"Nonsense!" he cried. "Why can't I hear what you have to say? You stand on platforms and tell it to hundreds. Why should you grudge it to me?"
She swept her hand toward the landscape around them.
"It has to do with change," she said. "And with evolution. Look at this scarred mountain-side, how confused and senseless the upheavals seem which have given it its grandeur! Nor is it static yet. It is continually wearing down. Erosion is diminishing it, that river is denuding it. Eternal change is the only law."
"I understand," said Wander, his eyes glowing.
"In the world of thought it is the same."
"Verily."
"But I speak for women--and I am afraid that you'll not understand."
"I should like to be given a chance to try," he answered.
"Clarinda," she said, after a moment's pause, "like the larger part of the world, is looking at a mirage. She sees these shining pictures on the hot sand of the world and she says: 'These are the real things. I will fix my gaze on them. What does the hot sand and the trackless waste matter so long as I have these beautiful mirages to look at?' When you say that mirages are insubstantial, evanishing, mere tricks of air and eye, the Clarindas retort, 'But if you take away our mirages, where are we to turn? What will you give us in the place of them?' She thinks, for example, if a dying soldier calls on his mother or his sweetheart that they must be good women. This is not the case. He calls on them because confronts the great loneliness of death. He is quite as likely to call on a wicked woman if she is the one whose name comes to his flickering sense. But even supposing that one had to be sacrificial, subservient, and to possess all the other Clarinda virtues in order to have a dying man call on one, still, would that burst of delirious wistfulness compensate one for years of servitude?"
She let the statement hang in the air for a moment, while Wander's color deepened yet more. He was being wounded in the place of his dreams and the pang was sharp.