ingram was not only a great painter, he was practised in minor accomplishments, and among them was the art of running away. he had done it several times and had attained fluency. indeed, so easy had practice made it that it grew to be hardly running so much as walking. he walked away, at last quite leisurely, from an uncommenting wife to a lady whose affection for him was invariably already so great that there was nothing left for it to do but to decline; and when it had declined, assisted and encouraged in various ways by him, the chief cooling factor being his expressed impatience to get to his painting again undisturbed by non-essentials—each lady found it cooling to be called a non-essential—he avoided the part that is sometimes a little difficult, the part in which recriminations are apt to gather like clouds about a sunset, the part that lies round ends, by skilful treatment, by a gradual surrounding of her who was now not so much a lover as a patient with an atmosphere of affection for her home. she came by imperceptible degrees to thirst for her home. she came to thirst, and such was his skill that she thirsted healthily, for her husband or her father or whoever it was she had left, for worries, catastrophes, disgrace—for anything so long as it was so obliging as not to be love. if poorer in other ways she departed at least richer in philosophy, without a trace of jealousy of what he might do next, not minding what he did if only she did not have to do it, too, and he, until such time as he again was lured from paths of austerity and work by the hope that he had found the one predestined mate, enjoyed the condition in which he was altogether happiest, the freedom of spirit that disdains love.
but how different from those comfortable excursions, as straightforward and as uneventful to him in their transitory salubrious warming as bread and milk, was this running away! it was distressingly different. almost, except that he had no desire to laugh, ridiculously different. the first step, the process of the actual removal from kökensee to berlin, from legality to illicitness, had in its smoothness been positively glib; and he had supposed that, once alone together, love-making, which was the very marrow of running away—else why run?—would follow with a similar glibness. nothing, however, seemed less inclined to follow. the only things that did follow were two confused exasperating days in which his moods varied with every hour, almost at last with everything she said. the capaciousness of her beliefs and acceptances amazed him. they were as capacious as her enthusiasms. she believed so firmly what he had told her over there away in kökensee, where of course a man had to say things in order to get a beginning made, about the friendly frequent journeyings of other people, she had so heartily accepted his assurance that it was absurd and disgraceful in its suggestion of evil-mindedness not to travel frankly anywhere with anybody—"are we not the children of light, you and i?" he had asked her—the things a man says! he thought; but they should not be brought up against him in this manner, clad in an invincible armour of acceptance—"and shall we be hindered in our free comings and goings by the dingy scruples of those heavy others, the groping and afraid children of darkness?"—that plainly the idea that she was doing anything even remotely wrong had not occurred to her. the basis of her holiday was this belief in frank companionship. she had no difficulty, he observed, himself infinitely fretted by this constant closeness to her, in being just a frank companion. she was so carelessly secure in friendship, so empty of any thought beside, that she could and did say things to him which said by any other woman in the same situation would have instantly led to lovemaking. but ingram, who was fastidious, could no more make love to her, violently begin, robustly stand no nonsense, so long as she was steeped in obliviousness, than he could to a child or a chair. there must be some response, some consciousness. her obtuseness to the real situation was so terribly healthy minded that it was almost a disease; the awful candour of soul of bishops' daughters and pastors' wives appalled him.
for three days the weather continued heavy, pressing down on his eyes. he did not sleep. he was all nerves. in the morning, a time he had not yet known her in, for at kökensee they were together only in the afternoons, she produced the effect on him of some one different and in some subtle annoying way strange. was it because she flickered more in the mornings? he could not describe it better than that—she flickered. she always flickered mentally, her thoughts just giving each subject a little lick and then blowing off it to something else, but in the afternoons and evenings the flickering was often beautiful, or at those warmer more indulgent hours it seemed so, and in the morning it was not. a man in the morning wants somebody pinned down for a companion, somebody reasonable and fixed. nothing but a rather silent reasonableness, and if enunciations are unavoidable brief ones, go well with coffee and with rolls. at breakfast he found he could hardly speak to her so exceedingly then was she on his nerves—her dreadful healthy restedness when he had been tossing all night, her fearful readiness for the new day when he had not even begun to recover from the old one, her regularity of enthusiasm, her punctual happiness. and every evening he was in love with her.
he was exasperated. this being with her among the hills and lakes of italy that he had thought of as going to be the sweetest time he had known was sheer exasperation; for even in the evenings when he was in love with her—the condition, indeed, set in at any time from tea onwards, and could on occasion be induced before tea if she happened to say the right things—he was irritably in love, and hardly knew whether it would give him more satisfaction to shake her or to kiss her. and annoying and perplexing as her untroubled conscience was it was yet not so annoying and perplexing as her wild joy in italy. who would not be galled by the discovery that he has become a background? who would have supposed that she who in kökensee thought him so wonderful, so clearly realised who he was, who walked with him there in the rye-fields and offered him every sort of incense that sweet words could invent, would, let loose in italy, take the background he had so carefully chosen for his lovemaking and hug it to her heart and be absorbed in it and adore it beyond reason, and that he himself would turn into the background—incredible as it seemed, into just the background of his own background?
when he took her up into the hills, into solitary places where the chestnut woods went on for miles and no one ever came but charcoal-burners, he was not, as it were, there. when he took her on the lake in a sailing-boat and they hung motionless on the goodwill of the wind, he was not there, either. when they rested after a hot climb, deep in some high meadow not yet reached by the ascending haymakers, and through the stalks of its bee-haunted flowers, its delicate bending scabious and frail ragged-robins, could see little bits of lake far below and the white villages on the mountains opposite, and the whole world was only asking to be made a frame of for love, where, he inquired of himself, in the picture that was in her mind and irradiating her eyes, was he? he had not imagined, so far behind him were his own discoveries of the new, that any one could be so greedily absorbed. watching her, while she watched everything except him, he decided he would take her to milan. he would try something ugly. milan this heavy hot weather ought to give her back to him if anything would. they would stay in a street where there were tramcars and noises, and they would frequent museums. they would walk much on pavements, and have their food in english tea-rooms. while the cure was in progress she might be getting herself some decent clothes, for really her clothes were distressing, and when it was accomplished, and she was thoroughly bored with things, and had come back to being aware of him, he would carry her off to venice and begin work—work, the best thing in life, the one thing that keeps on yet is never monotonous, the supreme thing always new and joyful. but he was afraid of venice. venice was too beautiful. she would not sit quiet there while he painted her; she would want to go out and look. impossible to take her there until she had learned to blot out everything in the world with his image alone. this blotting out, he perceived, would have to be achieved in milan, and quickly. he was starving for his work. so acute was his hunger to begin the great picture that right underneath all his other emotions and wishes and moods was a violent impatience at being kept from it by what his subconsciousness alluded to with resentful incorrectness as a parcel of women.
it was the evening at luino that he definitely decided on milan.
they had walked that day along the wooded paths that lead ultimately across to ponte tresa, and she had once again, on returning to luino and seeing a revolving column of picture postcards outside a tobacconist's shop and catching sight of some that showed the place of rocks and falling water in which they had eaten their luncheon, wanted to send one to robert. she had not said so, but she had hovered round the column looking hungry. picture postcards seemed to have a dreadful fascination for her; and as for ingram, the mere sight of them at this point of their journey made him see red. he had instantly observed her hungry hovering, and had flared out into a leaping rebuke in which there was more of the angry schoolmaster than the lover. he had felt it himself, and seen, quick as he was to see, a little look of surprised and questioning fear for a moment in her eyes.
"well, it's because you're always thinking of robert," he flashed at her in an attempt that caught fire on the way to apologise.
"not always," she said hesitatingly, with a smile that for the first time was propitiating; and the accidents of the pavement making him walk for a few yards in front of her she found herself looking at his back, his high thin shoulders and the rims of his ears, with a startled feeling of entire strangeness.
a dim thought rose and disappeared again somewhere in the back of her mind, a whisper of a thought, hardly breathed and gone again—"i'm used to robert."
he took her to milan next day. that loud and sweltering city was, by its hot dulness, to bore her into awareness of him, to toss her by sheer elimination of other interests to his breast. inexorably he kept her on the steamer and turned a deaf ear to her prayers that they might land when it stopped at attractive villages on its journey down the lake. she thought this unreasonable; for why come at all to these lovely places, come so close that one could almost touch them, and then whisk away and hardly let one look? and she could not help feeling, after he had been short with her about the borromean islands, at one of which unfortunately the steamer touched, that it would be both blessed and splendid to travel round here alone—free, able to get out at islands if one wanted to.
"yes, those are islands," he said, when first they loomed on her enraptured gaze. "yes, one can land on them, but we're not going to. yes, yes, beautiful—but we've got to catch the train."
she began to turn a slightly perplexed attention to him. surely he was different from what he was at kökensee! and there were the borromean islands slipping away, the beautiful islands; there they were being passed, going out of her life; it was unlikely she would ever see them again....
to ingram on that leaden afternoon the lake looked like a coffin, and the islands as dull and shabby as three nails in it; to ingeborg they looked like three little miracles of god. just as he who for the first time goes abroad would give up rome if he might stop at calais, so did ingeborg hanker after detailed exploration of new places she was inexorably whisked away from. the borromean islands were beautiful, but if they had been dull she still would have hankered after them. beautiful or dull they were different from kökensee; and when the travelled ingram put his hopes in milan he did not realise how great on ingeborg after her strictly cloistered kökensee existence was the effect of the merely different. the platform at arona, the flat fields the train presently lumbered across, the factories and suburbs of milan, the noisy streets throbbing heavily with heat that grey and lowering afternoon, the shapes of things, of dull things, of tramcars and cabs and washerwomen, the shop windows, the behaviour and foreign faces of dogs, the behaviour of children, the italian eyes all turned to her, all staring at her—they fascinated and absorbed her like the development of a vivid dream. who were these people? what would they all do next? what were they feeling, thinking, saying? where were they going, what had they had for breakfast, what were the rooms like they had just come out of, what sorts of things did they keep in their cupboards?
"if one of them would lend me a cupboard," she exclaimed to ingram, "and leave me alone with what it has got inside it, i believe i'd know all italy by the time i'd done with it. everything, everything—the desires of its soul and its body, and what it works at and plays at and eats, and what it hopes is going to happen to it after it is dead."
and he had been supposing, from her silence as she walked beside him, that she was finding milan dull. hastily he led her away from the streets into an english tea-room and made her sit with her back to the window and gave her rusks.
but though her childhood had been spent among these objects, which were esteemed at the palace because falling just short at the last moment of quite sweetness and quite niceness they discouraged sinful gorging, they had none of their ancient sobering effect on her there in milan. she ate them and ate them, and remained as brightly detached from them as before. their dryness choked out none of her lively interest, their reminiscent flavour did not quiet her, not even when combined, as it presently was, with the sound of church bells floating across the roofs. she might have been in redchester with those sunday bells ringing and all the rusks. sitting opposite to her at the marble-topped table in the deserted shop ingram decided he would give her no meals more amusing than this in milan. so long as she kept him there she should, except breakfast, have all her meals in that one place: modest meals, meals damping to the spirits and surely in the long run lowering, the most inflaming dish provided by the tea-room being—it announced it on its wall—poached eggs.
he kept her there as long as he could, long after the tea was cold, and tried, so deeply upset was he becoming by the delays her curious immaturity was causing in the normal development of running away, actually in that place of buns to make love to her. but how difficult it was! he, too, had eaten rusks. he wanted to tell her he adored her, and it reached her across the teapot in the form of comments on the uncertainties of her behaviour. he wanted to tell her her body was as delicate as flowers and delightful as dawn, and it came out a criticism of the quality—also the quantity—of her enthusiasms. he endeavoured to sing the praise of the inmost core of her, the inexpressible, illuminating, understanding, and wholly sweet core, and instead he found himself acidly deprecating her clothes.
ingeborg sat listening with half an ear and eyes bright with longing to be out in the streets again. she was fidgeting to get away from the shop, and was sorry he should choose just that moment to smoke so great a number of cigarettes. even the young lady who guarded the cakes appeared to think the visit for one based only on tea and rusks had lasted long enough, and came and cleared away and inquired in english, it being her native tongue, whether she could not, now, get them anything else.
"the curious admixture in you," said ingram, starting out with the intention of comparing her to light in the darkness and immediately getting off the rails, "the curious admixture in you of streaks of childishness and spasmodic maturity! you are at one moment so entirely impulsive and irresponsible, and a moment before you were quite intelligent and reasonable, and a moment afterwards you are splendid in courage and recklessness."
"when was i splendid in courage and recklessness?" she asked, bringing more attention to bear on him.
"when you left your home to come to me. the start off was splendid. who could dream it would fizzle out into—well, into this?"
"but has it fizzled out? you're not"—she leaned across the table a little anxiously—"you're not scolding me?"
"on the contrary, i'm trying to tell you all you are to me."
"oh," said ingeborg.
"i intend somehow to isolate my consciousness of your streaks—"
"streaks?"
"as bees wax up a dead invader."
"oh—a dead invader?"
"i don't, you see, believe in the damning effect of one specific outbreak, nor of one or two—"
"you're not—you're not really scolding me?" she asked, again a little anxiously.
"on the contrary, i'm believing in and clinging to your dear innermost."
"oh," said ingeborg.
"i believe these streaks and patches and spots your superficial self has may be good in their ultimate effect, may save us, by interrupting, from those too serene spells that dogs'-ear love with usage and carelessness."
she gazed at him, her mouth a little open. he lit yet another cigarette.
"but it's rather like," he said, flinging the match away into a corner whither the young lady followed it and with a pursed reproachfulness trod it out, "it's rather like finding a crock of gold in one's garden and only being able to peep at it sometimes, and having to go away and work very hard for eleven shillings a week."
she went on gazing at him in silence.
"and not even for eleven shillings," said ingram, reflecting on all he had already endured. "work very hard for nothing."
she leant across the table again. "i never mean to be tiresome," she said.
"little star," he said stoutly.
"it's always involuntary, my tiresomeness," she said, addressing him earnestly. "oh, but it's so involuntary—and the dull surfaces i know i have, and the scaly imperfections—"
he knocked the ashes off his cigarette with unnecessary vigour, almost as though they were bits of an annoying relative's body.
"i'm warped, and encrusted, and blundering," went on ingeborg, who was always thorough when it came to adjectives.
in his irritable state, to have her abjectly cheapening herself vexed him as much as everything else she had done that day had vexed him. he might, under provocation, point out her weaknesses, but she must not point them out to him. he wanted to worship her, and she persisted in preventing him. distressing to have a god who refuses to sit quiet on its pedestal, who insists on skipping off it to show you its shortcomings and beg your pardon. how could he make love to her if she talked like this? it would be like trying to make love to a prayer-book.
"is it because it is sunday," he said, "that you are impelled to acknowledge and confess your faults? you make me feel as if a verger had passed by and pushed me into a pew."
"well, but i am warped and encrusted and blundering," she persisted.
"you are not!" he said irritably. "haven't i told you you are my star and my miracle?"
"yes, but—"
"i tell you," he said, determined to believe it, "that you are the very bath of my tired spirit."
"how kind you are!" she said. "you're as kind to me as if you were my brother. sometimes i think you are rather like my brother. i never had a brother, but you're very like, i think, the one i would have had if i had had one." she warmed to the idea. "i feel as if my brother—" she said, preparing to launch into enthusiasm; but he interrupted her by getting up.
"it seems waste," he said, reaching for his hat, "to talk about your brother, as you've never had him. shall we go?"
she jumped up at once with the air of one released. he himself could not any longer endure the tea-room or he would have stayed in it. gloomily he went out with her into the streets again and noted that if anything she seemed more active and eager than before—thoroughly, indeed, rested and refreshed. gloomily he realised during the next hour or two that she had an eye for buildings, and that they were always the wrong ones. gloomily he discovered an odd liking in her for anything, however bad, that was wrought in iron. he could not get her past some of the iron gates of the palaces. he hated bad gates. without experience she could not compare and did not select, and her interest was all-embracing, indiscriminating as a child's. he took pains to avoid the piazza del duomo, but by some accident of a twisting street and a momentary inattentiveness he did find himself at last, after much walking as he had thought away from it, all of a sudden facing it. urging her on by her elbow he hurried her nervously across it, hoping she would not see the cathedral; but the cathedral being difficult not to see she did see it, and remained, as he had feared she would, rooted.
"ingeborg," he exclaimed, "if you tell me you like that—"
"oh, let me look, let me look," she cried, holding his sleeve while he tried to get her away. "it's so funny—it's so different—"
"ingeborg—" he almost begged; but from its outside to its inside was an inevitable step, and that she should gasp on first getting in seemed also, after she had done it, inevitable.
ingram found himself sight-seeing; looking at windows; following her down vaults; towed by beadles. he rubbed his hand violently over his hair.
"but this is intolerable!" he cried aloud to himself. "i shall go mad—"
and he strode after her and caught her arm just as she was disappearing over the brim of the crypt.
"ingeborg," he said, his eyes blazing at her in a bright astonishment, "do you mean to tell me that i shall not reach you, that i'm not going to get ever at you till i paint you?"
she turned in the gloom and looked up at him.
"oh, i know i'll get you then," he went on excitedly, while the interrupted beadle impatiently rattled his keys. "nothing can hide you away from me then. i don't paint, you see, by myself—"
she stared up at him.
"and all this you're doing, all this waste of running about—have you then forgotten the picture?"
it was as though he had shaken her suddenly awake. she stared at him in a shock of recollection. why, of course—the picture. why—incredible, but she had forgotten it. actually forgotten it in the wild excitement of travelling; actually she had been wanting to linger at each new place, she who had only ten days altogether, she who had come only after all because of the picture, the great picture, the first really great thing that had touched her life. and here she was with him, its waiting creator, dragging him about who held future beauty in his cunning guided hand among all the mixed stuff left as a burden on the generations by the past, curious about the stuff with an uneducated stupid curiosity, wasting time, ridiculously blocking the way to something great, to the greatest of the achievements of a great artist.
she was sobered. she was overcome by the vivid recognition of her cheap enthusiasm.
"oh," she said, staring up at him, wide awake, entirely ashamed, "how patient you've been with me!"
and as he still held her by the arm, his eyes blazing down at her from the top step of the crypt, she could find no way of expressing her shame and contrition except by bending her head and laying her cheek on his hand.
