Part 14

"Get to hell out of here!" she shouted, then turned on her guests. Ulick, shamefaced, stammered an excuse as he helped Paul to his feet. This proved the acme of Dora's unhappiness. "As for you two, you clear out. I've no use for you. Always hanging around with your nasty messing ways. Clear out, both of you, or I'll call the police. Ruining my reputation with your scrapping. I won't have it here, I tell you. My lease says no fighting is allowed on the premises, and what have you fellows been doing? Get away. I won't hear any excuses. And fighting about two ladies"--she sarcastically lowered her voice at the mention of ladies--"Nice ladies they must be. Sly sluts, that's what they are. Don't tell me. Little Dora knows your fine society dames, your artistic ladies--whores the whole lot of them." With that she bundled her "gentlemen friends" out of the apartment. "Good-bye, Dodo," cried Paul. "I'll drop in to say a last good-bye before Saturday." But the door slammed for an answer and presently they were on the lift and soon in the street. Paul, his good temper reasserting itself passed his arm through the abashed Ulick's, and casually exclaimed: "I say, old man, you have a punch! Let's walk down to the Utopian. The fresh air will do me good. But am I thirsty!" The young men slowly moved down the Avenue arm in arm, apparently the best of friends.... Late that night Dora was brought home by two "lady-friends" in a shockingly intoxicated condition.

VIII

... Time fugued. Being no longer under the obligation of visiting Dora since the shindy he had made in her home, Ulick became truly intimate with Mona. They lived like sensible married people. They walked in the park. They went to the theatre, to concerts and the opera. They met every afternoon. At least three times a week Mona took luncheon at the Maison Felicé. She was not noticed there any more than the other ladies who came with their lovers. She would then go afterward to Ulick's rooms where he played Chopin for her, read to her, made love to her; passionate love. She had revised that first hasty judgment and now found the life sensual an entrancing experience. She had confessed to him her disappointments, and for answer he read aloud Stendhal's Lamiel that extraordinary unfinished fiction, with Lamiel's similar adventure. "Is that all?" asks this disconcerting heroine, after she had bribed with silver a stout peasant lad to induct her into the mystery of sex. This episode revolted Mona, who saw in love, but one object--children. Ulick realized now it was maternity suppressed that had sent her to him knocking at his closed door. Love with her was not only a sensation, but also a sentiment. She was not a sentimental girl. She loved Ulick, but she loved children more. "The sacred wound of maternity" was a phrase that appealed to her; it was thus she had heard called the semi-mysterious function of the lunar sex; that sex upon which the moon had impressed its rhythms. Mona, under the skin, was a matter-of-fact woman for whom Mother Nature could do no wrong. She loved children, and in default of them she delighted in the poetic fiction of dream-children. Ulick had only to pronounce the names of Grane and Shamus to see her face swept as if by joyful news. Temperamentally she was elected to happy motherhood. This idea caused him much disquietude.

* * * * *

With intense interest he read of Easter's début at Munich. She had sung Isolde with immense success. The cables were choked with stories of her brilliant singing, dramatic acting. The three Brunnhildes followed, and a few weeks later a royal command came from Baireuth; Queen Cosima graciously permitted the American girl to be a "guest" for a week. Again--Isolde, Brunnhilde, and most startling of all--Kundry. She would be the first American to sing in Parsifal at Baireuth. After that, offers from Paris, Berlin, London, and no doubt, from New York. But the Metropolitan House management was impenetrable. Easter had changed her name to Istar.... Istar the daughter of sin! chuckled Alfred Stone....

THE SIXTH GATE

_At the sixth gate, the warden stripped her; he took the rings from her feet, the rings from her hands_....

I

Ulick earnestly pondered the character of Mona. Their long conversations about the world, the flesh, and the devil revealed, as in a mirror, her soul. She was essentially a pure girl, because she saw no evil in life. Nature was her sole standard. A pantheist in petticoats. She was as severe in her strictures upon prudish women as her mother was in her judgments upon the contemporaneous girl. Ulick called it an inverted dogmatism. But, then, he reflected, scratch any woman and you come on a squaw; only the squaw is truer to type than the modern woman. He noted, too, the gradual encroachment upon his time, his spirit, of Mona. Her tenacity alarmed him. She said nothing about marriage; that side of the question never obtruded. Mona was a free-thinker à outrance; a law unto herself. She seemed to be without the prejudices of her sex. She didn't interest herself in the woman-question, which she believed was purely an individual one. Let each woman agitate for herself. Let her revolt be within four walls. Let every tub stand on its own bottom. The most refractory male is always forced to lower his standard before the conquering arms of woman. Rabelais--or is it Balzac?--calls it by its true name: the glue-pot of love. Walt Whitman goes him one better. Nevertheless, Ulick detected signs of the tyrannical female in her perpetual hovering about him. Even of the most tender, flower-like women one might say: This is the shrew Shakespeare drew. Every woman is a potential shrew, he decided, and Ophelia would have been no exception if she had married Hamlet. All men are born to be henpecked. Celibates, whether priests or laymen, are not exempted from this primal curse. If it isn't a female relative then it's a housekeeper, a cook or a laundress. Down-trodden women are to blame for their supine attitude. Let them fly the flag of revolt. The men will soon surrender.

Finally, one spring afternoon in the park, they settled these burning problems of humanity and were strolling by the swan-boats when they were hailed by Dora, who, to the critical eye of Ulick, had never been prettier. She accosted the couple quite unabashed.

"Hello, Jewel!" she cried, as she smiled at Mona, who returned the smile, and thought that Ulick might have kept his pet name for her benefit. Ulick was embarrassed only a moment. He expected to see fur fly and when nothing happened he introduced the girls in formal fashion. Mlle. Dora, Mlle. Mona. Et voilà tout! As a foreigner their introduction revolted his taste. Some hazy idea born of the notion that here in America the social lines were not so rigidly marked, had forced him into a false position. He looked around him. He was fearful that acquaintances might see the absurd group: the harlot and the mistress. What to do now! Mona saved the situation by her aplomb. She chatted with Dora, who, as soon as she was put on a level with the other woman, began to exhibit signs of discomfort. Her native insouciance had prompted her to hold up Ulick merely to annoy Mona. This manoeuvre failing she had to fall back into her own rank, which she did, precipitately.

"Well, I must be goin'," she said. "Pleased to have met you Miss--Mademoiselle--I forget. Jewel's French names give me a grouch--Miss Mona." She made a little curtsey. "Ulick, I live in the same apartment. I'm a regular homebody. So run up, whenever you have a night free--that is if your sweetheart will let you. You don't mind me, Jewel and me are such old friends." She flitted away. Mona had smiled sweetly. Ulick was wrathful. It was Dora's method of revenge because of his prolonged absence; he hadn't seen her since the night of his tiff with Paul. He hastened to apologize for the contretemps. Mona didn't mind, so she told him. She only registered her feelings in an ironical aside: "Charming friend of yours, Miss Dora." Then they talked of other things.

Living as husband and wife, they pooled their intimacies and discussed life as if they spent it in domestic seclusion. They almost did. Only at dinner time did Mona go home. She had said nothing of Ulick to her parents, nor had she asked Ulick to call. That puzzled him. Certainly she was not ashamed of him. She paraded herself everywhere with him. They often met Alfred, who now took their friendship as a matter of course. He teased them, asking if the day had been announced, but he seldom visited the Maison Felicé. He told Ulick that he had finer fish to fry, and taunted him with being a sentimentalist.

"Not that Mona isn't a superior girl. She is wonderful. But you are more wonderful. You, of all men, to fall in so speedily. I'm afraid, Jewel, you will make a sorry husband. You should have remained in Paris. And what will our dear old Easter, the celebrated Wagner singer, Istar, say when she hears that her young man has deserted her?" At Easter's name Ulick's brow wrinkled. His only answer was "Qui sait?"

... One afternoon in early summer Mona visited Ulick. He was looking from his window at a flock of pigeons on the roof of the dining-room. As soon as Mona entered he noted her blithe June air, but the expression of her eyes evoked autumnal cemeteries. "What's up, little mamma?" he asked as he embraced her. She buried her head in his breast. "I'm out of breath, Jewel," she panted. "I think mother followed me today. She has been spying on me most curiously for the past month. I wonder if she suspects?" "She wouldn't be a woman if she didn't. You give her lots of reasons to suspect--" he added, and at once regretted having spoken. Mona withdrew her arms and going to the couch sat down and incontinently burst into tears. In a moment Ulick was consoling her. She enjoyed a copious weeping, and drying her eyes she took him into her confidence.

No, there couldn't be the slightest doubt.... Three months had passed. Nothing! Perhaps her mother had been keeping tabs. Prudent mothers do, and if her darling old mumsey was innocent of the world's ways, she possessed the common-sense of the average woman, more sense, in fact, than her dear father, always dreaming over chess or metaphysical problems. Although for months he had been expecting just such news Ulick couldn't repress a long whistle; then he gave her a bear-hug. She nestled, closed her eyes with a sigh of profound contentment. He studied her face. There were violet bruises under her eyes, and her features had become measurably meagre. Her high cheek-bones showed more saliently. Her plump body felt softer to his touch. Good God! She was enceinte, and there sat the pair of them without a sense of guilt, shame, or worriment over the future. Modern? Disgusting! Gently releasing her he began to pace the floor. She watched him. She was perfectly content. There is no tomorrow for such love. The pain in store for her, the world's censure, the shock to her poor parents, the outraged pride that would be Milt's--none of these things mattered now. She would in due time become a mother. She was in the family-way--homely, eloquent phrase, for some girls the abomination of desolation, whether married or single; for Mona a clear title to happiness. Oh! the joys of motherhood. A live lump of flesh in her bosom. Her flesh and Jewel's! What matters a ring, a bit of parchment, a ceremony? Nature, generous, glorious Nature, had performed this miracle in her behalf. She had in the recesses of her being created life. Illegitimate? There are no such monsters. All babies are legitimate and bastards are sometime more beautiful. In the fulness of her heart, from which the mouth speaketh, she uttered all these ideas to her lover, and he smiled, too; was he not above vulgar prejudice! Marry her? Of course, in the twinkling of an eye, when she wished. She was too proud, too happy to mention the odious word. Wait till baby was born; that was the only thing that mattered. What could count in comparison with that magnificent fact--a healthy boy baby! Mona fairly snuggled in Ulick's arms. Her eyes were wet with maternal ecstacy. No nymphomania in this darling woman, thought Ulick.

Nevertheless, he began to take the affair more tragically. Suppose her parents would cast her off! Suppose that Milt would avenge her dishonour! Suppose that she died in accouchement! Suppose--she stayed his mouth and called him a croaking raven. Suppose anything, for that matter. Milt didn't count. He wouldn't be home at the time--she computed on her fingers--and as to her parents, she hadn't made up her mind on any plan of action. She knew that she couldn't or wouldn't, come out flatly now with the truth. That way would be disaster. How could she go away and write those dear little unworldly people? That would be cowardice. No, whatever course she would adopt, she must remain near her father and mother. She must shock them, also console them. Refusal of their forgiveness she did not anticipate. Only--only, one obstacle loomed ahead--their treatment of her Jewel, of the father of her beloved unborn child. Supposing she gave birth to twins! Grane and Shamus! What a paradise life would be! At once she saw herself playing with her babies in her Ebony Tower, converted into a nursery, a super-nursery for their super-babies, she playfully told him. He couldn't view the case so disinterestedly.

"Yes, but darling girl, the chief bother to me is what will your parents say--or do--to me? I'll only be a commonplace seducer in their eyes. Old-fashioned people can't shed their prejudices as snakes shed their skins. I fear a big row. Naturally, we must get married--at once; Mona, immediately!" He said this but his words lacked steam and sincerity to the acute ear of the girl. She felt assured that he saw no other girl save her, yet she knew young men, knew Ulick, knew that his hell of good intentions was often paved with fickle promises. Let matters take their natural course without undue meddling. After baby was born it would be time enough to discuss matrimony. That she was challenging by her unusual conduct worldly judgments she knew. Never cross a bridge till you reach one. Oh! her baby, her baby boy, her Shamus--maybe her Grane, her little white Wagnerian pony. She laughed.

He resumed his futile rambling round the room. An idea, a disagreeable idea, was crystallizing. Why not? Other women have undergone the peril. After several shaky beginnings, he finally compromised with his conscience by whispering in her ear. She blushed. Then repulsing him she exclaimed, No! And he had never expected such decision from a girl of her easy-drifting nature. "And you born a Roman Catholic!" she sorrowfully concluded. Ruefully he acquiesced. There was no way out. Abortion is the resort of assassins. What else? Matrimony would solve the question. Then Mona could possess her soul in peace. She could have her baby, to be sure, a few months ahead of time, but she could look her world in the eye. There was further palaver, nothing decided upon. She embraced Jewel and went home in a taxi, because, as she told herself, she must not take any chances. Already she felt life within her; her breakfasts she got rid of in a summary fashion, as she was too nauseated to swallow them. Tea she could manage. Eggs--ugh! The symptoms were classic, her case normal. But never would she consent to destroy sentient life. No such via dolorosa was in store for her.

A few weeks later just as Ulick was leaving to "cover" the first night of "The Lady With the Lace Legs" at the Empire, he was intercepted by Madame Felicé, whose kindly face wore a worried expression: "Monsieur Invern, you are demanded on the telephone. Il y en a quelque chose de grave pour vous. I hope your young lady, cette charmante fille, Mlle. Mona, is not so ill as they say. Mais dépêchez-vous, cher Monsieur! On vous attend." Ulick took up the receiver. A woman's voice asked in quavering accents: "Is this Mr. Invern?" "Yes." "This is Mrs. Milton, Mona's mother. You know where we live, yes? Please come up at once. Mona is ill--very ill--she may not last through the night. You know what's the matter. Oh! Do come! She asks for you whenever the pains allow her. Don't fear coming, Mr. Invern. Her father understands. Only--hurry--for God's sake hurry!" At his side the Madame had clearly heard every word. But what mattered that? She was hugely tolerant. She wasn't a gossip. And now she was most sympathetic. While he rang up his newspaper she sent out for a taxi. He soon finished with his night editor. He felt ill. Couldn't the city department get someone to cover the operetta? Besides, he was only obliging his confrère, the music-critic who had a poker party on at his house. Music was not in Ulick's bailiwick. The affair was soon settled. Fifteen minutes later he was ringing at the Milton's.

II

A maid opened the door. Her face was drawn, and she enveloped the half-frantic young man in a hostile gaze. He felt like a guilty scoundrel. Evidently he was in for a hard night, but he didn't trouble about himself. His unique sorrow was Mona. He walked up and down the semi-darkened drawing-room. A premature birth. Without doubt. It could be nothing else, unless--unless an accident had supervened. Perhaps his darling had been run down by some selfish brute of a motorist--Mona was so imprudent--he was become well-nigh frantic when Mrs. Milton entered. He thought her positively angelic when she came to him and took his hand in hers. "Don't worry too much, Mr. Invern. Mona is better since she knows you are here. No, no! I shan't listen to any accusations.... We understand, and to understand is to forgive. Mr. Milton thinks as I do. How did it happen! Mona was nearly killed by an auto this morning. She crossed the avenue dreaming of her future happiness. Yes, the sweet child has told us all. Don't be shocked. Girls have different moral codes today and parents must try to sympathize with them; if they do not, then they can't be of use to their daughters--and that would be terrible. The wheels missed her but she received a glancing blow on the shoulder and arm. She fell, and heavily, but she didn't faint. The gentleman in the car drove her home. He was very much concerned, although I am sure he was not to blame. The doctor said the blow was superficial. He bandaged her shoulder, and put her arm in a sling"--Ulick buried his face in his hands and groaned:

"Poor, suffering Mona!" Her mother touched his arm reassuringly. "All went well till late this afternoon. Mona began to suffer atrociously. Pains in her abdomen. They were so horrible that I summoned the doctor again. She didn't mind him, she was suffering so: He hinted at the shock and asked to examine her, fearing, no doubt, peritonitis. And that's precisely what it is ... as soon as he saw her poor swollen figure.... Of course, he knew at once ... and that brave girl never flinched. Her first question was the safety of the ... of her child ... when he told her the truth. Tears rolled down her cheek ... that, and no thought of disgrace troubled her ... she bites the pillow-case when the pains return, she won't scream ... such a brave girl.... She holds as tight as her strength allows that big doll of hers.... Oh, Mr. Invern, don't cry. Be brave. You must see her ... she doesn't speak of anyone but you--she says you are her dear husband--as you are in the sight of God--No, Mr. Milton takes the thing philosophically. He entertains no harsh thoughts concerning you. Young people! Ah! Mr. Invern, this is a sad meeting. My son Milt has spoken so often of you, and so beautifully--why didn't Mona tell us of her love for you? We should have been happy to receive you--but now--the future is a blank. She fell asleep when she learned that you were here. Her father is with her, and the doctor--he would give us no definite promise--septicaemia he fears, and that awful peritonitis ... wait, I'll go see if you may come." Like a genteel apparition she stole away, leaving Ulick in a doleful mood. Where his philosophy now? Where his calm attitude of a spectator on the sidewalk of life? Vanished all his shallow theories. Confronted by invincible facts his sensual day-dreams shrivelled into nothingness. Only Mona--only that she be spared, he prayed, and prayed for the first time since his boyhood. "O Jesus, sauve-moi! Sans toi je périra!" A scrap of a supplication he had heard his mother utter many times in her tribulations: Mrs. Milton was beckoning from the door. He followed her, treading as lightly as he could. He was chilled with fear.

She lay under a counterpane that was as white as her face. The room was empty, the father and medical man elsewhere. She slept. A large French doll was clasped in her arms. Her heavy hair had been braided and rolled off her forehead. Her features were discomposed, her eyelids discoloured. Shocked by the change he saw in her, Ulick knelt at the bedside. Mrs. Milton remained without. Mona's breathing was irregular. She looked ten years older. He hated the grotesque doll with the staring eyes of porcelain. It took up so much space in her bed--in her affection. Her eyes opened.

"Little boy," she tenderly murmured, and stroked his head. He choked his sobs. "Don't worry, poor little boy, we still have our dream-babies." Her face contracted with sudden pain. It was ash-gray, death-like, this sweet face. She held his hand so tightly that it hurt him. She bit the sheet. A low moaning sound issued from her lips, foam-speckled. No longer able to endure the sight of her suffering he called her mother. Mona made a sign, and he got away, he hardly knew how, hurtling into the two men as he went through the corridor. The doctor paid no attention. Mr. Milton, an old man with a head too large for his body, and with white hair like a grizzled mop, looked keenly at him, and then as if he were solving some intricate chess-problem he paused, ruminated, and finally made up his mind. He conducted the young man who had wrought such havoc in his household to the library, gently pushed him into a chair, offered him whisky and cigars. Ulick shook a negative. He was too much moved to utter a word. If he had opened his mouth it would have been to sob. Apologies, explanations, offers of reparation--all such silly phraseology were forgotten in the rush of repentance. It was the first time that he had come to grips with naked truth, and it hurt like a knife in his entrails. He could only sit with eyes half closed and wait--wait. Facing him was her father, who smoked a pipe. Neither one spoke. The hours slowly went by, every tick of the clock torture-breeding. Tomorrow, and tomorrow, and tomorrow!

It was dawn when the groaning of the girl forced itself into his ears, though all doors were closed. The crisis approached. Hurried footsteps were heard and the brittle sound of china. The odors of vinegar, ether and of fumigating pastilles penetrated his nostrils. A solitary scream punctuated the air. Silence followed, profound, enigmatic. Mr. Milton tip-toed to the door and listened. The orders of the doctor had been definite; no one save Mrs. Milton was to be near the sufferer. When Ulick, at last no longer able to sit still, approached the door, the father raised his eyebrows. Not yet! At six o'clock Mrs. Milton appeared. She looked worn and her features were pinched, but she suggested hope. Trembling, Ulick took her hand. She squeezed his. Her husband had left the room.