"And my father'll be here in a day or two."
However, she drew a pen and paper towards her and began to write laboriously, "My dear Evelyn--"
Terence, meanwhile, read a novel which some one else had written, a process which he found essential to the composition of his own.
For a considerable time nothing was to be heard but the ticking of the clock and the fitful scratch of Rachel's pen, as she produced phrases which bore a considerable likeness to those which she had condemned. She was struck by it herself, for she stopped writing and looked up; looked at Terence deep in the arm-chair, looked at the different pieces of furniture, at her bed in the corner, at the window-pane which showed the branches of a tree filled in with sky, heard the clock ticking, and was amazed at the gulf which lay between all that and her sheet of paper. Would there ever be a time when the world was one and indivisible? Even with Terence himself--how far apart they could be, how little she knew what was passing in his brain now! She then finished her sentence, which was awkward and ugly, and stated that they were "both very happy, and going to be married in the autumn probably and hope to live in London, where we hope you will come and see us when we get back."
Choosing "affectionately," after some further speculation, rather than sincerely, she signed the letter and was doggedly beginning on another when Terence remarked, quoting from his book:
"Listen to this, Rachel. 'It is probable that Hugh' (he's the hero, a literary man), 'had not realised at the time of his marriage, any more than the young man of parts and imagination usually does realise, the nature of the gulf which separates the needs and desires of the male from the needs and desires of the female.
. . . At first they had been very happy. The walking tour in Switzerland had been a time of jolly companionship and stimulating revelations for both of them. Betty had proved herself the ideal comrade.
. . . They had shouted _Love_ _in_ _the_ _Valley_ to each other across the snowy slopes of the Riffelhorn' (and so on, and so on--I'll skip the descriptions). . . . 'But in London, after the boy's birth, all was changed. Betty was an admirable mother; but it did not take her long to find out that motherhood, as that function is understood by the mother of the upper middle classes, did not absorb the whole of her energies. She was young and strong, with healthy limbs and a body and brain that called urgently for exercise.
. . .' (In short she began to give tea-parties.) . . . 'Coming in late from this singular talk with old Bob Murphy in his smoky, book-lined room, where the two men had each unloosened his soul to the other, with the sound of the traffic humming in his ears, and the foggy London sky slung tragically across his mind . . . he found women's hats dotted about among his papers. Women's wraps and absurd little feminine shoes and umbrellas were in the hall.
. . . Then the bills began to come in. . . . He tried to speak frankly to her. He found her lying on the great polar-bear skin in their bedroom, half-undressed, for they were dining with the Greens in Wilton Crescent, the ruddy firelight making the diamonds wink and twinkle on her bare arms and in the delicious curve of her breast-- a vision of adorable femininity. He forgave her all.' (Well, this goes from bad to worse, and finally about fifty pages later, Hugh takes a week-end ticket to Swanage and 'has it out with himself on the downs above Corfe.' . . . Here there's fifteen pages or so which we'll skip. The conclusion is . . .) 'They were different.
Perhaps, in the far future, when generations of men had struggled and failed as he must now struggle and fail, woman would be, indeed, what she now made a pretence of being--the friend and companion-- not the enemy and parasite of man.'
"The end of it is, you see, Hugh went back to his wife, poor fellow.
It was his duty, as a married man. Lord, Rachel," he concluded, "will it be like that when we're married?"
Instead of answering him she asked, "Why don't people write about the things they do feel?"
"Ah, that's the difficulty!" he sighed, tossing the book away.
"Well, then, what will it be like when we're married? What are the things people do feel?"
She seemed doubtful.
"Sit on the floor and let me look at you," he commanded.
Resting her chin on his knee, she looked straight at him.
He examined her curiously.
"You're not beautiful," he began, "but I like your face.
I like the way your hair grows down in a point, and your eyes too-- they never see anything. Your mouth's too big, and your cheeks would be better if they had more colour in them. But what I like about your face is that it makes one wonder what the devil you're thinking about--it makes me want to do that--" He clenched his fist and shook it so near her that she started back, "because now you look as if you'd blow my brains out. There are moments," he continued, "when, if we stood on a rock together, you'd throw me into the sea."
Hypnotised by the force of his eyes in hers, she repeated, "If we stood on a rock together--"
To be flung into the sea, to be washed hither and thither, and driven about the roots of the world--the idea was incoherently delightful.
She sprang up, and began moving about the room, bending and thrusting aside the chairs and tables as if she were indeed striking through the waters. He watched her with pleasure; she seemed to be cleaving a passage for herself, and dealing triumphantly with the obstacles which would hinder their passage through life.
"It does seem possible!" he exclaimed, "though I've always thought it the most unlikely thing in the world--I shall be in love with you all my life, and our marriage will be the most exciting thing that's ever been done! We'll never have a moment's peace--"
He caught her in his arms as she passed him, and they fought for mastery, imagining a rock, and the sea heaving beneath them.
At last she was thrown to the floor, where she lay gasping, and crying for mercy.
"I'm a mermaid! I can swim," she cried, "so the game's up."
