V
I have just come in. Again you will not guess from where. From choosing a motor-car with Burden and hisfiancée. It seems incredible that I should be called upon to preside at these preparations for my own execution. I looked at hundreds of these shiny engines, with the monstrously inflated white wheels, and gave a half-amused—but I can assure you a half-interested—attention to my own case. For one of these will one day—and soon now—be arrested in a long rush, by my extinction. In it there will be seated the two young people who went with me through the garages. They will sit in some sort of cushioned ease—the cushions will be green, or red, or blue in shiny leather. I think, however, thatthey will not be green—because Miss Averies let slip to me, in a little flutter of shy confidence, the words: “Oh, don’t let’s have green, because it’s an unlucky colour.” Edward Burden, of course, suppressed her with a hurried whisper as if, in thus giving herself away to me, she must be committing a sin against the house of Burden.
That, naturally, is the Burden tradition: a Burden’s wife must possess frailties: but she must feign perfection even to a trusted adviser of the family. She must not confess to superstitions. It was amusing, the small incident, because it was the very first attempt that little Miss Averies has ever made to get near me. God knows what Edward may have made me appear to her: but I fancy that, whatever Edward may have said, she had pierced through that particular veil: she realizes, with her intuition, that I am dangerous. She is alarmed and possibly fascinatedbecause she feels that I am not “straight”—that I might, in fact, be a woman or a poet. Burden, of course, has never got beyond seeing that I dress better than he does and choose a dinner better than his uncle Darlington.
I came, of course, out of the motor-car ordeal with flying colours—on these lines. I lived, in fact, up to my character for being orthodox in the matter of comfort. I even suggested two little mirrors, like those which were so comforting to us all when we sat in hansom cabs. That struck Burden as being the height of ingenuity—and I know it proved to Miss Averies, most finally, that I am dangerous, since no woman ever looks in those little mirrors without some small motive of coquetry. It was just after that that she said to me:
“Don’t you think that the little measures on the tops of the new canisters are extravagant for China tea?”
That, of course, admitted me to thepeculiar intimacy that women allow to other women, or to poets, or to dangerous men. Edward, I know, dislikes the drinking of China tea because it is against the principle of supporting the British flag. But Miss Averies in her unequal battle with this youth of the classical features slightly vulgarized, called me in to show a sign of sympathy—to give at least the flicker of the other side—of the woman, the poet, or the pessimist among men. She asked me, in fact, not to take up the cudgels to the extent of saying that China tea is the thing to drink—that would have been treason to Edward—but she desired that her instinct should be acknowledged to the extent of saying that the measures of canisters should be contrived to suit the one kind of tea as well as the other. In his blind sort of way Edward caught the challenge in the remark and his straight brows lowered a very little.
“If you don’t have more than three pounds of China tea in the house in a year it won’t matter about the measures,” he said. “We never use more at Shackleton.”
“But it makes the tea too strong, Edward.”
“Then you need not fill the measure,” he answered.
“Oh, I wish,” she said to me, “that you’d tell Edward not to make me make tea at all. I dread it. The servants do it so much better.”
“So,” I asked, “Edward has arranged everything down to the last detail?”
Edward looked to me for approval and applause.
“You see, Annie has had so little experience, and I’ve had to look after my mother’s house for years.” His air said: “Yes! You’ll see our establishment will be run on the very best lines! Don’t you admire the way I’m taming her already?”
I gave him, of course, a significant glance. Heaven knows why: for it is absolutely true that I am tired of appearing reliable—to Edward Burden or any one else in the world. What I want to do is simply to say to Edward Burden: “No, I don’t at all admire your dragging down a little bundle of ideals and sentiments to your own fatted calf’s level.”
I suppose I have in me something of the poet. I can imagine that if I had to love or to marry this little Averies girl I should try to find out what was her tiny vanity and I should minister to it. In some way I should discover from her that she considered herself charming, or discreet, or tasteful, or frivolous, beyond all her fellows. And, having discovered it, I should bend all my energies to giving her opportunities for displaying her charm, her discreetness or her coquetry. With a woman of larger and finer mould—with you!—Ishould no doubt bring into play my own idealism. I should invest her with the attributes that I consider the most desirable in the world. But in either case I cannot figure myself dragging her down to my own social or material necessities.
That is what Edward Burden is doing for little Miss Averies. I don’t mean to say that he does not idealize her—but he sees her transfigured as the dispenser of his special brand of tea or the mother of the sort of child that he was. And that seems to me a very valid reason why women, if they were wise, should trust their fortunes cold-bloodedly and of set reason to the class of dangerous men that now allure them and that they flee from.
They flee from them, I am convinced, because they fear for their worldly material fortunes. They fear, that is to say, that the poet is not a stable man of business: they recognise that he is agambler—and it seems to them that it is folly to trust to a gambler for life-long protection. In that they are perhaps right. But I think that no woman doubts her power to retain a man’s affection—so that it is not to the reputation for matrimonial instability that the poet owes his disfavour. A woman lives, in short, to play with this particular fire, since to herself she says: “Here is a man who has broken the hearts of many women. I will essay the adventure of taming him.” And, if she considers the adventure a dangerous one, that renders the contest only the more alluring, since at heart every woman, like every poet, is a gambler. In that perhaps she is right.
But it seems to me that women make a great mistake in the value of the stakes they are ready to pay in order to enter this game. They will stake, that is to say, their relatively great coin—theirsentimental lives; but they hoard with closed fingers the threepenny bit which is merely the material future.
They prefer, that is to say, to be rendered the mere presiding geniuses of well-loaded boards. It is better to be a lady—which you will remember philologically means a “loaf-cutter”—than to be an Ideal.
And in this they are obviously wrong. If a woman can achieve the obvious miracle of making a dangerous man stable in his affections she may well be confident that she can persuade him to turn his serious attention to the task of keeping a roof over her head. Certainly, I know, if I were a woman which of the two types of men I would choose. Upon the lowest basis it is better for all purposes of human contracts to be married to a good liar than to a bad one. For a lie is a figurative truth—and it is the poet who is the master of these illusions. Even in thematter of marital relations it is probable that the poet is as faithful as the Edward Burdens of this world—only the Edward Burdens are more skilful at concealing from the rest of the world their pleasant vices. I doubt whether they are as skilful at concealing them from the woman concerned—from the woman, with her intuition, her power to seize fine shades of coolness and her awakened self-interest. Imagine the wife of Edward Burden saying to him, “You have deceived me!” Imagine then the excellent youth, crimsoning, stuttering. He has been taught all his life that truth must prevail though the skies fall—and he stammers: “Yes: I have betrayed you.” And that is tragedy, though in the psychological sense—and that is the important one—Edward Burden may have been as faithful as the ravens, who live for fifteen decades with the same mate. He will, in short, blunder into a tragic, falseposition. And he will make the tragedy only the more tragic in that all the intellectual powers he may possess will be in the direction of perpetuating the dismal position. He will not be able to argue that he has not been unfaithful—but he will be able to find a hundred arguments for the miserable woman prolonging her life with him. Position, money, the interests of the children, the feelings of her family and of his—all these considerations will make him eloquent to urge her to prolong her misery. And probably she will prolong it.
This, of course, is due to the excellent Edward’s lack of an instinctive sympathy. The poet, with a truer vision, will in the same case, be able to face his Miss Averies’ saying: “You have deceived me!” with a different assurance. Supposing the deflection to have been of the momentary kind he will be able to deny with a good conscience since he will be aware of himself and his feelings.He will at least be able to put the case in its just light. Or, if the deflection be really temperamental, really permanent, he will be unable—it being his business to look at the deeper verities—to lie himself out of the matter. He will break, strictly and sharply. Or, if he do not, it may be taken as a sign that his Miss Averies is still of value to him—that she, in fact, is still the woman that it is his desire to have for his companion. This is true, of course, only in the large sense, since obviously there are poets whose reverence for position, the interest of children or the feelings of their friends and relatives, may outweigh their hatred of a false position. These, however, are poets in the sense that they write verse: I am speaking of those who live the poet’s life; to such, a false position is too intolerable to be long maintained.
But this again is only one of innumerable side-issues: let me return to mymain contention that a dinner of herbs with a dangerous man is better than having to consume the flesh of stalled oxen with Edward Burden. Perhaps that is only a way of saying that you would have done better to entrust yourself to me than to—— (But no, your husband is a better man than Edward Burden. He has at least had the courage to revert to his passion. I went this afternoon to your chemists and formally notified them that if they supplied him with more than the exactly prescribed quantity of that stuff, I, as holding your power of attorney, should do all that the law allows me to do against them.)
Even to the dullest of men, marrying is for the most part an imaginative act. I mean marrying as a step in life sanctioned by law, custom and that general consent of mankind which is the hall-mark of every irrational institution. By irrational I do not mean wrong orstupid. Marriage is august by the magnitude of the issues it involves, balancing peace and strife on the fine point of a natural impulse refined by the need of a tangible ideal. I am not speaking here of mere domestic peace or strife which for most people that count are a question of manners and a mode of life. And I am thinking of the peace mostly—the peace of the soul which yearns for some sort of certitude in this earth, the peace of the heart which yearns for conquest, the peace of the senses that dreads deception, the peace of the imaginative faculty which in its restless quest of a high place of rest is spurred on by these great desires and that great fear.
And even Edward Burden’s imagination is moved by these very desires and that very fear—or else he would not have dreamt of marrying. I repeat, marriage is an imaginative institution. It’s true that his imagination is a poor thing but it is genuine nevertheless.The faculty of which I speak is of one kind in all of us. Not to every one is given that depth of feeling, that faculty of absolute trust whichwill notbe deceived, and the exulting masterfulness of the senses which are the mark of a fearless lover. Fearless lovers are rare, if obstinate, and sensual fools are countless as grains of sand by the seashore. I can imagine that correct young man perfectly capable of setting himself deliberately to worry a distracted girl into surrender.