“Ah, she would!” Campton agreed.
As he walked home his mind was burdened with Boylston’s warning. It was not merely the affair itself, but all it symbolized, that made his gorge rise, made him, as Boylston said, sick to the point of wanting to chuck it all—to chuck everything connected with this hideous world that was dancing and flirting and money-making on the great red mounds of dead. He grinned at the thought that he had once believed in the regenerative power of war—the salutary shock of great moral and social upheavals. Yet he had believed in it, and never more intensely than at George’s bedside at Doullens, in that air so cleansed by passion and pain that mere living seemed a meaningless gesture compared to the chosen surrender of life. But in the Paris to which he had returned after barely four months of absence the instinct of self-preservation seemed to have wiped all meaning from such words. Poor fatuous Mayhew dancing to Mme. de Dolmetsch’s piping, Jorgenstein sinking under the weight of his international honours, Mme. de Tranlay intriguing to push her daughter in such society, and Julia placidly abetting her—Campton hardly knew from which of these sorry visions he turned with a completer loathing....
There were still the others, to be sure, the huge obscure majority; out there in the night, the millions giving their lives for this handful of trivial puppets, and here in Paris, and everywhere, in every country, men and women toiling unweariedly to help and heal; but in Mrs. Talkett’s drawing-room both fighters and toilers seemed to count as little in relation to the merrymakers as Miss Anthony and Mlle. Davril in relation to the brilliant people who had crowded their table into the obscurest corner of the room.
XXX
These thoughts continued to weigh on Campton; to shake them off he decided, with one of his habitual quick jerks of resolution, to get back to work. He knew that George would approve, and would perhaps be oftener with him if he had something interesting on his easel. Sir Cyril Jorgenstein had suggested that he would like to have his portrait finished—with the Legion of Honour added to his lapel, no doubt. And Harvey Mayhew, rosy and embarrassed, had dropped in to hint that, if Campton could find time to do a charcoal head—oh, just one of those brilliant sketches of his—of the young musical genius in whose career their friend Mme. de Dolmetsch was so much interested.... But Campton had cut them both short. He was not working—he had no plans for the present. And in truth he had not thought even of attempting a portrait of George. The impulse had come to him, once, as he sat by the boy’s bed; but the face was too incomprehensible. He should have to learn and unlearn too many things first——
At last, one day, it occurred to him to make a study of Mme. Lebel. He saw her in charcoal: her simple unquestioning anguish had turned her old face to sculpture. Campton set his canvas on the easel, and started to shout for her down the stairs; but as he opened the door he found himself face to face with Mrs. Talkett.
“Oh,” she began at once, in her breathless way, “you’re here? The old woman downstairs wasn’t sure—and I couldn’t leave all this money with her, could I?”
“Money? What money?” he echoed.
She was very simply dressed, and a veil, drooping low from her hat-brim, gave to her over-eager face a shadowy youthful calm.
“I may come in?” she questioned, almost timidly; and as Campton let her pass she added: “The money from the concert, of course—heaps and heaps of it! I’d no idea we’d made so much. And I wanted to give it to you myself.”