madge, how clever of you."

She had seen her mistake a moment afterwards, and just a moment too late, for Madge had asked the very simple question "Why?" And the unsatisfactory nature of her mother's reply had given her food for thought.

For Lady Ellington had applauded as clever what was to her the very rudiment of honour, and she had supposed that her mother would say "How very stupid of you." Clearly, then, while extremely uncalculating to herself, Madge had succeeded in giving the impression of calculation to one who, she well knew, calculated. What, then, she asked herself, was the secret of this love of which she was ignorant, that rendered her confession of ignorance so satisfactory a reply?

Effusive pleasure on her mother's part at the termination of this recital had not consoled her. Somehow, according to Lady Ellington's view, an almost quixotic honesty appeared clever. And it was over this riddle that she was puzzling when Evelyn appeared, with brilliance, so to speak, streaming from him. Brilliance certainly streamed from his half-finished sketch, and brilliance marked his exposition of it.

"Oh, I lead a dog's life," he said, as he planted his easel down on the gravel. "Do you know Lady Taverner, for whom this is to be a background? No? I congratulate you. She is pink, simply pink, like a phlox, with butter-coloured hair, probably acquired. Well, put a pat of butter and a phlox on a purple plate, and you will see that the phlox is pinker than ever and the butter more buttery. Therefore, since I really am very thorough, I make a sketch of clematis to see how the flowers really grow, and shall plaster her with them--masses behind her, sapphires round her neck; and a pink Jewess in the middle," he added, in a tone of extraordinary irritation.

Madge let her book slide to the ground.

"Do you want to be talked to or not?" she asked. "If you don't, say so, and I will go away."

Evelyn looked up from his purple clematis.

"I lead a dog's life," he said, "but sometimes somebody throws me a bone. So throw me one."

"You seem to growl over it," said she.

"I know I do. That is because, though I lead a dog's life, nobody shall take my bone from me."

He bit the end of his brush.

"And the filthy thing casts purple shadows upwards," he said. "At least the sun shines on the purple, and reflects the purple on leaves that overhang it. I wish I had been born without any sense of colour. I should have made such ripping etchings."

Madge had no immediate reply to this, and he painted for some ten minutes in silence. She had picked up her book again, and read the words of it--reading it could not be called.

"You haven't given me many bones," said he at length.

Madge looked up.

"I know I haven't," she said; "but seriously I considered if I had got anything to say, and found I hadn't. So I decided to say nothing."

Evelyn dabbed in a purple star.

"But surely one has always something in one's mind," he said. "One can't help that, so why not say it? A penny for your thoughts now."

Madge laughed.

"No, they are worth far more. In fact, they are not in the market," she said.

Evelyn grew portentously grave.

"Mrs. Gummidge," he said.

"Oh, what do you mean?" she asked.

"You've been thinking of the old one," said Evelyn. "Philip."

"Quite true, I was," she said. "He is such a dear."

"So glad you like him," muttered Evelyn, again frowning and biting his brushes. "Lord love us, what a blue world it is this morning! There, I can't paint any more just now."

"That's rather sudden, isn't it?"

"Oh, I always stop like that," said Evelyn. "I go on painting and painting, and then suddenly somebody turns a tap off in my head, and I've finished. I can't see any more, and I couldn't paint if I did. I suppose the day will come when the tap will be turned permanently off. Shortly afterwards I shall be seen to jump off Westminster Bridge. I only hope nobody will succeed in rescuing me."

"I will try to remember if I happen to be there," said she.

Evelyn put his sketch to dry in the shadow of the terrace wall.

"The law is so ridiculous," he said. "They punish you if you don't succeed in committing suicide when you try to, and say you are temporarily insane if you do. Whereas the bungler is probably far more deranged than the man who does the job properly."

"I shall never commit suicide," said Madge with conviction.

"Ah, wait till you care about anything as much as I care about painting," said Evelyn, "and then contemplate living without it. Why, I should cease without it. The world would be no longer possible; it wouldn't, so to speak, hold water."

"Ah, do you really feel about it like that?" said she. "Tell me what it's like, that feeling."

Evelyn laughed.

"You ought to know," he said, "because I imagine it's like being permanently in love."

Here was as random an arrow as was ever let fly; he had been unconscious of even drawing his bow, but to his unutterable surprise it went full and straight to its mark. The girl's face went suddenly expressionless, as if a lamp within had been turned out, and she rose quickly, with a half-stifled exclamation.

"Ah, what nonsense we are talking," she said quickly.

Evelyn looked at her in genuine distress at having unwittingly caused her pain.

"Why, of course we are," he said. "How people can talk sense all day beats me. They must live at such high pressure. Personally I preserve any precious grains of sense I may have, and put them into my pictures. Some of my pictures simply bristle with sense."

The startled pain had not died out of Madge's eyes, but she laughed, and Evelyn, looking at her, gave a little staccato exclamation.

"And what is it now?" she asked.

"Why, you--you laughed with sad eyes. You were extraordinarily like what my picture will be at that moment."

The girl glanced away. That sudden, unexplained little stab of pain she had experienced had left her nervous. Her whole nature had winced under it, and, like a man who feels some sudden moment of internal agony for the first time, she was frightened; she did not know what it meant.

"I expect that is nonsense, too," she said. "At least, it is either nonsense or very obvious, for I suppose when anyone laughs, however fully he laughs, there is always something tragic behind. Ah, how nice to laugh entirely just once from your hair to your heels."

"Can't you do that ever?" asked Evelyn sympathetically.

"No, never, nor can most people, I think. We are all haunted houses; there is always a ghost of some kind tapping at the door or lurking in the dusk. Only a few people have no ghosts. I should think your's were infinitesimal. You are much to be envied."

Evelyn listened with all his ears to this; partly because he and Madge were already such good friends, and anything new about her was interesting; partly because, though, as he had said, surface was enough for him--it bore so very directly on his coming portrait of her.

"Yes, I expect that is true," he said; "most people certainly have their ghosts. But it is wise to wall up one's haunted room, is it not?"

Madge shook her head.

"Yes, but it is still there," she said.

She got up from the low chair in which she was sitting with an air of dismissing the subject of their talk.

"Come, ask me some more of those very silly riddles," she said. "I think they are admirable in laying ghosts. So, too, are you, Mr. Dundas. I am sure you will not resent it when I say it is because you are so frightfully silly. Ghosts cannot stand silliness."

Evelyn laughed.

"It is so recuperative to be silly," he said, "because it requires no effort to a person of silly disposition, that is to say. One has to be oneself. How easy!"

She opened her eyes at this.

"That means you find it easy to be natural," she said. "Why, I should have thought that was almost the most difficult thing in the world to be. Now a pose is easy; it is like acting; you have got to be somebody else. But to be oneself! One has to know what one is, first of all, one has to know what one likes."

Evelyn laughed again.

"Not at all. You just have to shut your eyes, take a long breath, and begin talking. Whatever you say is you."

The girl shook her head.

"Ah, you don't understand," she said. "You, you, I, everybody, are really all sorts of people put into one envelope. Am I to say what one piece of me is prompting me to say or what another is thinking about? And it's just the same with one's actions; one hardly ever does a thing which every part of one wants to do; one's actions, just like one's words, are a sort of compromise between the desires of one's different components."

She paused a moment, and, with a woman's quickness of intuition provided against that which might possibly be in his mind.

"Of course, when a big choice comes," she said, "one's whole being has to consent. But one only has half a dozen of those in one's life, I expect."

She had guessed quite rightly, for the idea of her marriage had inevitably suggested itself to Evelyn when she said "one hardly ever does a thing which every part of one wants to do." But in the addition she had made to her speech there was even a more direct allusion to it, which necessarily cancelled from his mind the first impression. He was bound, in fact, to accept her last word. But he fenced a little longer.

"I don't see that one choice can really be considered bigger than another," he said. "The smallest choice may have the hugest consequences which one could never have foretold, because they are completely outside one's own control. I may, for instance, settle to go up to London to-morrow by the morning train or the later one. Well, that seems a small enough choice, but supposing one train has a frightful accident? What we can control is so infinitesimal compared to what lies outside us--engine-drivers, bullets, anything that may kill."

The girl shuddered slightly.

"It is all so awful," she said, "that. An ounce of lead, a fall, and one is extinguished. It is so illogical, too."

"Ah, anything that happens to one's body, or mind either, is that," said Evelyn.

"How? Surely one is responsible for what happens to one's mind."

"Yes, in the way of learning ancient history, if we choose, or having drawing-lessons. But all the big things that can happen to one are outside one's control. Love, hate, falling in love particularly is, I imagine, completely independent of one's will."

The girl gave a short, rather scornful laugh.

"But one sees a determined effort to marry someone," she said, "often productive of a very passable imitation of falling in love."

Had she boxed his ears, Evelyn could not have been more astonished. If this was an example of shutting the eyes; drawing a long breath and being natural, he felt that there was after all something to be said for the artificialities in which we are most of us wont to clothe ourselves. There was a very Marah of bitterness in the girl's tone; he felt, too, as if all the time she had concealed her hand, so to speak, behind her back, and suddenly thrown a squib at him, an explosive that cracked and jumped and jerked in a thoroughly disconcerting manner. And she read the blankness of his face aright, and hastened to correct the impression she had made.

"Did you ever get behind a door when you were a child," she asked, "and jump out calling 'Bo!'? That is what I did just then, and it was a complete success."