Felix and the girl shook hands rather awkwardly. “I take back all I said about your wife,” said Dorothy. “Hey, you!”—to the moving man who was lounging at the door—“that’s all. The stove and the other things stay here. You’ve got the address. I’ll be there to take in the stuff when it comes.” She held out her hand to Rose-Ann. “Good-bye. I’ll drop in some evening when you’ve got more or less settled. Good-bye!”
2
Felix and Rose-Ann went to the landlord and were confirmed in their possession of the studio. They put up the Franklin stove again, and built a fire with the remains of Dorothy’s kindling and coal, and sat there till twilight, on the low model-stand, furnishing the room in imagination.
Felix was feeling a curious emotion which was at once an immense relief and a dim perturbation. He felt now that he had never wanted to live in an ordinary apartment. He could sympathize now with all the indignant things Rose-Ann had been saying about such places. It would have meant a kind of surrender—a giving up to outward form of the special quality of their lives.... But he had been willing to surrender. It was strange now to realize, but it was true—he had felt that very surrender to be a part of marriage, of adjusting himself to the world of actuality. Yes, he had thought that he and Rose-Ann had to live cooped up together in a little domestic cage like other married people.
And instead they were to remain free!
For that was what living in a studio meant. They would not subordinate their individual lives to a domestic arrangement. On the contrary, all their domestic arrangements were pushed into the background. This was first of all a place for them to do their work in.
They planned for their work-tables first of all—two enormous tables that one could fill with papers and books to one’s heart’s content, and that never were to be disturbed, no matter how messy they looked: these, one on either side of the room, up by the front windows. And then, books—all the books they would ever want, ranged on two long shelves along the side-walls. And then two large beds, at the back of the studio, behind the screen—two, so that they could work as late at night as they wished and go to bed without disturbing each other. And a settle in front of the fire, and chairs—ordinary kitchen chairs that they would paint in bright colours—for rest and talk and friends. And a gate-legged table that could be pushed out of the way after dinner, if they dined at home. And a tiny gas-range, and a cupboard for dishes. Coloured dishes they would be—no two alike. “I hate sets of dishes as much as I hate sets of books,” said Rose-Ann.... And a tiny gas-range.
That gas-range was to be their least and last possession, not they its slaves!
No, they would be two artists who lived together because they loved each other, who ate when they were hungry, slept when a chapter was finished, and cooked when they thought it would be fun to eat at home!
“For instance,” said Rose-Ann, “it would be fun to get dinner here tonight, but we can’t. But I’ll tell you—let’s early in the morning go and buy beds and dishes and things, so we can move right in.”