She did not weigh Martin’s words nor judge his argument by them. Her conclusion that his argument was wrong was reached—unconsciously, it is true—by a comparison of externals. They, the professors, were right in their literary judgments because they were successes. Martin’s literary judgments were wrong because he could not sell his wares. To use his own phrase, they made good, and he did not make good. And besides, it did not seem reasonable that he should be right—he who had stood, so short a time before, in that same living room, blushing and awkward, acknowledging his introduction, looking fearfully about him at the bric-a-brac his swinging shoulders threatened to break, asking how long since Swinburne died, and boastfully announcing that he had read “Excelsior” and the “Psalm of Life.”
Unwittingly, Ruth herself proved his point that she worshipped the established. Martin followed the processes of her thoughts, but forbore to go farther. He did not love her for what she thought of Praps and Vanderwater and English professors, and he was coming to realize, with increasing conviction, that he possessed brain-areas and stretches of knowledge which she could never comprehend nor know existed.
In music she thought him unreasonable, and in the matter of opera not only unreasonable but wilfully perverse.
“How did you like it?” she asked him one night, on the way home from the opera.
It was a night when he had taken her at the expense of a month’s rigid economizing on food. After vainly waiting for him to speak about it, herself still tremulous and stirred by what she had just seen and heard, she had asked the question.
“I liked the overture,” was his answer. “It was splendid.”
“Yes, but the opera itself?”
“That was splendid too; that is, the orchestra was, though I’d have enjoyed it more if those jumping-jacks had kept quiet or gone off the stage.”
Ruth was aghast.
“You don’t mean Tetralani or Barillo?” she queried.