One sad cold day in London, city of sad cold days, a man in a Club had nothing on earth to do. He had glanced through the morning papers and found them full of adjectives and empty of news. He had smoked several cigarettes. He had exchanged a word or two of gossip with two or three acquaintances. And he had stared moodily out of a bow window, and had been rewarded by a vision of wet paving stones, wet beggars and wet sparrows. He felt depressed and inclined to wonder why he existed. Turning from the window to the long room at his back he saw an elderly Colonel yawning, with a sherry and bitters in one hand and a toothpick in the other. He decided not to remain in the Club. So he took his hat and went out into the street. It was raining in the street and he had no umbrella. He hailed a hansom and got in.

"Where to, sir?" asked the cabby through the trap door.

"What?" said the man.

"Where to, sir?"

"Oh! go to—to——"

He tried to think of some place where he might contrive to pass an hour or two agreeably.

"Sir?" said the cabby.

"Go to Madame Tussaud's," said the man.

It was the only place he could think of at the moment. He had lived in London for years but he had never been there. He had never had the smallest desire to go there. Wax and glass eyes did not attract him. Dresses that hung from corpses, which had never been alive, did not appeal to him. Nor did he care for buns. He had never been to Tussaud's. He was only going there now because literally, at the moment, he knew not where to go. He leaned back in the cab and looked at the wet pedestrians, and at the puddles.

When the cab stopped he got out and entered a large building. He paid money at a turnstile and drifted aimlessly into a waxen world. Some fat men in strange costumes, with bulging eyes like black velvet, and varying expressions of heavy lethargy, played Hungarian music on violins. It was evident that they did not thrill themselves. Their aspect was at the same time fierce and dull, they looked like volcanoes that had been drenched with water. The man passed on, the music grew softer and the waxen world pressed more closely round. Kings, cricketers, actresses, and statesmen beset him in vistas. He trod a maze of death that had not lived. There were very few school treats about, for the fashionable school treat season had not yet fully set in. So the man had the wax almost entirely to himself. He spread his wings to it like a bird to the air. By degrees, as he wandered—pursued by the distant music from the drenched volcanoes—a feeling of suffocation overtook him. All these men and women about him stared and smiled, but all were breathless. They wore their gaudy clothes with an air, no doubt. The Kings struck regal attitudes. The cricketers had a set manner of bringing off dreamy, difficult catches. The actresses were properly made up to charm, and the statesmen must surely have brought plenty of empires to ruin, if insipidity has power to cause such wreckage. But they were all decisively breathless. They seemed caught by some ghastly physical spell. And this spell was laid also upon the man who wandered among them. The breath of life withdrew from him to a long, long distance—he fancied. He felt as one who, taken by a trance, is bereft of power though not of knowledge. The staring silence was as the silence of a tomb, whose walls were full of eyes, intent and fatigued. He started when a person in uniform, hitherto apparently waxen, said in a cockney voice,

"See the Chamber of Horrors, sir?" But he recovered in time to acquiesce.

He descended towards a subterranean vault: as if to a lower circle of this inferno full of breathless demons. Here there were no rustic strangers, no clergymen with their choirs, no elderly ladies in command of "Bands of Hope." The silence was great, and the murderers stood together in companies, looking this way and that as if in search of victims. Some sat on chairs or stools. Some crouched in the dock. Some prepared for a mock expiation in their best clothes. One was at work in his house, digging in quicklime a hole the length of a human body. His waxen visage gleamed pale in the dim light, and he appeared to pause in his digging and to listen for sounds above his head. For he was in the cellar of his house.

The man stood still and looked at him. He had a mean face. All the features were squeezed and venomous, and expressive of criminal desires and of extreme cruelty. And so it was with most of his comrades. They varied in height, in age, in social status and in colouring. But upon all their faces was the same frigid expression, a sort of thin hatefulness touched with sarcasm. The man wandered on among them and saw it everywhere, on the lips of a youth in rags, in the eyes of an old woman in a bonnet, lurking in the wrinkles of a labourer, at rest upon the narrow brow of a doctor, alive in the puffed-out wax of an attorney's bloated features. Yes, it was easy to recognise the Devil's hall-mark on them all, he thought. And he wondered a little how it came about that they had been able, in so many cases, to gain the confidence of their unhappy victims. Here, for instance, were the man and woman who had lured servant girls into the depths of a forest and there murdered them for the sake of their boxes. Even the silliest girl, one would have supposed, must have fled in terror from the ape-like cunning of those wicked faces. Here was the housekeeper who had made away with her aged mistress. Surely any one with the smallest power of observation would have refused to sit in the evening, to sleep at night, in company with so horrible a countenance. Here was the man who killed his paramour with a knife. How came he to have a paramour? The desire to kill lurked in his bony cheeks, his small, intent eyes, his narrow slit of a mouth, but no desire to love. God seemed to have set his warning to humanity upon each of these creatures of the Devil. Yet they had deceived mankind to mankind's undoing. They had won confidence, respect, even love.

The man was confused by this knowledge, as he moved among them in the dimness and the silence, brushing the sleeve of one, the skirt of another, looking into the curiously expressive eyes of all. But presently his wondering recognition of the world's fatuous and frantic gullibility ceased. For at the end of an alley of murderers he stood before a woman. She was young, pretty and distinguished in appearance. Her features were small and delicate. Her brow was noble. Her painted mouth was tender and saintly; and, though her eyes were sightless, truth and nobility surely gazed out of them. For a moment the man was seized by a conviction that a mistake had been made by the proprietors of the establishment, and that some being, famous for charitable deeds, or intellect, or heroic accomplishment had been put in penance among these tragic effigies. He glanced at her number, consulted his catalogue, and found that this woman was named Catherine Sirrett, and that she had been convicted of the murder of her husband by poison some few years before. Then he looked at her again and, before this criminal, he felt that she might, nay, must, have deceived any man, the most acute and enlightened observer. No one could have looked into that face and seen blackness in the heart of that woman. Everyone must have trusted her. Many must have loved her. Her appearance inspired more than confidence—reverence; there was something angelic in its purity. There was something religious in its quiet gravity. His heart grew heavy as he looked at her, heavy with a horror far more great than any that had overcome him as he examined the bestial company around. And when he came away, and long afterwards, Catherine Sirrett's face remained in his memory as the most horrible face in all that silent, watchful crowd of beings who had wrought violence upon the earth. For it was dressed in deceit. The other faces were naked. So he thought. He did not know Catherine Sirrett's story, though he remembered that a woman of her name had been hanged in England some years before, when he was in India, and that she had gained many sympathisers by her bearing and roused some newspaper discussion by her fate.

This is her story, the inner story which the world never knew.

Catherine Sirrett's mother was an intensely, even a morbidly, religious woman. Her father was an atheist and an Æsthete. Yet her parents were fond of each other at first and made common cause in spoiling their only child. Sometimes the mother would whisper in the little girl's ear that she must pray for poor father who was blind to the true light and deaf to the beautiful voice. Sometimes the father would tell her that if she would worship she must worship genius, the poet, the painter, the musician; that if she would pray she must pray to Nature, the sea, the sunset and the spring-time. But as a rule these two loving antagonists thought it was enough for their baby, their treasure, to develop quietly, steadily, in an atmosphere of adoration, in which arose no mist of theories, no war of words. Till she was ten years old Catherine was untroubled. At that age a parental contest began to rage—at first furtively,—about her. With the years her mother's morbidity waxed, her father's restraint waned. The one became more intensely and frantically devout, the other more frankly pagan. And now, as the child grew, and her mind and heart stood up to meet life and girlhood, each of her parents began to feel towards her the desire of sole possession. She had been brought up a Christian. The father had permitted that. So long as she was an ignorant infant he had felt no anxiety to attach her to his theories. But when he saw the intelligence growing in her eyes, the dawn of her soul deepening, there stirred within him a strong desire that she should face existence as he faced it, free from trammels of superstition. The mother, with the quick intuition of woman, soon understood his unexpressed feeling and thrilled with religious fear. Although—or indeed because—she loved her husband so much she was tortured by his lack of faith. And now she was alarmed at the thought of the effect his influence might have upon Catherine. She was roused to an intense activity of the soul. She said nothing to her husband of her fear and horror. He said nothing to her of his secret determination that his only child should grow up in his own faithless faith. But a silent and determined battle began to rage between them for the possession of Catherine's soul. And, at last, this battle turned the former love of the parents into a sort of uneasy hatred. The child did not fully comprehend what was going on around her, but she dimly felt it. And it influenced her whole nature.

Her mother, who was given over to religious forms, who was ritualistic and sentimental as well as really devout and fervent, at first gained the ascendancy over Catherine. Holy but narrow-minded, she compressed the girl's naturally expansive temperament, and taught her something of the hideous and brooding melancholy of the bigot and the fanatic. Then the father, quick-sighted, and roused to an almost angry activity by his appreciation of Catherine's danger, threw himself into the combat, and endeavoured to imbue the girl with his own comprehension of life's meaning, exaggerating all his theories in the endeavour to make them seem sufficiently vital and impressive. Catherine lived in the centre of this battle, which became continually more fierce, until she was eighteen. Then she fell in love with Mark Sirrett, married him, and left her parents alone with their mutual hostility, now complicated by a sort of paralysis of surprise and sense of mutual failure. They had forgotten that their child's future might hold a lover, a husband. Now they found themselves in the rather absurd position of enemies who have quarrelled over a shadow which suddenly vanishes away. They had lost their love for each other, they had lost Catherine. But her soul, though it was given to Mark Sirrett, had not lost their impress. Both the Puritanism of her mother and the paganism of her father were destined to play their parts in the guidance of her strange and terrible destiny.

Mark Sirrett, when he married Catherine, was twenty-five, dark, handsome, warm-hearted and rich. It seemed that he had an exceptionally sweet and attractive nature. He had been an affectionate son, a kind brother in his home, a generous comrade at school and college. Everybody had a good word for him; his family, his tutors, his friends, his servants. Like most young and ardent men he had had some follies. At least they were never mean or ungenerous. He entered upon married life with an unusually good record. Those who knew him casually, even many who knew him well, considered that he was easily read, that he was transparently frank, that, though highly intelligent, he was not particularly subtle, and that no still waters ran deep in Mark Sirrett. All these people were utterly wrong. Mark had a very curious side to his nature, which remained almost unsuspected until after his marriage with Catherine, but which eventually was to make a name very well known to the world. He was, although apparently so open, in reality full of reserve. He was full of ambition. And he had an exceptionally peculiar, and exceptionally riotous, imagination. And this imagination he was quite determined to express in an art—the art of literature. But his reserve kept him inactive until he had left Oxford, when he went to live in London, where eventually he met Catherine.

His reserve, and his artistic hesitation to work until he felt able to do good work, held Mark's imagination in check as a dam holds water in check. He sometimes wrote, but nobody knew that he wrote except one friend, Frederic Berrand. And Berrand could be a silent man. Even to Catherine, when he fell in love with her and wooed her, Mark did not reveal his desire for fame, or his intention to win it. The girl loved her lover for what he was, but not for all he was. Of the still water that ran deep she as yet knew nothing. She thought her husband, who was rich, who appeared gay, who had lived so far, as it seemed, idly enough, would continue to live with her, as he had apparently lived without her, brightly, honestly, a little thoughtlessly, a little vainly.

She had no sort of suspicion that she had married that very curious phenomenon—a born artist. Had her mother suspected it she would have been shocked. Had her father dreamed it he would have been delighted. And Catherine herself? well, she was still a child at this time.

She and Mark went to Spain for their honeymoon, and lived in a tiny white villa at Granada. It stood on the edge of the hill whose crown is the exquisite and dream-like Alhambra. Its long and narrow garden ran along the hillside, a slope of roses and of orange flowers, of thick, hot grass and of tangled green shrubs. The garden wall was white and uneven, and almost hidden by wild, pink flowers. Beneath was spread the plain in which lies the City, bounded by the mountains over which, each evening, the sun sets. And every day the drowsy air hummed in answer to the huge and drowsy voice of the wonderful Cathedral bell, which struck the hours and filled this lovely world with almost terrible vibrations of romance. In the thick woods that steal to the feet of the ethereal Palace the murmur of the streams was ever heard, and the white snows of the Sierra Nevada stared over the yellow and russet plain, and were touched with a blue blush as the night came on.

Catherine, although she loved her parents and had never fully realised the enmity grown up between them, felt a strange happiness, that was more than the happiness of new-born passion, in her emancipation. She was by nature exquisitely sensitive, and she had often been vaguely troubled by the contest between her parents. Their fighting instincts had sometimes set her face to face with a sort of shadowed valley, in whose blackness she faintly heard the far-off clash of weapons. Now she was caught away from this subtle tumult, and as she looked into her husband's vivacious dark eyes she felt that a little weight which had lain long on her heart was lifted from it. She had thought herself happy before, now she knew herself utterly happy. Life seemed to have no dark background. Even love itself was not spoiled by a too great wonder of seriousness. They loved in sunshine and were gay—like grasshoppers in the grass that the sun has filled with a still rapture of warmth. Not till two days before their departure for England was this chirping, grasshopper mood disturbed or dispelled.

At one end of the long and narrow garden there was a little crude pavilion, open to the air on three sides. The domed roof was supported on painted wooden pillars up which red and white roses audaciously climbed. Rugs covered the floor. A wooden railing ran along the front facing the steep hillside. The furniture was simple and homely, a few low basket chairs and an oval table. In this pavilion the newly married pair took tea nearly every afternoon after their expeditions in the neighbourhood, or their strolls through the sunny Moorish Courts. After tea they sat on and watched the sunset, and fancied they could see the birds that flew away above the City towards the distant mountains drop down to their nests in Seville ere the darkness came. This last evening but one was intensely hot; the town at their feet seemed drowning in a dust of gold. Cries, softened and made utterly musical, rose up to them from this golden world, beyond which the sky reddened as the sun sank lower. Sometimes they heard the jingling bells of mules and horses in the hidden streets; they saw the pigeons circling above the house-tops, and doll-like figures moving whimsically in gardens that seemed as small as pocket-handkerchiefs. Thin laughter of playing children stole to them. And then the huge and veiled voice of the Cathedral bell tolled the hour, like Time become articulate.

A voice may have an immense influence over a sensitive nature. This bell of the Cathedral of Granada has one of the most marvellous voices in the world, deep with a depth of old and vanished ages, heavy with the burden of all the long-dead years, and this evening it seemed suddenly to strike away a veil from Catherine's husband. She was leaning her arms on the painted railing and searching the toy city with her happy eyes. Mark, standing behind her, was solicitously winding a shawl round her to protect her from the chill that falls from the Sierra Nevada with the dropping downward of the sun. As the bell tolled, Catherine felt that Mark's hands slipped from her shoulders. She glanced round and up at him. He was standing rigid. His eyes were widely opened. His lips were parted. All the gaiety that usually danced in his face had disappeared. He looked like an entranced man.

"Mark!" Catherine exclaimed. "Mark! why, how strange you look!"

"Do I?" he said, staring out over the wide plain below.

The voice of the bell died reluctantly on the air, but some huge and vague echo of its heavy romance seemed to sway, like a wave, across the little houses to the sunset and faint towards Seville.

"Yes, you look sad and stern. I have never seen your face like this—till now."

He made no answer.

"Are you sad because we are going so soon?" she asked. "But then why should we go? We are perfectly happy here. There is nothing to call us away."

"Kitty, does not that bell give you the lie?" he answered.

"The bell of the Cathedral?" she asked, wondering.

"Yes. Just now when I listened to it, I seemed to hear it whispering of the mysterious things of life, of the hidden currents in the great river, of the sorrows, of the terrors, of the crimes."

"Mark!" said Catherine in amazement.

"Nothing to call us away from our idle happiness here!" he continued. "Do you say—nothing?"

"Why—no. For we are free; we have no ties. You have no profession, Mark. You have no art even to call you back to England. Dear father—how he worships the arts!"

"And you, Kitty—you?"

Mark spoke with a curious pressure of excitement.

"He has taught me to love them too."

"How much, Kitty? As he loves them, more than anything else on earth?"

She had never heard him speak at all like this. She answered:

"Ah no. For my mother——"

She paused.

"My mother has made me understand that there is something greater than any art, more important, more beautiful."

"What can that be?"

"Oh, Mark—religion!"

He leaned over the railing at her side, and the white and red roses that embraced the pillar shook against his thick dark hair in the infant breeze of evening.

"But there are many religions," he said. "A man's art may be his religion."

A troubled look came into her eyes and made them like her mother's.

"Oh no, Mark."

"Yes, Kitty," he said, with growing earnestness, putting aside his reserve for the first time with her. "Indeed it may."

"You mean when he uses it to do good?"

He shook his head. The roses shivered.

"The true artist never thinks of that. To have a definite moral purpose is destructive."

The City at their feet was sinking into shadow now, and the air grew cold, filled with the snowy breath of the Sierra.

"When we go back to England I will teach you the right way to follow an art, to worship it; the way that will be mine."

"Yours, Mark? But I don't understand."

"No," he said. "You don't understand all of me yet, Kitty. Do you want to?"

"Yes," she said.

There was a sound of fear in her voice. Mark sat down beside her and put his arm round her.

"Kitty," he began. "I'm only on the threshold of my life, of my real life, my life with you and with my work."

"You are going to work?" she exclaimed.

"Yes. That bell just now seemed to strike the hour of commencement—to tell me it was time for me to begin. I should like, some day—far in the future, Kitty,—to hear it strike that other hour, the hour when I must finish, when the little bit of work that I can do in the world is done. I shan't be afraid of that hour any more than I'm afraid of this one. Perhaps, when you and I are old we shall come here again, and listen to that bell once more, the same, when we are changed."

He pointed towards the Cathedral which was still touched by the sun. Catherine leaned against his shoulder. She said nothing, and did not move.

"Everything in life has its appointed recorder," he continued. "They are a big band, the band of the recorders who strive accurately to write down life as it is. Well, Kitty, I am going to be one of that band."

"You are going to be a writer, Mark?"

"Yes."

"Then, you will record the beauty, the joy, the purity, the goodness of life?"

His usually bright face had become sombre and thoughtful. It looked strangely dark and saturnine in the twilight.

"I shall record what I see most clearly."

"And what is that?"

"Not the things on the surface, but the things beneath the surface, of life."

And then he told Catherine more fully of his ambition and gave her a glimpse of the hidden side of his duplex nature.

She gazed up at him in the gathering twilight and it seemed to her that she was looking at a stranger. The climbing roses still shook against Mark in the wind. While he talked his voice grew almost fierce, and his dark eyes shone like the eyes of a fanatic. When he ceased to speak, Catherine's lips were pursed together, like her mother's when she listened to the pagan rhapsodies of Mr. Ardagh.

Two days later the Sirretts left Granada for England.

On their return they paid a short visit to Catherine's parents, who were living in Eaton Square. Mr. and Mrs. Ardagh received them with a sort of dulled and narcotic affection. In truth, for different reasons, the Puritan and the pagan cherished a certain resentment against the man who had stepped in and robbed them of their cause of warfare. Nevertheless they desired his company in their house. For each was anxious to study him and to discover what influence he was likely to have upon Catherine. During her daughter's absence Mrs. Ardagh had found the emptiness of her childless life insupportable, and she had, therefore, engaged a young girl, called Jenny Levita, to come to her every day as companion. Jenny was intelligent and very poor, bookish and earnest, even ardent in nature. Mrs. Ardagh gained a certain amount of interest and pleasure from forming the pliant mind of her protÉgÉe, who was with her always from eleven till six in the evening, who read aloud to her, accompanied her on her charitable missions, and took—so far as a stranger might,—the place of Catherine in her life. Catherine met Jenny upon the doorstep of her parents' house on the evening of her arrival, and hastened to ask her mother who the slim girl, with the tall figure, narrow shoulders, fluffy brown hair, and large oriental eyes was.

"My paid daughter," said Mrs. Ardagh, almost bitterly. "But she can't fill the place of my lost Catherine."

Nevertheless, Catherine discovered that her mother was truly attached to Jenny.

"I took her partly because she is easily led," she said, "easily influenced and so very pretty and poor. I want to save her for God, and when I met her there was one who wished to lead her to the devil. She won't see him now. She won't hear his name."

Then she dropped the subject.

Catherine was alternately questioned by her father and by her mother as to the influence of Mark. But something within her prevented her from telling them of the conversation in the Pavilion, when the cries of the toy city died down into the night. Mrs. Ardagh, now sinking in the confusion of a rather dreary middle age, complicated by a natural melancholy, and by incessant confession to a ritualistic clergyman seductive in receptivity, was relieved to think that Mark was harmless.

Art for Art's sake—the motto of her husband—had apparently little meaning for Mark. As Mrs. Ardagh thought it the devil's motto she was glad of this and said so to Catherine. Mr. Ardagh, on the other hand, was vexed to find Mark apparently so frivolous; and he also expressed his feelings to Catherine, who became slightly confused.

"I should like to see your husband doing something," he said. "You have much of me in you, Kit, despite your poor dear mother's extravagant attempts to limit your reading to Frances Ridley Havergal. Why didn't you marry an artist, eh? A painter or an author, somebody who can give us more beauty than we have already, or more truth? You're too good for Frances Ridley Havergal. Leave her to your mother and that girl, Jenny, who is like wax in your mother's hands and the hands of the Rev. Father Grimshaw. Piff!"

Catherine said nothing, but she sought an opportunity of seeing something of Jenny. She found it, just before the day on which she and Mark were to leave London for their country house. Jenny had come as usual one morning, to read aloud to Mrs. Ardagh. They were just then deep in the "Memoirs" of a certain pious divine, whose chief claim upon the attention and gratitude of posterity seemed to be that, during a very long career, he had "confessed" more Anglican notabilities than any of his rivals, and had used up, in his church, an amount of incense that would have put a Roman Catholic priest to shame. On the morning in question the reading was interrupted. Mrs. Ardagh was called away to consult with a lay-worker in the slums upon some scheme for reclaiming the submerged masses, and Catherine, running in to her mother's boudoir after a walk with Mark, found the tall, narrow-shouldered girl with the oriental eyes sitting alone with the apostolic memoirs lying open upon her knees. Catherine was not sorry. She took off her fur coat and sat down.

"What are you and my mother reading, Miss Levita?" she asked.

Jenny told her.

"Is it interesting?"

"I suppose it ought to be," Jenny answered, thoughtlessly.

Then a flush ran over her thin cheeks, on which there were a great many little freckles.

"I mean that it is very interesting," she added. "Your mother will tell you so, Mrs. Sirrett."

"Perhaps. But I was asking your opinion."

It struck Catherine that Jenny had her opinion and was scarcely as compliant as Mr. Ardagh evidently supposed her to be. At Catherine's last remark Jenny glanced up. The two girls looked into each other's eyes, and, in Jenny's, Catherine thought she saw a flickering defiance.

"I was asking your opinion," she repeated.

"Well, Mrs. Sirrett," Jenny said, more hardily, "I don't know why it is. I admire and love goodness, yes, as your mother—who's a saint, I think—does. But I'll tell you frankly that I think it's often very dull to read about. Don't you think so?"

She blushed again, and let the heavy white lids droop over her eyes, which had glittered almost like the eyes of a fever patient while she was speaking.

"Only when dull people write about it, surely," said Catherine.

"I don't know," Jenny said, twisting her black stuff dress with nervous fingers. "I often think that in the books of the cleverest authors there are dull moments, and that those dull moments are nearly always when the good, the really excellent, characters are being written about."

"And in real life, Miss Levita?" asked Catherine. "Do you find the good people duller, less interesting, than the bad ones in real life?"

"I haven't known many very bad ones, Mrs. Sirrett."

"Well—but those you have known!"

Jenny hesitated. She was obviously embarrassed. She even shifted, like an awkward child, in her chair. But there was something of obstinate honesty in her that would have its way.

"If you must know,—I mean, if you care to know, please," she said at length, "the most interesting person I ever met was—yes, I suppose he was a wicked man."

Her curious, sharp-featured, yet attractive, face was hot all over as she finished. Catherine divined at once that she was speaking of the person who, according to Mrs. Ardagh, had wished "to lead her to the devil." At this moment, while the two girls were silent, Mrs. Ardagh returned to the room. As Catherine left it she heard the soft and high voice of Jenny taking up once more the parable of the highly-honoured divine.

Catherine was not altogether sorry when she and her husband left Eaton Square for the house in Surrey which Mark had rented for the summer months.

In this house the young couple were to face for the first time the reality of married life. Hitherto they had only faced its romance.

The house was beautiful in an old-fashioned way. Its rooms were low and rather dark. A wood stood round it. The garden was a wild clearing, fringed with enormous clumps of rhododendron. Wood doves cooed in the trees like invisible lovers unable to cease from gushing. Under the trees ferns grew in masses. Squirrels swarmed, and in the huge rhododendron flowers the bees lost themselves in an ecstasy of sipping sensuality. It was a fine summer, and this house was made to be a summer house. In winter it must have been but a dreary hermitage.

The servants greeted them respectfully. The horses neighed in the stables. The dogs barked, and leaped up in welcome, then, when they were noticed and patted, depressed their backs in joyous humility, and, lifting their flexible lips, grinned amorously, glancing sideways from the hands that they desired. It was an eminently unvulgar, and ought to have been a very sweet, home-coming.

But was it sweet to Catherine?

She asked herself that question, and the fact that she did so proved that it was not wholly sweet. Already the future oppressed her. In this house, which seemed full of the smell of the country, of the very odour of peace, she felt that the stranger, the second Mark—scarcely known to her as yet—was to be born, was to gain strength and grow. She feared him. She watched for him. But, for the first few days, he did not show himself. The grasshoppers chirped and revelled in the grass. Mark and Catherine sat in the wood, wandered on the hills, rode in the valleys, cooed a little even, like the doves hidden in the green shadows of the glades, and making ceaseless music. The lovers—for they were still lovers at this time—made a gay dreamland for themselves. But dreams cannot and ought not to last. If they did they would become painfully enervating. One day, in the wood, Mark resumed the conversation of the Pavilion.

"Because I am rich I must not be idle, Kitty," he said.

And into his dark eyes there crept that look of the stranger man.

"Thank God that I am rich," he added.

"Why, Mark dear?"

"Because I can dare to do what sort of work I choose," he answered. "The pot boils without my labour. So I am independent of the public, whom I will win in my own way. If I have to wait it will not matter."

And then, speaking with growing enthusiasm, he gave Kitty a sketch of a book he had projected. The doves cooed all through the plot, which was a sad and terrible one, very uncommon and very unlike Mark. Catherine listened to it with, alternately, the mind of her father and the mind of her mother. It was the old antagonism of the Puritan and the pagan. But now it raged in one person instead of in two, as the girl sat under the soft darkness of the trees, listening to the eager voice of her boy husband, who was beginning at last to cast the skin of his reserve. The voice went on and on, interrupted only by the doves. But sometimes Catherine felt as if she leaned upon the painted railing of the Pavilion, and heard the distant cries of the golden City. At last Mark said,

"Kitty, that is what I mean to do."

"It is terrible," she said.

And she pursed her lips like her mother.

"Yes," Mark answered, with enthusiasm. "It is terrible. It is ghastly."

Catherine looked at him with an intense and growing surprise. She was wondering how the conception of such horrors could take place in a man so gay as Mark.

At last she said,

"Mark, you feel your own power, do you not?"

"Kitty," he replied quietly, almost modestly, yet with a firm gravity that was strong, "I do feel that I have something to say and that I shall be able to say it in my book. I have waited a long while. Now I believe that I am ready, that it is time for me to begin."

"Then, Mark, if you feel that you have this power, don't you feel a desire to conquer the greatest difficulties in your art, to show that you can succeed where others have failed?"

He looked at her curiously, realising that she had something to say to him, and that she was trying to prepare the way before it.

"Come, Kitty," he said. "Say what you wish to say. You have the right. What is it?"

Catherine told him of her conversation with Jenny.

"That little thin girl," he said. "So she thinks wickedness more interesting, more many-sided than virtue, more dramatic in its possibilities. Well, she and I are agreed. But what was it you wanted?"

"Mark, I want you to prove to her—to everyone—that it is not so."

"How?"

"By writing a different kind of book—a noble book. You can do it. Where others have failed, you can succeed."

He laughed at her, gaily.

"Perhaps, some day, I'll try," he said. "But I can only write at present what I have conceived. Till this book is done, I can think of nothing else. I see you are interested, Kitty. I must tell you all I am intending to do."

He continued, until it was quite evening, expatiating on the force with which he intended to realise in literature the terrors that trooped in his imagination. And by the time he had finished and darkness stood under the trees, Catherine was carried away by the pagan spirit. She thought no more of the possible harm the projected book might work in sensitive natures. She thought only of its power, which she acclaimed.

Mark kissed her with a solemnity of passion he had never shown before, and they went back to the house.

It was an immense relief to Mark to open his book of revelation and to allow Catherine to read these pages in it. But he could not be continuously unreserved to any human being. And that evening he subsided into his former light-hearted gaiety, and shrouded the stranger man in an impenetrable veil. Catherine sat with him in wonderment, while the moon came up behind the trees and shone over the clearing before the house. She did not yet understand the inflexible secrecies of genius. A nightingale sang. Its voice was so sweet that Catherine felt as if the whole world were full of tenderness and of sympathy. She said so to Mark, just as she was turning from him to go to bed.

"Ah, Kitty," he said, "there are other things in the world besides tenderness and sympathy, thank Heaven. There are terrors, there are crimes, there are strange and fearful things both within us and outside of us."

"How sad that is, Mark!" said Catherine.

He smiled at her gaily—cruelly, she thought a moment afterwards when she was alone in her bedroom.

"Sad?" he said. "I don't think so, for I love drama. Life is dramatic. If it were not it would be intolerable."

And still the nightingale sang. But he did not hear it. Catherine heard it till she fell asleep.

Now Mark began to write with assiduity. Catherine busied herself with her household duties, with the garden and with charities in the neighbouring Parish. Her mother's rather hysterical beliefs lost their hysteria in her, at this period, and were softened and rendered large hearted. Catherine's sympathy with the world was indeed a living thing, not simply a fine idea. While Mark was shut up every morning with his writing she visited the poor, sat by the sick, and played with the village children. The Parish—this came out forcibly at her trial,—grew to love her. She was the prettiest Lady Bountiful. The impress made upon her by her mother was visible in all this. For Mrs. Ardagh, rigid, melancholy as she was sometimes, was genuinely charitable, genuinely dutiful. If she adored the forms of religion she loved also its essence,—the doing of good. In these many mornings Catherine was like her mother—improved. But in the evenings she no longer resembled Mrs. Ardagh, but rather, in a degree, echoed her father, and responded to his vehement, if furtive, teachings. For in the evenings Mark read to her what he had written during the day and discussed it with her in all its bearings. He recognised the clear quickness of Catherine's intellect. Yet she very soon noticed that he was exceedingly inflexible with regard to his work. He liked to discuss, he did not like to alter, it.

One night, when he had finished the last completed chapter, he laid down the manuscript and said,

"Well, Kitty?"

Catherine was lying on a couch near the open French window. She did not speak until Mark repeated,

"Well?"

Then she said,

"I think that far the finest chapter of your book——"

Mark smiled triumphantly.

"But it seems to me terribly immoral," she finished.

"Oh, that's all right, dear. So long as it is properly worked out, inevitable."

"It teaches——"

"Nothing, Kitty—nothing. It merely describes what is."

"But surely it may do harm."

"Not if it is truly artistic. And you think——"

"It that? Yes, I do. But, Mark, art is not all."

"Your father would say so."

"My father—yes."

"And he is right. I neither inculcate nor do I condemn. I only produce, or try to produce, a work of art. You admire the chapter? You think it truly dramatic?"

"Indeed I do—that's just why I am afraid of it."

"Little timorous bird."

He came over to the sofa and kissed her tenderly. She shivered. She thought his lips had never been dry and cold like that before.

The book was finished by the end of the summer. It was published in November and created a considerable sensation. Mark issued it under the name of "William Foster." Only Catherine and his friend Frederic Berrand knew who William Foster really was. The newspapers praised the workmanship of the book almost universally. But many of them severely condemned it as dangerous, morbidly imaginative, horrible in subject, and likely to do great mischief because of its undoubted power and charm. It was forbidden at some libraries.

Mark was delighted with its reception. Now, that he had brought forth his child, he seemed more light-hearted, gay and boyish than ever. His too vivid imagination had been toiling. It rested now. Catherine and he came up to town for the winter. They meant to spend only their summers in Surrey. They took a house in Chester Street, and often dined with the Ardaghs in Eaton Square. At one of these dinners Jenny Levita was present. Mark, remembering what Catherine had told him about her in Surrey, looked at her with some interest, and talked to her a little in his most light-hearted way. She replied briefly and without much apparent animation, seeming indeed rather absent-minded and distraite. Presently Mr. Ardagh said,

"This new man, William Foster, is that very rare thing in England—a pitiless artist. He has the audacity of genius and the fine impersonality."

Catherine started and flushed violently. As she did so she saw Jenny's long dark eyes fixed earnestly upon her. Mark smiled slightly. Mrs. Ardagh looked pained.

"His book is doing frightful harm, I am sure," she said.

"Nonsense, my dear," said her husband. "Nothing so absolutely right, so absolutely artistic, can do harm."

An obstinate expression came into Mrs. Ardagh's face, but she said nothing. Catherine looked down at her plate. She felt as if small needles were pricking her all over.

"Have you read the book?" said Mr. Ardagh to his wife.

"Yes," she replied. "It was recommended to me, I began it not knowing what sort of book it was."

"And did you finish it?" asked her husband, with rather a satirical smile.

"Yes. I confess I could not leave off reading it. That is why it is so dangerous. It is both powerful and evil."

Then the subject dropped. Mark was still smiling quietly, but Catherine's face was grave. When she and her mother and Jenny went up into the drawing-room, leaving the men to their cigarettes, Catherine recurred to the subject of "William Foster's" book.

"Do you really think that a novel can do serious harm, mother?" she began. "After all, it is only a work of the imagination. Surely people read it and forget it, as they would not forget an actual fact."

Mrs. Ardagh sighed wearily. She was a pale woman with feverish eyes. The expression in them grew almost fierce as she answered,

"It is the black imagination of this William Foster that will come like a suffocating cloud upon the imaginations of others, especially of——" She suddenly broke off. Catherine, wondering why, glanced up at her mother and saw that she was looking towards the far end of the big drawing-room. Jenny was sitting there, under a shaded lamp. She had some work in her hands but her hands were still. Her head was turned away, but her attitude, the curve of her soft, long, white throat, the absolute immobility of her thin body betrayed the fact that she was listening attentively.

"I would not let that child read William Foster's book for the world," Mrs. Ardagh whispered to Catherine.

Then she changed the subject, and spoke of some charity that she was interested in at the East End of London. Jenny's hands instantly began to move about her embroidery.

That night Catherine spoke to Mark of what her mother had said.

He only laughed.

"I cannot write for any one person, Kitty," he said, "or if I do it must be——"

"For whom?" she asked quickly.

"Myself," he replied.

Catherine slept very badly that night. She was thinking of William Foster and of Mark. They seemed to her two different men. And she had married—which?

Mark did no work in London. He knew too many people, he said, and besides, he wanted to rest. Catherine and he went out a great deal into society. At Christmas they ran over to Paris and spent three weeks there. During this holiday William Foster, it almost seemed, had ceased to exist. Mark Sirrett was light-hearted, gay, and the kindest, most thoughtful husband in the world. When they came back to London, Catherine went at once to see her mother. Mr. Ardagh had gone to the Riviera and Catherine found Mrs. Ardagh quite alone in the big house in Eaton Square.

"Why, where is Jenny Levita?" she asked.

Mrs. Ardagh made no reply for a moment. Her face, which was rather straw-colour than white, worked grotesquely as if under the influence of some strong emotion that she was trying to suppress. At length she said, in a chill, husky voice,

"Jenny has left me."

"Left you—why?"

"She was taken away from me. She was taken back to the sin from which I hoped I had rescued her."

"Oh, mother! By whom?"

Mrs. Ardagh put her handkerchief to her eyes.

"William Foster," she answered.

Catherine felt cold and numb.

"William Foster—I don't understand," she said slowly.

Mrs. Ardagh rolled and unrolled her handkerchief with trembling fingers.

"She got hold of that book—that black, wicked book," she said, and there was a sort of fury in her voice. "It upset her faith. It tarnished her moral sense. It reminded her of the—the man from whose influence I had drawn her. All her imagination was set in a flame by that hateful chapter."

"Which one?" Catherine asked.

Mrs. Ardagh mentioned the chapter which Catherine had most hated, most admired, and most feared.

"I fought with William Foster for Jenny's soul," she said, passionately. "But I am not clever. I have no power. I am getting old and tired. She cried. She said she loved me, but that goodness was not for her, that she must go, that life was calling her, that she must live—live! William Foster had shown her death and she thought it life. I always knew that in Jenny good and evil were fighting, that her fate was trembling in the balance. That book turned the scale."

She sobbed heavily, then with a catch of her breath, she added,

"William Foster is a very wicked man."

Catherine flushed all over her face. But she said nothing. That night she told Mark of Jenny's fate. She expected him to be grieved. But he was not.

"An author who respects his art cannot consider every hysterical girl while he is writing," he said. "And, besides, it is only your mother's idea that she was influenced by my book. Long ago she showed you the bent of her mind."

"But, Mark, don't you remember how that chapter struck me when you first read it to me?"

"I remember that you thought it the finest chapter in the book, and you were right, Kitty. You've got artistic discernment, like your father. Berrand and you would get on together. Directly he comes back I'll introduce you to each other."

Catherine said no more. From that time she devoted herself more than ever to her mother, who now, under the influence of sorrow, allowed her nature to come to its full flower. Abandoning the pleasures of society, which had long wearied her, she gave herself up to services, charities and good works in the poor parts of London. She carried Catherine with her on many of her expeditions, and there can be no doubt that her fervour and curious exaltation had a marked effect upon the girl. Catherine had always been highly susceptible to influence, but she had been during most of her life attacked perpetually by two absolutely opposite influences. Now one of these, her father's, was removed from her. She came more than ever before under her mother's domination. For Mark, when he was not "William Foster," was simply a high-spirited and happy youth, full of energy and of apparently normal desires and intentions. He had that sort of genius which can be long asleep in the dark, while its possessor dances, like a mote, in sunshine.

In the spring the Sirretts made ready to leave London. As the day drew near for their departure Mark's manner changed, and he displayed symptoms of restlessness and of impatience. Catherine noticed them and asked their reason.

"I am longing to return to 'William Foster,' Kitty," he said.

She felt a sharp pain at her heart, but she only smiled and replied,

"I almost thought you had forgotten him."

"On the contrary, I have been preparing to meet him again all these months."

His dark eyes shone as he spoke. And once again that stranger stood before Catherine. She turned and went upstairs, saying that she must see to her packing. But when she was alone in her bedroom she shed some tears. That afternoon she went to Eaton Square to bid her mother good-bye. Mrs. Ardagh was looking unhappy.

"Your father returns from Italy on Wednesday," she said. "You'll just miss him."

"I am so sorry, mother," Catherine said.

Mrs. Ardagh looked at her in silence for a moment. Then she said in a low voice,

"I am not."

"Mother—but why?"

"I think you are better away from him. My heart tells me so. Oh, Kitty, I thank God every day of my life that Mark is—is such a good fellow, without those terrible ideas and theories of your poor father. You cannot think what I suffer."

It was the first time she had ever spoken so plainly on the subject, and even now she quickly changed to another topic. Mark had never introduced poor Mrs. Ardagh to "William Foster." And Catherine would not add another burden to those she already had to bear.

Surrey was looking very lovely in the spring weather. The trees were just beginning to let out the tips of their green secrets. The ground was dashed with blue and with yellow, where bloomed those flowers that are the sweetest of the year because they come the first, and whisper wonderful promises in the ears of all who love them. There had been some rain and the grass of lawns and hillsides was exquisite in the startling freshness of its vivid colour. Nature seemed uneasy with delight, like a child on a birthday morning. The tender beauty of everything around her reassured Catherine, who had come from town in a mood of strange apprehension. As she looked at the expectant woods awaiting their lovely costume in fragile nudity, at the violets that seemed to sing in odours, at that pale and shallow sky which is a herald of the deeper skies to come, it seemed to her impossible that Mark, who could be so blithe, so radiant, could turn to dark imaginings in such an atmosphere of exquisite enterprise. She was filled with hope and with a species of religious optimism. Some days passed, Catherine and Mark spent them in a renewal of friendship with their domain. They were like two children and were gayer than the spring. Then one evening Mark said,

"And now, Kitty, I am going to start work again. Berrand has written that he will be in England next week and will come on here at once. But he won't disturb me. And my scheme is ready."

Catherine felt the breath fluttering in her throat as she murmured,

"Your scheme is ready?"

"Yes. It's a great one. Berrand thinks so. I have written something of it to him. I am going to trace the downfall of a nature from nobility to utter degradation."

His eyes sparkled with enthusiasm, as he repeated in thrilling tones,

"Utter degradation."

Catherine thought of the spring night, in which such holy preparations for joy were silently being carried on, of all the youthful things just coming into life. An inspiration came to her. She caught her husband's hand and drew him to the window.

"Pull up the blind, Mark," she said.

He obeyed, smiling at her as if in wonder at this freak.

"Now open the window."

"Yes, dear. There! What next?"

In front of the window there was a riband of pavement protected by an overhanging section of roof. Catherine stepped out on this pavement. Mark followed her. They stood together facing the spring night. There was no moon, but the sky was clear and starlit. Nature seemed breathing quietly, like a thing alive but asleep. The surrounding woods were a dusky wall. The clearing was a vague sea of dew. And the air was full of that wonderful scent that all things seem to have in spring. It is like the perfume of life, of life that God has consecrated, of life that might have been in Eden. It is odorous with hope. It stings and embraces. It stirs the imagination to magic. It stirs the heart to tears. For it is ineffably beautiful and expectant.

"How delicious!" Mark said.

Catherine's hand tightened on his arm.

"The trees are talking," he said. "That damp scent comes from their roots, and the flowers and grasses round them."

He drew in his breath with a gasp of pleasure.

"Yes?" Catherine said.

He bent down and touched the lawn with his hand.

"What a dew! Look, Kitty, there goes a rabbit!"

A hunched shadow suddenly flattened and vanished.

"Little beggar! He's gone into the wood. What a jolly time he and his relations must have."

"Yes, Mark. Isn't the night happy, and the spring?"

He drew in his breath again.

"Yes."

"Mark!"

"Well, dear?"

"Mark—don't write this book."

Mark started slightly with surprise.

"Kitty! what are you saying?"

"Write a happy book."

"My dear babe—how uninteresting!"

"Write a good book, a book to make people better and happier."

"A book with a purpose! No, Kitty."

"Well then, a spring book. This night isn't a night with a purpose, because it's lovely."

He laughed quite gaily.

"Humorist! Why did you bring me out into it?"

"To influence you against that book."

He was silent.

"Are you angry, Mark?"

"No, dear."

"Will you do what I ask?"

"No, Kitty."

He spoke very quietly and gently, then changed the subject, talked of the coming summer, the garden, prospective pleasures. But he talked no more of his work. Next day he shut himself up in his study, and thenceforward his life became a repetition of his life during the previous summer. A fortnight later Frederic Berrand arrived.

Catherine had long felt an eager desire to see this one intimate friend of Mark's. She expected him to be no ordinary man, and she was not mistaken. Berrand was much older than Mark. He looked about forty. He was thin, sallow, eager in manner, with shining eyes—almost toad-like—a yellowish-white complexion, and coal-black hair. His vivacity was un-English, yet at the back of his nature there lay surely a stagnant reservoir of melancholy. He was a pessimist, full of ardour. He revelled, intellectually, in the sorrows and in the evils that afflict the world.

It was easy to see that he had a great influence over Mark. And it was easy to see also that the dismal genius of "William Foster" appealed to all the peculiarities of his nature with intense force. He was at once on friendly terms with Catherine, to whom he spoke openly of his admiration of her husband.

"Mrs. Sirrett," he said one evening, when Mark was working—he had taken to working at night now as well as in the morning—"your husband will do great things. He will found a school. The young men will be captivated by his sombre genius, and we shall have less of the thoughtless rubbish that the journalist loves and calls sane, healthy, and all the rest of it."

"But surely sanity and health——"

"My dear Mrs. Sirrett, we want originality and imagination."

"Yes, indeed. But can't they be sane and healthy?"

"Was Gautier healthy when he wrote of the Priest and of the Vampire? This book Mark is writing will be awful in its intensity. It will make the world turn cold. It is terrible. People will shudder at it."

He walked about the room enthusiastically.

"And its terror is the true terror—mental. How the papers will hate it, and how every one will read it!"

"May it—may it not do a great deal of harm?" said Catherine, slowly.

"What if it does? Nothing can prevent it from being a great book."

And he broke out into a dissertation on art that would have delighted Mr. Ardagh.

Catherine listened to him in silence, but when he had finished she said,

"But you are one-sided, Mr. Berrand."

"I!" he cried. "How so?"

"You see only the horrible in life, even in love. You care only for the horrible in art."

"The truth is more often horrible than not," he answered. "We dress it in pink paper as we dress a burning lamp. We fear its light will hurt our weak eyes. Almost all the pretty theories of future states, happy hunting grounds, and so forth, almost all the fallacies of life to which we are inclined to cling, are only pink paper shades which we make to save ourselves from blinking at the light."

"You call it light?" she said.

And she felt a profound pity for him. There was no need of that. Berrand was one of those strange men who are happy in the contemplation of misery.

While Berrand was staying with the Sirretts, Mrs. Ardagh came to them on a visit. She was now in very poor health, and her mind was greatly set, in consequence, on that other world of which the healthy scarcely think, unless they wake at night or lose a near relation unexpectedly. Mr. Berrand immediately horrified her. Of course he did not speak of "William Foster." "William Foster's" existence in the house was a secret. But he freely aired his sentiments on all other subjects, and each sentiment went like a sword through Mrs. Ardagh's soul.

"How can Mark make a friend of such a man," she said to Catherine. "Like your father, he has no religious belief. He worships art instead of God. He loves, he positively loves, the evil of the world. Such men are a curse. They go to people hell."

Her feverish eyes glowed with fanaticism.

"Oh, mother!" said Catherine, thinking of "William Foster."

"They do not care to do good, they do not fear to do harm," continued Mrs. Ardagh. "Why are they not cut off?"

She made her daughter kneel down with her and pray against such men.

Then they went down to dinner, and dined with "William Foster."

Catherine felt like one in a fever. She knew that her mother had an exaggerated mind. Nevertheless, she was deeply moved by it, recognising that it exaggerated truth, not a lie.

At dinner Mrs. Ardagh, by some ill-chance, was led to mention "William Foster's" book. Mark raised gay eyebrows at Berrand and Catherine grew hot. For Mrs. Ardagh denounced the author as she had denounced him in London, but with more excitement.

"I trust," she said, "that he will never live to write another."

Catherine felt as if a knife were thrust into her breast, and even Mark started slightly and looked almost uneasy, as if he fancied that the force of Mrs. Ardagh's desire might accomplish its fulfilment. Only Berrand was undismayed. There was a devil of mischief in him. His eyes of a toad gleamed as he said, turning to Mrs. Ardagh,

"I happen to know that 'William Foster' is writing another book at this very time."

Catherine bent her eyes on her plate. She was tingling with nervous excitement.

"Do you know him, then?" said Mrs. Ardagh, in her fervid, and yet dreary, voice.

"Slightly."

"Then tell him of the dreadful harm he has done."

"What harm?"

Mrs. Ardagh spoke of Jenny Levita. It seemed that she had now fallen into an evil way of life.

"But why should you attribute the folly of a weak girl to William Foster's influence?" said Berrand.

"Her soul was trembling in the balance," said Mrs. Ardagh, striking her thin hand excitedly on the table. "That book turned the scale. She went down. Tell him of her, Mr. Berrand, tell him of the ruin of that poor child. It may influence him."

"I'm afraid not," said Berrand, with a glance at Mark. "William Foster is an artist."

"It is terrible that he should be permitted to work such evil," said Mrs. Ardagh.

During that summer a vague and hollow darkness seemed to brood round the life of Catherine. It stood behind the glory of the golden days. She felt night even at noontide, and a damp mist floated mysteriously to her out of the very heart of the sun. Yet she had some happy, or at least some feverishly excited, moments, for Berrand was generally staying with them, and Catherine—abnormally sensitive as she always was to her undoing,—came under his curious influence and caught some of his enthusiasm for the talent of "William Foster."

Once again Mark began to speak to her of his work, to read parts of it aloud to both his companions. And there were evenings when Catherine, carried away by the intellectual joy of the two men, exulted with them in the horrible fascination of the book and in the intensity of its dramatic force. But, when these moments were over, and she was gone, she brooded darkly over her mother's words. For she knew that the book was evil. Like a snake it carried poison with it, and, presently, it was going to carry that poison out from this house in the woods, out into the world. Ah! the poor world, on which a thousand things preyed, in which a thousand snakes set their poisoned fangs!

And then she wept. Mark and Berrand were eagerly talking of the snake, praising its lustrous skin, marvelling at its jewelled eyes, foretelling its lithe progress through Society. She heard the murmur of their voices until far into the night. And sometimes she thought that distant murmur sounded like the hum of evil, or like the furtive whisper of conspirators.

Berrand did not leave them until the new book was nearly finished. As he pressed Catherine's hand in farewell he said,

"You will have a sensational autumn, Mrs. Sirrett."

"Sensational. Why?" she asked.

"London will ring with William Foster's name. My word how the Journalists will curse! They protect the morality of the nation you know—on paper."

He was gone. As the carriage drove away Catherine saw his beautiful, and yet rather dreadful, eyes gleaming with mischievous excitement. Suddenly she felt heavy-hearted. Those last words of his cleared away any mist of doubt that lingered about her own terror. She recognised fully for the first time the essential difference between Mark and Berrand. Mark was really possessed by the spirit of the artist, was driven by something strange and dominating within him to do what he did. Berrand was possessed by a spirit of mischievous devilry, by the poor and degrading desire to shock and startle the world at whatever cost. For the moment Catherine mentally saw Mark in a light of nobility; Berrand in a darkness of degradation.

Yet—this thought followed in a moment,—Berrand was harmless to the world, while Mark—

"Kitty, come in here," called her husband's voice from the study. "I want to consult you about this last chapter."

In the Autumn "William Foster's" new book was issued by an "advanced" publisher, who loved to hear his wares called dangerous, and who walked on air when the reviewers said that such men as he were a curse to Society—as they occasionally did when there was nothing special to write about.

In the autumn also Mrs. Ardagh's illness grew worse and it appeared that she could not live much longer. Catherine was terribly grieved, and was for a time so much engaged with her mother that she scarcely heeded what was going on in the world around. Incessantly immured in the sick-room she did not trace the progress of the snake through Society until—as Berrand had foretold—the cries of the Journalists rose to Heaven like cries from a burning city. "William Foster" was held up to execration so universal that his book could hardly be printed in sufficient quantities to satisfy the demands of a public frantically eager to be harmed. In her sick-room Mrs. Ardagh, now not far from death, yet still religiously interested in the well-being of the world she was leaving, heard the echoes of the journalistic cries. Some friend, perhaps, conveyed them. For Catherine was silent on the matter, keeping a silence of fear and of shame. And these echoes stayed with the dying woman, as stay the voices in the hills.

One night, when Catherine came into her mother's room, Mrs. Ardagh was crying feebly. On the sheet of the bed lay a letter which she had crumpled in her pale hands and then tried, vainly, to fling away from her. Catherine leaned over the bed.

"What is it, mother?" she said. "You are not in pain?"

Mrs. Ardagh shifted in the bed. There was a suggestion of almost intolerable uneasiness in the movement.

"I am in pain, horrible pain," she answered. "No—no," as Catherine was about to ring for the nurse, "not in the body—not that."

Catherine sat down by the bed and clasped her mother's hot hand.

"What is it?" she whispered.

Mrs. Ardagh was silent for a moment. She blinked her heavy eyelids to stop the tears from falling on her wasted cheeks. At length she said,

"William Foster has done more evil."

Catherine did not speak. Her heart beat irregularly, and then seemed to stop, and then beat with unnatural force again.

"Catherine," her mother continued, "Jenny is utterly lost."

"No, mother, no!" Catherine said. "I will go to her. Let me go. I will rescue her. I will make her see——"

"Hush—you can't. She is dead and she died in shame."

She paused. Catherine did not speak.

"And now," Mrs. Ardagh continued feebly, "that man is spreading the net for others. Do you know, Catherine, I often pray for him?"

"Do you, mother?"

"Yes. He has great powers. I never let your father know it, but that first book of his made an impression upon me that has never faded. That's why I think of him even now—that and the fate of poor Jenny."

She lifted herself up a little in the bed.

"His last book, I am told, is much more terrible, much more deadly than the first."

"Is it?"

"You haven't read it?"

Catherine hesitated a moment, then she said,

"I know something about it."

Mrs. Ardagh lay still for a while, as if thinking. Presently she said,

"Catherine, such an odd, foolish idea keeps coming to me."

"What is it, mother?"

"That I should like to see 'William Foster' and—and try to make him understand what he is doing. Perhaps he doesn't know, doesn't realise. God often lets the devil blind us, you know. If I told him about Jenny, told him all about her, he might see—he might understand. Don't you think so?"

Catherine was holding her mother's hand. She pressed it vehemently.

"Oh, mother, perhaps he might!"

Mrs. Ardagh sat up still more among her pillows.

"You don't think it's a silly fancy?"

"I don't know. I wonder."

Catherine was crying quietly.

"It keeps coming," said Mrs. Ardagh, "as if God sent it to me. What can I do? How can I send to William Foster? I don't know where he is. Could that Mr. Berrand——?"

"Mother," Catherine said. "Leave it to me, I will bring William Foster to you."

She was trembling. But the invalid, exhausted with the excitement of the conversation, was growing drowsy. She sank down again in her pillows.

"Yes," she murmured. "I—might—tell—him—William Foster."

She slept heavily.

"Mark," Catherine said to her husband the next day. "Mother is dying. She can only live a very few days."

"Oh, Kitty! How grieved I am!"

His face was full of the most tender sympathy. He took her hand gently and kissed her.

"My Kitty, how will you bear this great sorrow?"

"Mark," Catherine said, and her voice sounded curiously strained. "Mother wants very much to see you, before she dies. She has something to say to you. I think she cares more about seeing you than about anything else in the world."

Mark looked surprised.

"I will go to her at once," he said. "What can it be? Ah, it must be something about you."

"No, I don't think so."

"What then?"

"She will tell you, Mark. It is better she should tell you herself."

"I will go to her then. I will go now."

"Wait a moment"—Catherine was very pale—"Promise me, Mark, that you won't—you won't be angry if—if mother—you will——"

She stopped. Her emotion was painful. Mark was more and more puzzled.

"Angry with your mother? At such a time!" he said.

"No—you wouldn't. I am upset. I am foolish. Let me go first to tell her you are coming. Follow me in a few minutes."

She went out leaving her husband amazed. When she arrived in Eaton Square Mr. Ardagh met her in the hall.

"She is worse," he said. "Much worse. The end cannot be far off."

"The beginning," Catherine said, looking him straight in the eyes.

He understood then which parental spirit had conquered the spirit of the child, and he smiled—sadly or gladly? He hardly knew. So strangely does death play with us all. Catherine went upstairs into her mother's room, which was dim and very hot. She shut the door, sent away the nurse, and went up to the bedside.

"Mother," she said, "William Foster is coming. Do you feel that you can see him?"

Mrs. Ardagh was perfectly conscious, although so near death.

"Yes," she said. "God means me to give him a message—God means me."

She lay silent; Catherine sat by her. Presently she spoke again.

"I shall convince him," she said quietly. "That is meant. If I did not God would strike him down. He would be cut off. But I shall make him know himself."

And then she repeated, with a sort of feeble but intense conviction,

"If I did not God would strike him down—yes—yes."

Something—perhaps the fact that her mother was so near death, so close to that great secret,—made her words, faltering though they were, go home to Catherine with the most extraordinary poignancy, as words had never gone before. She felt that it was true, that there was no alternative. Either Mark must be convinced now, by this bedside, in this hot, dark room from which a soul was passing, or he would, by some accident, by some sudden means, be swept away from the world that he was injuring, that he was poisoning.

Mrs. Ardagh seemed to grow more feeble with every moment that passed. And suddenly a great fear overtook Catherine, the dread that Mark would come too late, and then—God's other means! She trembled, and strained her ears to catch the sound of wheels. Mrs. Ardagh now seemed to be sinking into sleep—Catherine strove to rouse her. She stirred and said, "What is it?" in a voice that sounded peevish.

Just then there was a gentle tap on the door. Catherine sprang up, and hastened to it with a fast beating heart. Mr. Ardagh stood there.

"How is she?" he whispered.

"I think she is not in pain. She is just resting. Has Mark come?"

"No."

"Please send him up directly he comes."

She spoke with a hushed, but with an intense, excitement.

"I want him to—to say good-bye to her," she added.

Mr. Ardagh nodded, and went softly downstairs.

"Is that he—is that William Foster?" said Mrs. Ardagh feebly from the bed.

"No, mother. But he will be here directly."

"I'm very tired," said the sick woman in reply. And again her thin voice sounded irritable.

Catherine sat down by her and held her hand tightly, as if that grasp could keep her in this life. A few minutes passed. Then there was the sound of a cab in the Square. It ceased in front of the house. Catherine could scarcely breathe. She bent down to the dying woman.

"Mother!"

"Well?"

"Mother, he has come—but I want to tell you something—are you listening?"

"Move the pillow."

Catherine did so.

"Mother, I want to tell you. William Foster is——"

The bedroom door opened and Mark entered softly. Catherine stood up, still holding her mother's hand, which was now very cold. Mark came to the bed on tiptoe.

"Mother," Catherine said, "William Foster"—Mark started—"is here. Tell him—tell him."

There was no reply from the bed.

"Kitty," Mark whispered, "what is this?"

"Hush!" she said. "Mother—mother, don't you hear me?"

Again there was no reply. Then Catherine bent down and cast a hard, staring glance of enquiry on her mother.

Mrs. Ardagh was dead.

Catherine looked up at Mark.

"God's other means," she thought.

The death of her mother left a strong and terrible impression upon Catherine. She brooded over it continually and over Mrs. Ardagh's last words. The last words of the dying often dwell in the memories of the living. Faltering, feeble, sometimes apparently inconsequent, they appear nevertheless prophetic, touched with the dignity of Eternal truths. Lives have been moulded by such last words. Natures have been diverted into new and curious paths. So it was now. For the future Mr. Ardagh's influence had no force over his daughter. An influence from the grave dominated her. Mr. Ardagh recognised the fact, shrugged his shoulders and travelled. His philosophy taught him to accept the inevitable with the fortitude of the Stoic. From henceforward the Sirretts saw little of him. As to Mark, with his habitual tenderness he set about consoling his wife for her loss. He was kindness itself. Catherine seemed grateful, was indeed grateful to him. Nevertheless, after the death of Mrs. Ardagh, something seemed to stand between her and her husband, dividing them. Mark did not know what this was. For some time he was unconscious of this thin veil dropped between them. Even when he became aware of it he could not tell why it was there. He strove to put it aside, but in vain. Then he strove not to see it, not to think of it. He forgot it in his work. But Catherine always knew what set her apart from her husband. It was that influence from the grave. It was the memory of her mother's last words. She recognised them from the first, blindly, as words of prophecy. Yet the days went by. "William Foster" sat in his study in the Surrey home once more, while the spring grew, imitative of last year's spring. And there was no sign from God. Catherine never doubted that the dying woman had been inspired. She never doubted that "William Foster" would be stayed, however tragically, from working fresh evil in the world. Indeed she waited, as one assured of some particular future, breathless in expectation of its approach. Sometimes she strove to picture precisely what it might be, and, fancifully, she set two men before her—Mark and "William Foster." Even in real life they seemed two different men. Why not in the life of the imagination? And that was sweeter, for then she could look forward to the one standing fast, to the other being stricken. Might not his genius die in a man while the man lived on? There had been instances of men who had written one or two brilliant books and had seemed to exhaust themselves in that effort. And she dreamed of her husband's gift being stolen from him—divinely—of the stranger being slain. Yet this dreaming was idle and fantastic, the image which greets closed eyes. For Mark's energy and enthusiasm were growing. The fury of the papers fed him. The cries of pious fear emboldened his dogged and dreary talent. His genius grew darker as its darkness became recognised.

This third book of his promised to be more powerful, more deadly, than either of its forerunners. He did not speak much of it to Catherine. But now and then, carried away by excitement and by the need of sympathy, he dropped a hint of what he was doing. She listened attentively but said little. Mark noticed her lack of responsiveness, and one night he said rather bitterly,

"You no longer care for your husband's achievements, Catherine."

He did not call her Kitty.

"I fear them, Mark," Catherine replied.

"Fear them! Why?"

"They are doing great harm in the world."

Mark uttered an impatient exclamation. As a man he was kind and gentle, but as an artist he was wilful and intolerant. Soon after this he wrote to Berrand and invited him to stay. Berrand came. This time Catherine shuddered at his coming. She began to look upon him as her husband's evil genius. Berrand did not apparently notice any change in her, for he treated her as usual, and spoke much to her of Mark. And Catherine was too reserved to express the feelings which tortured her to a comparative stranger. For this reason Berrand did not understand the terrible conflict that was raging within her as "William Foster's" new work grew, and he often spoke to her about the book, and described, with mischievous intellectual delight, its terror, its immorality and its pain. Catherine listened with apparent calm. She was waiting for that interruption from heaven. She was wondering why it did not come.

One night in summer it chanced that she and Berrand spoke of Fate. Catherine, dominated by her fixed idea that God would intervene in some strange and abrupt way to interrupt the activities of Mark, spoke of Fate as something inevitably ordained, certain as the rising of the sun or the dropping down of the darkness. Berrand laughed.

"There is no Fate," he said. "There is man, there is woman. Man and woman make circumstance. We fashion our own lives and the lives of others."

"And our deaths?" said Catherine.

"We die when we've done enough, when we've done our best or worst, when we've pushed our energy as far as it will go—that is, if we die what is called a natural death. But of course now and then some other human being chooses to think for us, and to think we have lived long enough or too long. And then——"

He paused with a smile.

"Then——?" said Catherine, leaning slightly forward.

"Then that human being may cut our thread prematurely, and down we go to death."

Catherine drew in her breath sharply.

"But that again," continued Berrand. "Is man—or woman—not the fantasy you call Fate?"

"Perhaps Fate can take possession of a man or a woman," Catherine said slowly and thoughtfully, "govern them, act through them."

"That's a dangerous doctrine. You believe that criminals are irresponsible then?"

"I don't know," she said. "I suppose there must be an agent. Yes, I suppose there must."

She spoke as one who is thinking out a problem.

"God," she continued, after a moment of silence, "may choose to use a man or woman as an agent instead of a disease."

"Oh, well," said Berrand, with his odd, high laugh, "I cannot go with you on that road of thought, Mrs. Sirrett. I am not afflicted with a religion. Oh, here's Mark. How have you been getting on, Mr. William Foster?"

"Grandly," he replied.

His dark eyes were blazing with excitement. Catherine suddenly turned very cold. She got up and left the room. The two men scarcely noticed her departure. They plunged into an eager discussion on the book. They debated it till the night waned and the melancholy breath of dawn stole in at the open window.

Meanwhile, Catherine, who had gone to bed, lay awake. This summer was so like last summer. Now, as then, she was sleepless, and heard the distant, excited voices rising and falling, murmuring on and on hour after hour. Now, as then, they accompanied activity. Now, as then, the activity was deadly, harmful to an invisible multitude, hidden out in the great world. But there was a difference between last year and this, so like in many ways. Mark's power had grown in the interval. He had become more dangerous. And Catherine had developed also. Circumstance—spoken of by Berrand—had changed, twisted into a different shape by dying hands, twisted again by the hands—all unconscious—of that man who talked downstairs, of Berrand. Was he, too, an agent of Fate, at which he scornfully laughed? Why not?

Oh, those everlasting voices! they rang hatefully in the sleepless woman's ears. Their eagerness, their enthusiasm, were terrible to her. For now their joy seemed to summon her to a great darkness. Their sound seemed to call her to the making of a great silence. She put her hands over her ears, but she still heard them till it was dawn. She still heard them when they were no more speaking.

From this time Catherine waited indeed, but with a patience quite different from that which possessed her formerly. Then she was expectant, almost superstitiously expectant, of an abrupt interposition of Fate. Now she waited, but with less expectancy, and with a strange and growing sense of personal obligation which had been totally absent from her before the issue lay between the thing invisible and herself. And each day that passed brought the issue a step nearer to her. How pathetical seemed to her the ignorance of the two men who were her companions in the cloistered house at this time. Tears rose in her eyes at the thought of her secret and their impotence to know it. But then she thought of her mother's death-bed and the tears ran dry. For the spirit of her mother surely was with her in the dark, the spirit that knew all now and that could inspire and direct her.

The book grew and Catherine waited. Would Mark be allowed to complete it? that was the great question. If he was, then the burden of action was laid upon her by the will of God. She had quite made up her mind on that. She had even prayed, and believed that an answer had been given to her prayer, and that the answer was—"In the event you anticipate it is God's will that you should act." She was fully resolved to do God's will. And so she waited, with a strong, but how anxious, patience. The growth of the book was now become ironical to her as the growth of a plant which must die when it attains a certain height; the labour spent upon it, the discussion that raged around it, the decisions that were arrived at as to its course—all these things were now most pitifully pathetic to Catherine. As she watched Mark and Berrand, as she listened to them, she seemed to watch and listen to children, playing idly, chattering idly, on the edge of events that must stop their play, their chatter—perhaps for ever.

For this book would never see the light. No one would ever read it. No one would ever speak of it but these two men, whose lives seemed bound up in it. And Catherine alone knew this.

Sometimes she had a longing to tell them of this knowledge, to say to Mark, "Do not waste yourself in this useless energy!" to say to Berrand, "Do not rejoice over the future of that which has no future." But she refrained, knowing that to speak would be to give the lie to what she spoke. For such revelation must frustrate her contemplated action. So nobody knew what she knew, except the spirit that stood by her in the night. She waited, and the book drew slowly towards its climax and its close. As Berrand grew more excited about it he spoke more of it to Catherine. But Mark—conscious of that veil dropped between him and his wife—scarcely mentioned it to her, and declined to read any passages from it aloud. Catherine understood that he distrusted her and knew her utterly unsympathetic and adverse to his labours. The sign for which she had hoped, which she had once most confidently expected, did not come. And at length she almost ceased to think of it, and was inclined to put the idea from her as a foolish dream.

The burden of action was, it seemed, to be laid upon her. She would accept it calmly, dutifully. So the summer waned, drawing towards autumn. The atmosphere grew heavy and mellow. The garden was languid with its weight of bearing plants and with its fruits. Mists rose at evening in the woods, clouding the trunks of the trees, and spreading melancholy as a sad tale that floats, like a mist, over those who hear it. And, one day, the book was finished.

Berrand came to tell Catherine. He was radiant. While he spoke he never noticed that she closed her hands tightly as one who prepares to face an enemy.

"We are going to London this afternoon," he added. "Mark must see his publisher."

"He is taking up the manuscript?" said Catherine hastily.

"No, no. There are one or two finishing touches to be put. But he must arrange about the date of publishing. He will return by the midnight train, but I shall stay in town for the night."

Mark locked up the manuscript in a drawer of his writing table, the key of which he carried about him on a chain. And the two men took their departure, leaving Catherine alone.

So the time of her duty was fully come. She had waited till now, because, till now, she had not been absolutely sure that she was to be the agent through whom Fate was to work. But she could no longer dare to doubt. The book was finished. Mark had been allowed to finish it. But its deadly work was not accomplished till it was given to the world. It must never be given to the world.

The day was not cold. Yet Catherine ordered the footman to light a fire in Mark's study. When he had done so she told him not to allow her to be disturbed. Then she went into the room and shut the door behind her. She walked up to the writing table, at which Mark had spent so many hours, labouring, thinking, imagining, working out, fashioning that shell which was to burst and maim a world. The silence in the room seemed curiously intense. The fire gleamed, and the sun gleamed too; though already it was slanting to the West. Catherine stood for some time by the table. Then she tried the drawer in which Mark kept his manuscript and found it locked. The resistance of the drawer to her hand roused her.

Two or three minutes later one of the maids in the servant's hall said,

"Whatever's that?"

"What?" said the footman who had lit the study fire.

"Listen!" said the maid.

They listened and heard a sound like a blow struck on some hard substance.

"There it is again," said the maid. "What ever can it be?"

The footman didn't know, but they both agreed that the noise seemed to come from the study. While they were still gossiping about it Catherine stood at Mark's writing table, and drew out from an open drawer the manuscript of the book. She lifted it in her hands slowly and her face was hard and set. Then she turned and carried it to the hearth, where the fire was blazing. By the hearth she paused. She meant to destroy the book in the fire. But now that she saw the book, now that she held it in her hands, the deed seemed so horribly merciless that she hesitated. Then she knelt down on the hearth and leaned towards the flames. Their light played upon her face, their heat scorched her skin. She held the book towards them, over them. The flames flew up towards it eagerly, seeming to desire it. Catherine tantalised them by withholding from them their prey. For now, in this crisis of action, doubts assailed her. She remembered that she had never read the book, though she had heard much of it from Berrand. He was imaginative and essentially mischievous. Perhaps he had exaggerated its tendency, drawn too lurid a picture of its horrible power. Catherine turned a page or two and glanced at the clear, even writing. It fascinated her eyes.

At eight the footman opened the door, announcing dinner.

Catherine started as if from a dream. Her face was white and her eyes were ablaze with excitement. She put the manuscript back in the drawer, went into the dining-room and made a pretence of dining. But very soon she was back again in the study. She sat down under a lamp by the fire and went on reading the book. She knew that Mark would not be home till midnight; there was plenty of time. She turned the leaves one by one, and presently she forgot the passing of time, she forgot everything in the evil fascination of the book. She was enthralled. She was horror-stricken. But she could not cease from reading. Only when she had finished she meant to burn the book. No one else should ever come under its spell. She never heard the clock striking the hours. She never heard the sound of carriage wheels on the gravel of the drive. She never heard a step in the hall, the opening of the study door. Only when Mark stood before her with an exclamation of keen surprise did she start up. The manuscript dropped from her hands on to the hearth. The drawer in the writing table, broken open, gaped wide.

"Catherine," Mark said, and he bent hastily and picked up the book. "Catherine, what is the meaning of this? You have—you have——"

He stopped, struck dumb by flooding astonishment. She stared up at him without a word and with a dazed expression in her eyes. He looked towards the drawer.

"You have dared to break open my writing table!"

"Yes," she said, finding a voice. "I have dared."

"And to read—to read——"

She nodded. Mark seemed utterly confused by surprise. He looked almost sheepish, as men do in blank amazement. She got up and stood before him and laid her hands on his, which held the book.

"You see that fire?" she said in a low voice.

He looked at it, as if he had not noticed it before.

"What's it for?" he said, also in a low voice.

"Don't you know?"

They looked into each other's eyes for a moment.

"To—to—you intended to burn——"

She nodded again, and closed her hands tightly on the book.

"Mark," she said solemnly. "It's an evil thing. Let it go."

His face changed. Astonishment died in fierce excitement.

"You're mad!" he said brutally.

And he struck her hands away from the book with his clenched fist. She did not cry out, but her face became utterly dogged. He saw that.

"D'you hear me?" he said.

"Yes."

His passion rose, as he began fully to grasp the enormity of the deed that his coming had prevented.

"You would destroy my labour, my very soul," he said hoarsely. "You who pretended to love me!"

"Because I love you," she said.

He laughed aloud.

"You hate me," he cried.

"I hate to see you do evil," she said.

"This is fanaticism," he muttered, looking at her obstinate white face, and steady eyes. "Sheer fanaticism."

It began almost to frighten him.

"You shall not do this evil," she said. "You shall not."

Mark stared at her for a moment. Then he turned away.

"I'll not argue with you," he said. "But, if you had done what you meant to do, if you had destroyed my labour, I would have recreated it, every sentence, every word."

"No, Mark!"

"I would, I would," he said. "The world shall have it, the world should have had it even then. Go to your room."

She left him. But her face had not changed or lost its expression.

She went upstairs slowly. And the spirit of her mother went with her. She felt sure of that.

When two days afterwards, late in the evening, Mark Sirrett suddenly died,—from poison, as was proved at Catherine's trial—she had no feeling that Mark was dead. That only came to her afterwards, as she sat by the body, awaiting the useless arrival of the doctor. She only knew that the stranger was gone, the stranger into whose wild eyes she had gazed for the first time in the Pavilion of Granada, when the world was golden beneath them and the roses touched his hair. She looked at the body, and she seemed to hear again the bell of the cathedral, filling the drowsy valley with terrible vibrations of romance. It was a passing bell. For God had stricken down "William Foster."