Years of Plenty

by Ivor John Carnegie Brown

"Oh, say something," he begged. "Forgive me for being selfish."

"There's nothing to forgive."

"Then say—you've said you cared for me—say you love me."

In a moment he had forgotten his remorse and again was claiming, insisting. And she, knowing that love can be, even must be, selfish and imperious, was glad that he should claim her and obeyed his command.

Of course Martin stayed in London over Christmas and into the New Year, living with a fullness he had never known, seeing the purpose and fineness of things which he had despised and neglected. How strange it was that all the world should be changed by that one weak figure, seemingly so ineffectual! how strange that one mortal should carry for another the keys of heaven! How trivial seemed all his philosophy with its objectivity of this and that when he discovered how subjective all his outlook was, how the presence or the absence of a loved one could make or mar the colour-medley of a sunset or the beauty of a tree against the sky.

One thing was certain: he gloried in possession. All his loneliness was forgotten now and, as he paced the streets, he could look upon the other couples without the pang of jealousy that once had stung him. There would be no more glances thrown furtively at passing women, no turning of an eager eye for bygone faces, no more emptiness and yearning. Deep magic lay in the thought that Freda, with her smile, and her quick mind, and her infinite grace of movement, was his to possess, to own. He was not ashamed to glory in these proprietary relations nor was she ashamed to accept them. She even welcomed them, yielding to Martin with an utter abandonment of self. She wanted only to be his, to be his loved possession, to help him and to share humbly in his triumphs and successes.

One night indeed he repented, not of his love, but of his manner of love. He felt the indignity of ownership.

They had gone, in a fit of intellectual enthusiasm, to see a play called Drift. At a small outlying theatre two young men of ideas were completing the noble task of self-imposed bankruptcy by giving the British public a season of "good drama." And the public naturally helped on the work by the easy method of staying away. The house was barely half full when, after the hammerings customary in these circles, the curtain went up.

Drift, a play in four acts by Villiers Wentworth, turned out to be a fair specimen of that now antiquated genre, The New Drama. It had the monosyllabic title, the insistent realism, the contempt for form and dramatic convention, the arid conversation with lapses of brilliance, the admirable acting, and, above all, the Great Gloom. It was naturally a play with a point, showing, justly and forcibly, the hopeless inadequacy of modern life to provide the average man and woman with anything like a Unity of Interest. The characters drifted from home which they dreaded to work which they loathed and in the evening they made the return journey. Nothing held their lives together, nothing remained as a permanent, unifying interest. There was love, but, as Mr Villiers Wentworth pointed out, the young man is barred socially and economically from indulging in anything but hole-and-corner affairs just when he most needs real sympathy.

"Not a good play," said Martin as they walked out into the flaring streets and joined the joyous welter of confusion at Piccadilly. "The man's got no sense of humour and he thinks that everyone is miserable who hasn't got two hundred a year. The poor are just as happy as the rich. Of course they oughtn't to be, but they are."