in the shape of letters and notes from Christina, but he was full of the premonition of the end which had troubled him on leaving.
He must write to Angela. He had not thought of her all the time he had been gone. He had been in the habit of writing to her every third or fourth day at least; while of late his letters had been less passionate they had remained fairly regular. But now this sudden break coming—it was fully three weeks—made her think he must be ill, although she had begun to feel also that he might be changing. His letters had grown steadily less reminiscent of the joys they had experienced together and of the happiness they were anticipating, and more inclined to deal with the color and character of city life and of what he hoped to achieve. Angela was inclined to excuse much of this on the grounds of the special effort he was making to achieve distinction and a living income for themselves. But it was hard to explain three weeks of silence without something quite serious having happened.
Eugene understood this. He tried to explain it on the grounds of illness, stating that he was now up and feeling much better. But when his explanation came, it had the hollow ring of insincerity. Angela wondered what the truth could be. Was he yielding to the temptation of that looser life that all artists were supposed to lead? She wondered and worried, for time was slipping away and he was setting no definite date for their much discussed nuptials.
The trouble with Angela's position was that the delay involved practically everything which was important in her life. She was five years older than Eugene. She had long since lost that atmosphere of youth and buoyancy which is so characteristic of a girl between eighteen and twenty-two. Those few short years following, when the body of maidenhood blooms like a rose and there is about it the freshness and color of all rich, new, lush life, were behind her. Ahead was that persistent decline towards something harder, shrewder and less beautiful. In the case of some persons the decline is slow and the fragrance of youth lingers for years, the artifices of the dressmaker, the chemist, and the jeweller being but little needed. In others it is fast and no contrivance will stay the ravages of a restless, eager, dissatisfied soul. Sometimes art combines with slowness of decay to make a woman of almost perennial charm, loveliness of mind matching loveliness of body, and taste and tact supplementing both. Angela was fortunate in being slow to fade and she had a loveliness of imagination and emotion to sustain her; but she had also a restless, anxious disposition of mind which, if it had not been stayed by the kindly color of her home life and by the fortunate or unfortunate intervention of Eugene at a time when she considered her ideal of love to have fairly passed out of the range of possibility, would already have set on her face the signs of old maidenhood. She was not of the newer order of femininity, eager to get out in the world and follow some individual line of self-development and interest. Rather was she a home woman wanting some one man to look after and love. The wonder and beauty of her dream of happiness with Eugene now made the danger of its loss and the possible compulsory continuance of a humdrum, underpaid, backwoods existence, heart-sickening.
Meanwhile, as the summer passed, Eugene was casually enlarging his acquaintance with women. MacHugh and Smite had gone back home for the summer, and it was a relief from his loneliness to encounter one day in an editorial office, Norma Whitmore, a dark, keen, temperamental and moody but brilliant writer and editor who, like others before her, took a fancy to Eugene. She was introduced to him by Jans Jansen, Art Director of the paper, and after some light banter she offered to show him her office.
She led the way to a little room no larger than six by eight where she had her desk. Eugene noticed that she was lean and sallow, about his own age or older, and brilliant and vivacious. Her hands took his attention for they were thin, shapely and artistic. Her eyes burned with a peculiar lustre and her loose-fitting clothes were draped artistically about her. A conversation sprang up as to his work, which she knew and admired, and he was invited to her apartment. He looked at Norma with an unconsciously speculative eye.
Christina was out of the city, but the memory of her made it impossible for him to write to Angela in his old vein of devotion. Nevertheless he still thought of her as charming. He thought that he ought to write more regularly. He thought that he ought pretty soon to go back and marry her. He was approaching the point where he could support her in a studio if they lived economically. But he did not want to exactly.
He had known her now for three years. It was fully a year and a half since he had seen her last. In the last year his letters had been less and less about themselves and more and more about everything else. He was finding the conventional love letters difficult. But he did not permit himself to realize just what that meant—to take careful stock of his emotions. That would have compelled him to the painful course of deciding that he could not marry her, and asking her to be released from his promise. He did not want to do that. Instead he parleyed, held by pity for her passing youth and her undeniable affection for him, by his sense of the unfairness of having taken up so much of her time to the exclusion of every other person who might have proposed to her, by sorrow for the cruelty of her position in being left to explain to her family that she had been jilted. He hated to hurt any person's feelings. He did not want to be conscious of the grief of any person who had come to suffering through him and he could not make them suffer very well and not be conscious. He was too tender hearted. He had pledged himself to Angela, giving her a ring, begging her to wait, writing her fulsome letters of protest and desire. Now, after three years, to shame her before her charming family—old Jotham, her mother, her sisters and brothers—it seemed a cruel thing to do, and he did not care to contemplate it.
Angela, with her morbid, passionate, apprehensive nature, did not fail to see disaster looming in the distance. She loved Eugene passionately and the pent-up fires of her nature had been waiting all these years the warrant to express their ardor which marriage alone could confer. Eugene, by the charm of his manner and person, no less than by the sensuous character of some of his moods and the subtleties and refinements of his references to the ties of sex, had stirred her to anticipate a perfect fruition of her dreams, and she was now eager for that fruition almost to the point of being willing to sacrifice virginity itself. The remembrance of the one significant scene between her and Eugene tormented her. She felt that if his love was to terminate in indifference now it would have been better to have yielded then. She wished that she had not tried to save herself. Perhaps there would have been a child, and he would have been true to her out of a sense of sympathy and duty. At least she would have had that crowning glory of womanhood, ardent union with her lover, and if worst had come to worst she could have died.
She thought of the quiet little lake near her home, its glassy bosom a mirror to the sky, and how, in case of failure, she would have looked lying on its sandy bottom, her pale hair diffused by some aimless motion of the water, her eyes sealed by the end of consciousness, her hands folded. Her fancy outran her daring. She would not have done this, but she could dream about it, and it made her distress all the more intense.
As time went by and Eugene's ardor did not revive, this problem of her love became more harrassing and she began to wonder seriously what she could do to win him back to her. He had expressed such a violent desire for her on his last visit, had painted his love in such glowing terms that she felt convinced he must love her still, though absence and the excitements of city life had dimmed the memory of her temporarily. She remembered a line in a comic opera which she and Eugene had seen together: "Absence is the dark room in which lovers develop negatives" and this seemed a case in point. If she could get him back, if he could be near her again, his old fever would develop and she would then find some way of making him take her, perhaps. It did not occur to her quite clearly just how this could be done at this time but some vague notion of self-immolation was already stirring vaguely and disturbingly in her brain.
The trying and in a way disheartening conditions of her home went some way to sustain this notion. Her sister Marietta was surrounded by a score of suitors who were as eager for her love as a bee is for the honey of a flower, and Angela could see that they were already looking upon herself as an elderly chaperon. Her mother and father watched her going about her work and grieved because so good a girl should be made to suffer for want of a proper understanding.
