LITMIR.BIZ

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      "I've never heard Tristan and Isolde."

      "That settles it. We'll go. There's sure to be a place somewhere."

      "It's rather jolly of you," said Ann Veronica.

      "It's jolly of you to come," said Ramage.

      So presently they got into a hansom together, and Ann Veronica sat back feeling very luxurious and pleasant, and looked at the light and stir and misty glitter of the street traffic from under slightly drooping eyelids, while Ramage sat closer to her than he need have done, and glanced ever and again at her face, and made to speak and said nothing. And when they got to Covent Garden Ramage secured one of the little upper boxes, and they came into it as the overture began.

      Ann Veronica took off her jacket and sat down in the corner chair, and leaned forward to look into the great hazy warm brown cavity of the house, and Ramage placed his chair to sit beside her and near her, facing the stage. The music took hold of her slowly as her eyes wandered from the indistinct still ranks of the audience to the little busy orchestra with its quivering violins, its methodical movements of brown and silver instruments, its brightly lit scores and shaded lights. She had never been to the opera before except as one of a congested mass of people in the cheaper seats, and with backs and heads and women's hats for the frame of the spectacle; there was by contrast a fine large sense of space and ease in her present position. The curtain rose out of the concluding bars of the overture and revealed Isolde on the prow of the barbaric ship. The voice of the young seaman came floating down from the masthead, and the story of the immortal lovers had begun. She knew the story only imperfectly, and followed it now with a passionate and deepening interest. The splendid voices sang on from phase to phase of love's unfolding, the ship drove across the sea to the beating rhythm of the rowers. The lovers broke into passionate knowledge of themselves and each other, and then, a jarring intervention, came King Mark amidst the shouts of the sailormen, and stood beside them.

      The curtain came festooning slowly down, the music ceased, the lights in the auditorium glowed out, and Ann Veronica woke out of her confused dream of involuntary and commanding love in a glory of sound and colors to discover that Ramage was sitting close beside her with one hand resting lightly on her waist. She made a quick movement, and the hand fell away.

      "By God! Ann Veronica," he said, sighing deeply. "This stirs one."

      She sat quite still looking at him.

      "I wish you and I had drunk that love potion," he said.

      She found no ready reply to that, and he went on: "This music is the food of love. It makes me desire life beyond measure. Life! Life and love! It makes me want to be always young, always strong, always devoting my life—and dying splendidly."

      "It is very beautiful," said Ann Veronica in a low tone.

      They said no more for a moment, and each was now acutely aware of the other. Ann Veronica was excited and puzzled, with a sense of a strange and disconcerting new light breaking over her relations with Ramage. She had never thought of him at all in that way before. It did not shock her; it amazed her, interested her beyond measure. But also this must not go on. She felt he was going to say something more—something still more personal and intimate. She was curious, and at the same time clearly resolved she must not hear it. She felt she must get him talking upon some impersonal theme at any cost. She snatched about in her mind. "What is the exact force of a motif?" she asked at random. "Before I heard much Wagnerian music I heard enthusiastic descriptions of it from a mistress I didn't like at school. She gave me an impression of a sort of patched quilt; little bits of patterned stuff coming up again and again."

      She stopped with an air of interrogation.

      Ramage looked at her for a long and discriminating interval without speaking. He seemed to be hesitating between two courses of action. "I don't know much about the technique of music," he said at last, with his eyes upon her. "It's a matter of feeling with me."

      He contradicted himself by plunging into an exposition of motifs.

      By a tacit agreement they ignored the significant thing between them, ignored the slipping away of the ground on which they had stood together hitherto… .

      All through the love music of the second act, until the hunting horns of Mark break in upon the dream, Ann Veronica's consciousness was flooded with the perception of a man close beside her, preparing some new thing to say to her, preparing, perhaps, to touch her, stretching hungry invisible tentacles about her. She tried to think what she should do in this eventuality or that. Her mind had been and was full of the thought of Capes, a huge generalized Capes-lover. And in some incomprehensible way, Ramage was confused with Capes; she had a grotesque disposition to persuade herself that this was really Capes who surrounded her, as it were, with wings of desire. The fact that it was her trusted friend making illicit love to her remained, in spite of all her effort, an insignificant thing in her mind. The music confused and distracted her, and made her struggle against a feeling of intoxication. Her head swam. That was the inconvenience of it; her head was swimming. The music throbbed into the warnings that preceded the king's irruption.

      Abruptly he gripped her wrist. "I love you, Ann Veronica. I love you—with all my heart and soul."

      She put her face closer to his. She felt the warm nearness of his. "DON'T!" she said, and wrenched her wrist from his retaining hand.

      "My God! Ann Veronica," he said, struggling to keep his hold upon her; "my God! Tell me—tell me now—tell me you love me!"

      His expression was as it were rapaciously furtive. She answered in whispers, for there was the white arm of a woman in the next box peeping beyond the partition within a yard of him.

      "My hand! This isn't the place."

      He released her hand and talked in eager undertones against an auditory background of urgency and distress.

      "Ann Veronica," he said, "I tell you this is love. I love the soles of your feet. I love your very breath. I have tried not to tell you—tried to be simply your friend. It is no good. I want you. I worship you. I would do anything—I would give anything to make you mine… . Do you hear me? Do you hear what I am saying?… Love!"

      He held her arm and abandoned it again at her quick defensive movement. For a long time neither spoke again.

      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. I want 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

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