Married folk always know, only the bachelor asks, "Where shall I dine? Shall I spend two shillings in a chop-house, or five in my club, or ten at the CafÉ Royal?" For two or three more shillings one may sit on the balcony of the Savoy, facing the spectacle of evening darkening on the river, with lights of bridge and wharf and warehouse afloat in the tide. Married folk know their bedfellows; bachelors, and perhaps spinsters, are not so sure of theirs: this is a side issue which we will not pursue; an allusion to it will suffice to bring before the reader the radical difference between the lives of the married and the unmarried. O married ones, from breakfast to six, only, do our lives resemble yours! At that hour we begin to experience a sense of freedom and, I confess it, of loneliness. Perhaps life is essentially a lonely thing, and the married and the unmarried differ only in this, that we are lonely when we are by ourselves, and they are lonely when they are together.

At half-past six the bachelor has to tidy up after the day's work, to put his picture away if he be a painter, to put his writings away if he be a writer, and then the very serious question arises, with whom shall he dine? His thoughts fly through Belgravia and Mayfair, and after whisking round Portman Square, and some other square in the northern neighbourhood, they soar and go away northward to Regent's Park, seeking out somebody living in one of those stately terraces who will ask him to stay to dinner. At So-and-So's there is always a round of beef and cold chicken-pie, whereas What-do-you-call-them's begin with soup. But really the food is not of much consequence; it is interesting company he seeks.

It was last week that I realised, and for the first time, how different was the life of the married from the unmarried. The day was Sunday, and I had been writing all day, and in the hush that begins about six o'clock I remembered I had no dinner engagement that evening. The cup of tea I generally take about half-past four had enabled me to do another hour's work, but a little after six sentences refused to form themselves, a little dizziness began in the brain, and the question not only "Where shall I dine?" but "Where shall I pass the hour before dinner?" presented itself. The first thing to do was to dress, and while dressing I remembered that I had not wandered in St. James's Park for some time, and that that park since boyhood had fascinated me. St. James's Park and the Green Park have never been divided in my admiration of their beauty. The trees that grow along the Piccadilly railings are more beautiful in St. James's Park, or seem so, for the dells are well designed. The art of landscape-gardening is more akin to the art of a musician than to that of a painter; it is a sort of architecture with colour added. The formal landscape-gardening of Versailles reminds one of a tragedy by Racine, but the romantic modulations of the green hills along the Piccadilly areas are as enchanting as Haydn. There was a time when a boy used to walk from Brompton to Piccadilly to see, not the dells, but the women going home from the Argyle Rooms and the Alhambra, but after a slight hesitation he often crossed from the frequented to the silent side, to stand in admiration of the white rays of moonlight stealing between the trunks of the trees, allowing him to perceive the shapes of the hollows through the darkness. The trees grow so beautifully about these mounds, and upon the mounds, that it is easy to fill the interspaces with figures from Gainsborough's pictures, ladies in hoops and powdered hair, elegant gentlemen wearing buckled shoes, tail-coats, and the swords which made them gentlemen. Gainsborough did not make his gentlemen plead--that was his fault; but Watteau's ladies put their fans to their lips so archly, asking the pleading lover if he believes all he says, knowing well that his vows are only part of the gracious entertainment. But why did not the great designer of St. James's Park build little Greek temples--those pillared and domed temples which give such grace to English parks? Perhaps the great artist who laid out the Green Park was a moralist and a seer, and divining the stream of ladies that come up from Brompton to Piccadilly he thought--well, well, his thoughts were his own, and now the earth is over him, as Rossetti would say.

Five-and-twenty years ago the white rays slanted between the tree-trunks, and the interspaces lengthened out, disappearing in illusive lights and shades, and, ascending the hill, the boy used to look over the empty plain, wondering at the lights of the Horse Guards shining far away like a village. Perhaps to-night, about midnight, I may find myself in Piccadilly again, for we change very little; what interested us in our youth interests us almost to the end. St. James's Park is perhaps more beautiful in the sunset--there is the lake, and, led by remembrance of some sunsets I had seen on it, I turned out of Victoria Street last Sunday, taking the eastern gate, my thoughts occupied with beautiful Nature, seeing in imagination the shapes of the trees designing themselves grandly against the sky, and the little life of the ponds--the ducks going hither and thither, every duck intent upon its own business and its own desire. I was extremely fortunate, for the effect of light in the Green Park was more beautiful last Sunday than anything I had ever seen; the branches of the tall plane trees hung over the greensward, the deciduous foliage hardly stirring in the pale sunshine, and my heart went out to the ceremonious and cynical garden, artificial as eighteenth-century couplets. Wild Nature repels me; and I thought how interesting it was to consider one's self, to ponder one's sympathies. Our antipathies are not quite so interesting to consider, but they are interesting, too, in a way, for they belong to one's self, and self is man's main business: all outside of self is uncertain; all comes from self, all returns to self. The reason I desired St. James's Park last Sunday was surely because it was part of me--not that part known to my friends; our friends understand only those margins of themselves which they discover in us. Never did I meet one who discovered for himself or herself that I loved trees better than flowers, or was deeply interested in the fact when attention was called to it....

I watch the trees and never weary of their swaying--solemnly silent and strangely green they are in the long, rainy days, excited when a breeze is blowing; in fine weather they gossip like frivolous girls! In their tremulous decline they are more beautiful than ever, far more beautiful than flowers. Now, I am telling myself, the very subconscious soul is speaking. And with what extraordinary loveliness did the long branches hang out of the tall, stately plane trees like plumes; in the hush of sound and decline of light the droop of the deciduous foliage spoke like a memory. I seemed to have known the park for centuries; yon glade I recognised as one that Watteau had painted. But in what picture? It is difficult to say, so easily do his pictures flow one into the other, always the same melancholy, the melancholy of festival, that pain in the heart, that yearning for the beyond which all suffer whose business in life is to wear painted or embroidered dresses, and to listen or to plead, with this for sole variation, that they who listen to-day will plead to-morrow. Watteau divined the sorrow of those who sit under colonnades always playing some part, great or small, in love's comedy, listening to the murmur of the fountain, watching a gentleman and lady advancing and bowing, bowing and retiring, dancing a pavane on a richly coloured carpet. Pierrot, the white, sensual animal, the eighteenth-century modification of the satyr, of the faun, plays a guitar; the pipe of Pan has been exchanged for a guitar.

As the twilight gathered under the plane trees my vision became more mixed and morbid, and I hardly knew if the picture I saw was the picture in the Dulwich Gallery or the exquisite picture in the Louvre, "Une AssemblÉe dans la Parc." We all know that picture, the gallants and the ladies by the water-side, and the blue evening showing through the tall trees. The picture before me was like that picture, only the placing of the trees and the slope of the greensward did not admit of so extended a composition. A rough tree-trunk, from which a great branch had been broken or lopped off, stood out suddenly in very nineteenth-century naturalness, awaking the ghost of a picture which I recognised at once as Corot. Behind the tree a tender, evanescent sky, pure and transparent as the very heart of a flower, rose up, filling the park with romance, and as the sunset drooped upon the water, my soul said, "The Lake!" Ah, the pensive shadow that falls from the hills on either side of "The Lake," leaving the middle of the picture suffused with a long stream of light, narrowing as it approached the low horizon. But the line of the trees on the hither side of this London lake was heavier than the spiritual trees in the picture entitled "By the Water-side," and there was not anywhere the beauty of the broken birch that leans over the lake in "Le Lac de Garde." Then I thought of "The Ravine," for the darkening island reminded me of the hillside in the picture. But the St. James's Park sky lacked the refined concentration of light in "The Ravine," so beautifully placed, low down in the picture, behind some dark branches jutting from the right. The difference between Nature and Corot is as great as the difference between a true and a false Corot. Not that there is anything untrue in Nature, only Nature lacks humanity--self! Therefore not quite so interesting as a good Corot.

So did I chatter to myself as I walked toward the bridge, that dear bridge, thrown straight as a plank across the lake, with numerous water-fowl collected there, a black swan driving the ducks about, snatching more than his due share of bread, and little children staring stolidly, afraid of the swan, and constantly reproved by their mothers for reasons which must always seem obscure to the bachelor. A little breeze was blowing, and the ducks bobbed like corks in the waves, keeping themselves in place with graceful side-strokes of their webbed feet. Sometimes the ducks rose from the water and flew round the trees by Queen Anne's Mansions, or they fled down the lake with outstretched necks like ducks on a Japanese fan, dropping at last into the water by the darkening island, leaving long silver lines, which the night instantly obliterated.

An impression of passing away, of the effacement of individual life. One sighs, remembering that it is even so, that life passes, sunrise after sunrise, moonlight upon moonlight, evening upon evening, and we like May-flies on the surface of a stream, no more than they for all our poets and priests.

The clock struck seven, reminding me of the dinner-hour, reminding me that I should have to dine alone that evening. To avoid dining alone I should not have lingered in St. James's Park, but if I had not lingered I should have missed an exquisite hour of meditation, and meditations are as necessary to me as absinthe to the absinthe-drinker. Only some little incident was wanting--a meeting with one whom one has not seen for a long time, a man or a woman, it would not matter which, a peg whereon to hang the description of the dusk among the trees, but I had met no friend in the Park. But one appeared on the threshold of St. James's Street. There I met a young man, a painter, one whose pictures interested me sometimes, and we went to a restaurant to talk art.

"After dinner," I said, "we will get the best cigars and walk about the circus. Every Sunday night it is crowded; we shall see the women hurrying to and fro on love's quest. The warm night will bring them all out in white dresses, and a white dress in the moonlight is an enchantment. Don't you like the feather boas reaching almost to the ground? I do. Lights-o'-love going about their business interest me extraordinarily, for they and the tinkers and gipsies are the last that remain of the old world when outlawry was common. Now we are all socialists, more or less occupied with the performance of duties which obtain every one's approval. Methinks it is a relief to know that somebody lives out of society. I like all this London, this midnight London, when the round moon rises above the gracious line of Regent Street, and flaming Jupiter soars like a hawk, following some quest of his own. We on our little, he on his greater quest."

The night was hot and breathless, like a fume, and upon a great silken sky the circular and sonorous street circled like an amphitheatre.... I threw open my light overcoat, and, seizing the arm of my friend, I said:

"He reminds me of a Turk lying amid houris. The gnawing, creeping sensualities of his phrase--his one phrase--how descriptive it is of the form and whiteness of a shoulder, the supple fulness of the arm's muscle, the brightness of eyes increased by kohl! Scent is burning on silver dishes, and through the fumes appear the subdued colours of embroidered stuffs and the inscrutable traceries of bronze lamps. Or, maybe, the scene passes on a terrace overlooking a dark river. Behind the domes and minarets a yellow moon dreams like an odalisque, her hand on the circle of her breast; and through the torrid silence of the garden, through the odour of over-ripe fruit and the falling sound thereof, comes the melancholy warble of a fountain. Or is it the sorrow of lilies rising through the languid air to the sky? The night is blue and breathless; the spasms of the lightning are intermittent among the minarets and the domes; the hot, fierce fever of the garden waxes in the almond scent of peaches and the white odalisques advancing, sleek oracles of mood.... He reminds me of the dark-eyed Bohemian who comes into a tavern silently, and, standing in a corner, plays long, wild, ravishing strains. I see him not, I hardly hear him; my thoughts are far away; my soul slumbers, desiring nothing. I care not to lift my head. Why should I break the spell of my meditations? But I feel that his dark eyes are fixed upon me, and little by little, in spite of my will, my senses awake; a strange germination is in progress within me; thoughts and desires that I dread, of whose existence in myself I was not aware, whose existence in myself I would fain deny, come swiftly and come slowly, and settle and absorb and become part of me.... Fear is upon me, but I may not pause; I am hurried on; repudiation is impossible, supplication and the wringing of hands are vain; God has abandoned me; my worst nature is uppermost. I see it floating up from the depths of my being, a viscous scum. But I can do nothing to check or control.... God has abandoned me.... I am the prey to that dark, sensual-eyed Bohemian and his abominable fiddle; and seizing my bank-notes, my gold and my silver, I throw him all I have. I bid him cease, and fall back exhausted. Give me "The Ring," give me "The Ring." Its cloud palaces, its sea-caves and forests, and the animality therein, its giants and dwarfs and sirens, its mankind and its godkind--surely it is nearer to life! Or go into the meadows with Beethoven, and listen to the lark and the blackbird! We are nearer life lying by a shady brook, hearing the quail in the meadows and the yellow-hammer in the thicket, than we are now, under this oppressive sky. This street is like Klinsor's garden; here, too, are flower-maidens--patchouli, jessamine, violet. Here is the languorous atmosphere of "Parsifal." Come, let us go; let us seek the country, the moon-haunted dells we shall see through Piccadilly railings. Have you ever stood in the dip of Piccadilly and watched the moonlight among the trees, and imagined a comedy by Wycherley acted there, a goodly company of gallants and fine ladies seated under the trees watching it? Every one has come there in painted sedan-chairs; the bearers are gathered together at a little distance."

"My dear friend, you're talking so much that you don't see those who are passing us. That girl, she who has just turned to look back, favours heliotrope; it is delicious still upon the air; she is as pretty a girl as any that ever came in a sedan-chair to see a comedy by Wycherley. The comedy varies very little: it is always the same comedy, and it is always interesting. The circus in a sultry summer night under a full moon is very like Klinsor's garden. Come, if you be not Parsifal."