think it’s perfectly terrible!” she said furiously, “the idea of letting these people come here! And of encouraging them by making these houses show-places.”
“Well,” objected Anthony, “if they weren’t kept up they’d go to pieces.”
“What if they did!” she exclaimed as they sought the wide pillared porch. “Do you think they’ve left a breath of 1860 here? This has become a thing of 1914.”
“Don’t you want to preserve old things?”
“But you can’t , Anthony. Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period decays in our minds, the things of that period should decay too, and in that way they’re preserved for a while in the few hearts like mine that react to them. That graveyard at Tarrytown, for instance. The asses who give money to preserve things have spoiled that too. Sleepy Hollow’s gone; Washington Irving’s dead and his books are rotting in our estimation year by year—then let the graveyard rot too, as it should, as all things should. Trying to preserve a century by keeping its relics up to date is like keeping a dying man alive by stimulants.”
“So you think that just as a time goes to pieces its houses ought to go too?”
“Of course! Would you value your Keats letter if the signature was traced over to make it last longer? It’s just because I love the past that I want this house to look back on its glamourous moment of youth and beauty, and I want its stairs to creak as if to the footsteps of women with hoop skirts and men in boots and spurs. But they’ve made it into a blondined, rouged-up old woman of sixty. It hasn’t any right to look so prosperous. It might care enough for Lee to drop a brick now and then. How many of these—these animals “—she waved her hand around—“get anything from this, for all the histories and guide-books and restorations in existence? How many of them who think that, at best, appreciation is talking in undertones and walking on tiptoes would even come here if it was any trouble? I want it to smell of magnolias instead of peanuts and I want my shoes to crunch on the same gravel that Lee’s boots crunched on. There’s no beauty without poignancy and there’s no poignancy without the feeling that it’s going, men, names, books, houses—bound for dust—mortal—”
A small boy appeared beside them and, swinging a handful of banana-peels, flung them valiantly in the direction of the Potomac.
Sentiment.
Simultaneously with the fall of Liège, Anthony and Gloria arrived in New York. In retrospect the six weeks seemed miraculously happy. They had found to a great extent, as most young couples find in some measure, that they possessed in common many fixed ideas and curiosities and odd quirks of mind; they were essentially companionable.
But it had been a struggle to keep many of their conversations on the level of discussions. Arguments were fatal to Gloria’s disposition. She had all her life been associated either with her mental inferiors or with men who, under the almost hostile intimidation of her beauty, had not dared to contradict her; naturally, then, it irritated her when Anthony emerged from the state in which her pronouncements were an infallible and ultimate decision.
He failed to realize, at first, that this was the result partly of her “female” education and partly of her beauty, and he was inclined to include her with her entire sex as curiously and definitely limited. It maddened him to find she had no sense of justice. But he discovered that, when a subject did interest her, her brain tired less quickly than his. What he chiefly missed in her mind was the pedantic teleology—the sense of order and accuracy, the sense of life as a mysteriously correlated piece of patchwork, but he understood after a while that such a quality in her would have been incongruous.
Of the things they possessed in common, greatest of all was their almost uncanny pull at each other’s hearts. The day they left the hotel in Coronado she sat down on one of the beds while they were packing, and began to weep bitterly.
“Dearest—” His arms were around her; he pulled her head down upon his shoulder. “What is it, my own Gloria? Tell me.”
“We’re going away,” she sobbed. “Oh, Anthony, it’s sort of the first place we’ve lived together. Our two little beds here—side by side—they’ll be always waiting for us, and we’re never coming back to ’em any more.”
She was tearing at his heart as she always could. Sentiment came over him, rushed into his eyes.
“Gloria, why, we’re going on to another room. And two other little beds. We’re going to be together all our lives.”
Words flooded from her in a low husky voice.
“But it won’t be—like our two beds—ever again. Everywhere we go and move on and change, something’s lost—something’s left behind. You can’t ever quite repeat anything, and I’ve been so yours, here—”
He held her passionately near, discerning far beyond any criticism of her sentiment, a wise grasping of the minute, if only an indulgence of her desire to cry—Gloria the idler, caresser of her own dreams, extracting poignancy from the memorable things of life and youth.
Later in the afternoon when he returned from the station with the tickets he found her asleep on one of the beds, her arm curled about a black object which he could not at first identify. Coming closer he found it was one of his shoes, not a particularly new one, nor clean one, but her face, tear-stained, was pressed against it, and he understood her ancient and most honorable message. There was almost ecstasy in waking her and seeing her smile at him, shy but well aware of her own nicety of imagination.
With no appraisal of the worth or dross of these two things, it seemed to Anthony that they lay somewhere near the heart of love.
The Gray House.
It is in the twenties that the actual momentum of life begins to slacken, and it is a simple soul indeed to whom as many things are significant and meaningful at thirty as at ten years before. At thirty an organ-grinder is a more or less moth-eaten man who grinds an organ—and once he was an organ-grinder! The unmistakable stigma of humanity touches all those impersonal and beautiful things that only youth ever grasps in their impersonal glory. A brilliant ball, gay with light romantic laughter, wears through its own silks and satins to show the bare framework of a man-made thing—oh, that eternal hand!—a play, most tragic and most divine, becomes merely a succession of speeches, sweated over by the eternal plagiarist in the clammy hours and acted by men subject to cramps, cowardice, and manly sentiment.
And this time with Gloria and Anthony, this first year of marriage, and the gray house caught them in that stage when the organ-grinder was slowly undergoing his inevitable metamorphosis. She was twenty-three; he was twenty-six.
The gray house was, at first, of sheerly pastoral intent. They lived impatiently in Anthony’s apartment for the first fortnight after the return from California, in a stifled atmosphere of open trunks, too many callers, and the eternal laundry-bags. They discussed with their friends the stupendous problem of their future. Dick and Maury would sit with them agreeing solemnly, almost thoughtfully, as Anthony ran through his list of what they “ought” to do, and where they “ought” to live.
“I’d like to take Gloria abroad,” he complained, “except for this damn war—and next to that I’d sort of like to have a place in the country, somewhere near New York, of course, where I could write—or whatever I decide to do.”
Gloria laughed.
“Isn’t he
