Erik Dorn Part 5

"Oh," the lavender stocking was indignantly in evidence, "how awful!"

Dorn waited until the young woman had s.h.i.+fted her hips into a more protesting outline.

"I agree," the red face chimed in. "It's nonsense. Dorn's full of clever nonsense. I quite agree with you, Miss Dillingham." Miss Dillingham was the lavender stocking. The wife of the red face fidgeted, politely ominous. She announced pertly:

"I agree with what Mr. Dorn says." Which announcement her husband properly translated into a warning and a threat of future conversation on the theme, "You never pay any attention to me when there's anybody else around."

Dorn continued, "And it gives them a sense of generalities. Women live crowded between the narrow horizons of s.e.x. They don't share in life.

It's very sad, isn't it, Miss Williams?" Miss Williams removed her sash gently from the hands of the elderly youth and pouted. She was always indignant when men addressed her seriously. It gave her an uncomfortable feeling that they were making fun of her.

"Oh, I don't know," she answered. The elderly youth nodded his head enthusiastically and whispered close to her ear, "Exactly."

"The things that are an entirety to women," pursued Dorn, "milk bottles, butcher bills, babies, cleaning days, h.e.l.lo and good-bye kisses, are merely gestures to their husbands. So in a war they find themselves able to share what is known as the larger horizon of the male. One way is through sacrifice. They sacrifice their sons, lovers, husbands, uncles, and fathers with a high, firm spirit, announcing to the press that they are only sorry their supply of relatives is limited. The sacrificing brings them in contact with the world in which their males live. That's the theory of it."

Anna's smile continued to deny itself to his words. It said to him, "What does it matter what you say? I love you." And yet there was a thought behind it holding itself aloof.

"But the fact of woman is always denying her theory," he added. "That's what makes her confusing. The fact of her weeps at departures, sh.e.l.l shocks, amputations; grows timid and organizes pacifist societies. It's a case of s.e.x instinct versus the personal complex."

The elderly young man straightened in his chair, removing his eyes from Miss Williams with the air of one returning to masculine worldliness.

"I don't know about that," he said. "It's all very well to talk about such things flippantly. But when the time comes, we must admit ..."

"That talk is foolish," interrupted Warren. He looked at Rachel and laughed. "As a matter of fact, if anybody else but Dorn said it, I'd believe it. But I never believe Dorn. Do you, Miss Laskin?"

Rachel answered, "Yes."

Dorn, piqued by the continual silence of his wife, felt a sudden discomfiture at the sound of Rachel's voice. Was Anna aware he was talking to her so as to avoid talking to Rachel? Perhaps. But Rachel's presence was diluted by the company. He caught a glimpse of her dark eyes opened towards him, and for a moment felt his words disintegrate.

He continued hurriedly:

"War, in a way, is a n.o.ble business, in that it reduces us to a biological sanity--much the same as does Miss Dillingham's lavender stocking!"

The company swallowed this with an abrupt stiffening of necks. Isaac Dorn, who had been airing himself on the veranda, relieved a tension by appearing in the doorway and moving quietly toward an unoccupied chair.

Anna reached her hand to the old man's and held it kindly. Miss Dillingham, surveying the stretch of hose which had been honored in her host's conversation, raised her eyes and replied quietly:

"Mr. Dorn is too clever to be really insulting."

The red-faced one clung to a sense of outrage. His cheeks had grown slightly distended, and with the grimace of indignant virtue bristling on his face, he turned the expression toward his wife for approval. She nodded her head and tightened the thin line of her lips.

"I only meant," laughed Dorn, "that it reduces us to the sort of sanity that wipes out the absurd, artificial notions of morality that keep cluttering up the thought of the race. War reminds us that civilization and murder are compatible. Lavender stockings, speaking in generalities, are reminders that good and evil walk on equally comely legs."

Mr. Harlan, having registered indignation, now struggled vainly against the preenings of his wit, and finally succ.u.mbed.

"In these days you can't tell Judy O'Grady and the Colonel's lady apart by their stockings, eh?" He hammered his point home with a laugh. Warren winked at Rachel as if to inform her of the mixed company they were in, and Mrs. Harlan endeavored to put an end to the isolated merriment of her husband with a "John, you're impossible!" The elderly youth, conscious of himself as the escort of a young virgin, lowered his eyes modestly to her ankles. Dorn, watching his wife's smile deepen, nodded his head at her. He knew her momentary thought. She labored under the pleasing conviction that his risque remarks were invariably inspired by memories of her.

"Barring, of course, the unembattled stay-at-homes," he continued. "The sanity of battlefields is in direct ratio to the insanity of the non-combatants. You can see it already in the press. We who stay at home endeavor to excuse the crime of war by attaching ludicrous ideals and purposes to its result. Thus every war is to its non-combatants a holy war. And we get a swivel-chair collection of nincomp.o.o.ps raving weirdly, as the casualty lists pour in, of humanity and democracy. It hasn't come yet, but it will."

"Then you don't believe in war?" said the red face, emerging triumphantly upon respectable ground.

"As a phenomenon inspired by ideals or resulting in anything more satisfactory than a wholesale loss of life, war is always a joke," Dorn answered. He wondered whether Rachel was considering him a pompous a.s.s.

"I have a whole-hearted respect for it, however, as a biological excitement."

The blue sash winced primly at the word biological, and appealed to her escort to protect her somehow from the indecencies of life. The elderly youth answered her appeal with a tightening of his features.

"War isn't biological," he retorted in her behalf.

Dorn, wearying of his talk, waited for some one of the company to relieve him of the burden. But the elderly youth had subsided, and fulfilling his functions as host--a business of diverting visitors from the fact that there was no reason for their presence in his home--Dorn was forced to continue:

"I can conceive of no better or saner way to die than crawling around in the mud, shrieking like a savage, and a.s.sisting blindly in the depopulation of an enemy. But unless a man is forced to fight, I can conceive of nothing more horrible than war. Don't you think that, Anna?"

"You know what I think, Erik," she answered. "I hate it."

He was startled by a sudden similarity between Rachel and Anna. She too was looking at him with the indignant aloofness of his wife--with a rapt attention seemingly beyond the sound of his words. He caught the two women turn and smile to each other with an understanding that left him a stranger to both. He thought quickly, "Anna is the only one in the room intelligent enough for Rachel to understand." He felt a momentary pride in his wife, and wondered.

As the conversation, playing with the theme of war, spread itself in spasmodic blurs about the room, bursting in little crescendoes of conviction, p.r.o.nouncements, suddenly serious and inviolable truths, Dorn found himself listening excitedly. An unusual energy pumped notions into his thought. But it was impossible to give vent to ideas before this collection of comedians. He desired to look at Rachel, but kept his eyes away. If they were alone, he could talk. He permitted himself the luxury of an explosive silence.

He sat for a time thinking. "Curious! She knows I have things to say to her. They are unimportant but I can say them to no one else. She knows I avoid looking at her. There must be something--an attraction. She's a fool. I don't know. I should have put an end to our walks long ago."

His vocabulary, marshaling itself under a surprising force, charged with a rush through his thought. Sentences unrelated, bizarre combinations of words--a kaleidoscopic procession of astounding ideas--art, life, war, streets, people--he knew what they were all about. An illumination like a verbal ecstacy spread itself through him. Under it he continued to think as if with a separate set of words, "I don't know. She isn't beautiful. A stupid, nervous little girl. But it hasn't anything to do with her. It's something in me."

He stood up, his eyes unsmiling, and surveyed the animated faces as from a distance. Paper faces and paper eyes--fluttering masks suspended politely above fabrics that lounged in chairs. They were unreal--too unreal even to talk to. Beyond these figures in the room and the noises they made, lay something that was not unreal. It pulled at the sleep in him. He stood as if arrested by his own silence. The night outside the window came into his eyes, covering the words in his brain and leaving him alone.

He heard Anna speaking.

"What are you thinking about, Erik?"

Her eyes seemed to him laden with forebodings. Yet she was smiling.

There was something that made her afraid. He turned toward Rachel and found her standing as if in imitation of himself, her face lifted toward the window, the taut line of her neck an att.i.tude that brought him the image of a white bird's wing soaring. He felt himself unable to speak, as if a hand had been laid threateningly on his throat. Rachel was indiscreet to stand that way, to look that way. There was no mistaking.

His thought, shaking itself free of words ... "In love with me. In love with me!" He paused. A bewildering sense of infidelity. But he had done nothing--only walk with her a few afternoons. And talk. "A stupid, nervous little girl." It was some sort of game, not serious necessarily.

He stepped abstractedly toward his wife, aware that the conversation had flattened.

"I wasn't thinking," he answered, searching guiltily for an epigram.

"Won't you play?"

Anna stood up and brought her eyes to a level with his own. Again the light of foreboding, of unrevealed shadows flashed at him out of her smile. She understood something not clear in his own head; nor in hers.

He grasped her hand as she pa.s.sed and with a dolorous grimace of his heart felt it unresponsive in his fingers.

Anna was playing from a piano score of _Parsifal_. The music dropped a curtain. Dorn became conscious of himself in an overheated room surrounded by a group of awed and saccharine faces. Rachel was smiling at him with a meaning that he seemed to have forgotten. He stared back, pleasantly aware that a familiar sneer had returned to his eyes. In a corner his father sat watching Anna and he noticed that the old man's watery eyes turned in, as if gazing at images in his own thought. His father's smile, as always, touched Dorn with an irritation, and he hurried from it.

The others were more amusing. The spectacle of the faces wilting into maudlin abstractions under the caress of the music brought a grin to him. The sounds had drugged the polite little masks and left them poised morosely in a sleepy dream. The lavender stocking crept tenderly into evidence. The owlish gla.s.ses focused with noncommittal stoicism in its direction. The blue sash looked worried and the raised eyebrows of the elderly youth asked unhappy questions. Music made people sad and caused sighs to trickle from their ludicrously inanimate features. Melting hearts under lacquered skins, dissolving little whimpers under perfunctory att.i.tudes.

He remembered his own mood of a few moments ago, and explained to himself. Something had given him a dream. The night s.h.i.+ning through the window, the curve of Rachel's neck. Rachel ... Rachel ... He grew suddenly sick with the refrain of her name. It said itself longingly in his thought as if there was a meaning beyond it.

The playing had stopped. The listeners appeared to be lingering dejectedly among its echoes. Rachel slipped quickly to her feet, her arms thrust back as if she were poised for running. She pa.s.sed abruptly across the room. Her behavior startled him. The faces looked at her curiously. She was running away.

Anna followed her quietly into the vestibule and the company burst into an incongruous babble. Dorn listened to their voices, again firm and self-sufficient, chattering formalities. He watched Rachel adjusting her hat with over-eager gestures. Her eyes were avoiding him. She seemed breathless, her head squirming under the necessity of having to remain for another moment before the eyes of the people in the room.

"I must go," she said suddenly. Her hand extended itself to Anna. A frightened smile widened her mouth. Dorn felt her eyes center excitedly on him. A confused desire to speak kept him silent. He stood up and entered the hall to play his little part as host. But Rachel was gone.

The door had closed behind her and he stared at the panels, feeling that the house had emptied itself. Things were normal again. Anna was speaking to her guests, smoothly garrulous. They were putting on hats and saying good-bye. They would have to hurry to escape the rain. He a.s.sisted with wraps, his eyes furtively watching the door as if he expected to see it open again, with Rachel returning.