She sat drawn together in her chair in the corner of the box, at a loss what to say or do--afraid, curious, perplexed. It seemed to her that it was her duty to get up and clamor to go home to her room, to protest against his advances as an insult. But she did not in the least want to do that. These sweeping dignities were not within the compass of her will; she remembered she liked Ramage, and owed things to him, and she was interested--she was profoundly interested. He was in love with her! She tried to grasp all the welter of values in the situation simultaneously, and draw some conclusion from their disorder.
He began to talk again in quick undertones that she could not clearly hear.
"I have loved you," he was saying, "ever since you sat on that gate and talked. I have always loved you. I don't care what divides us. I don't care what else there is in the world. Iwant you beyond measure or reckoning. . . ."His voice rose and fell amidst the music and the singing of Tristan and King Mark, like a voice heard in a badly connected telephone. She stared at his pleading face.
She turned to the stage, and Tristan was wounded in Kurvenal's arms, with Isolde at his feet, and King Mark, the incarnation of masculine force and obligation, the masculine creditor of love and beauty, stood over him, and the second climax was ending in wreaths and reek of melodies; and then the curtain was coming down in a series of short rushes, the music had ended, and the people were stirring and breaking out into applause, and the lights of the auditorium were resuming. The lighting-up pierced the obscurity of the box, and Ramage stopped his urgent flow of words abruptly and sat back. This helped to restore Ann Veronica's self-command.
She turned her eyes to him again, and saw her late friend and pleasant and trusted companion, who had seen fit suddenly to change into a lover, babbling interesting inacceptable things.
He looked eager and flushed and troubled. His eyes caught at hers with passionate inquiries. "Tell me," he said; "speak to me." She realized it was possible to be sorry for him--acutely sorry for the situation. Of course this thing was absolutely impossible. But she was disturbed, mysteriously disturbed. She remembered abruptly that she was really living upon his money.
She leaned forward and addressed him.
"Mr. Ramage," she said, "please don't talk like this."He made to speak and did not.
"I don't want you to do it, to go on talking to me. I don't want to hear you. If I had known that you had meant to talk like this I wouldn't have come here.""But how can I help it? How can I keep silence?""Please!" she insisted. "Please not now.""I MUST talk with you. I must say what I have to say!""But not now--not here."
"It came," he said. "I never planned it-- And now I have begun--"She felt acutely that he was entitled to explanations, and as acutely that explanations were impossible that night. She wanted to think.
"Mr. Ramage," she said, "I can't-- Not now. Will you please--Not now, or I must go."
He stared at her, trying to guess at the mystery of her thoughts.
"You don't want to go?"
"No. But I must--I ought--"
"I MUST talk about this. Indeed I must.""Not now."
"But I love you. I love you--unendurably.""Then don't talk to me now. I don't want you to talk to me now.
There is a place-- This isn't the place. You have misunderstood.
I can't explain--"
They regarded one another, each blinded to the other. "Forgive me," he decided to say at last, and his voice had a little quiver of emotion, and he laid his hand on hers upon her knee. "I am the most foolish of men. I was stupid--stupid and impulsive beyond measure to burst upon you in this way. I--I am a love-sick idiot, and not accountable for my actions. Will you forgive me--if I say no more?"She looked at him with perplexed, earnest eyes.
"Pretend," he said, "that all I have said hasn't been said. And let us go on with our evening. Why not? Imagine I've had a fit of hysteria--and that I've come round.""Yes," she said, and abruptly she liked him enormously. She felt this was the sensible way out of this oddly sinister situation.
He still watched her and questioned her.
"And let us have a talk about this--some other time. Somewhere, where we can talk without interruption. Will you?"She thought, and it seemed to him she had never looked so self-disciplined and deliberate and beautiful. "Yes," she said, "that is what we ought to do." But now she doubted again of the quality of the armistice they had just made.
He had a wild impulse to shout. "Agreed," he said with queer exaltation, and his grip tightened on her hand. "And to-night we are friends?""We are friends," said Ann Veronica, and drew her hand quickly away from him.
"To-night we are as we have always been. Except that this music we have been swimming in is divine. While I have been pestering you, have you heard it? At least, you heard the first act. And all the third act is love-sick music. Tristan dying and Isolde coming to crown his death. Wagner had just been in love when he wrote it all. It begins with that queer piccolo solo. Now Ishall never hear it but what this evening will come pouring back over me."The lights sank, the prelude to the third act was beginning, the music rose and fell in crowded intimations of lovers separated--lovers separated with scars and memories between them, and the curtain went reefing up to display Tristan lying wounded on his couch and the shepherd crouching with his pipe.
Part 2
