Newsboys in a foggy street on a Saturday night—thus was Dickie's first instinct to define "life in the raw...." Then he discovered that this was only the archway, and that the crimes themselves were life in the raw—and the criminals.
But one must get nearer by slow degrees.
If at all.
Hal had said that he was living in a lady's work-box. Dickie was sensitive, and not at all stupid. His penetration was quite aware that Burnham's remark was not applied to the harmonizing shades of the walls between which he dwelt, nor to the soft, mellow pattern of his silky Persian rugs, nor to his collections—heavens, how he collected!—of glowing Sèvres china, of Second Empire miniatures, of quaint old musical instruments with names that in themselves were a tender tinkle of song, and of the shoes that had been worn by queens.
All these things were merely accessories: his soul making neat, tiny gestures, shrugging its shoulders, pointing a toe. What Hal meant was that Dickie dared not live dangerously.
"What am I to do?"
He raised wistful, light brown eyes to the picture which was the one incongruous touch to the dainty perfection of his octagonal sitting-room. He had bought it at a rummage sale; it was unsigned, and the canvas, overcrowded with figures, had grown sombre and blurred; yet queerly Dickie liked the suggestion of powerful, half-naked men; the foreign quay-side street, with a slatternly woman silent against a doorway, and the clumsy ship straining to swing out to a menacing sea beyond.
All these things that he would never do: strip and carry bales on his back; linger in strange doorways and love hotly an animal woman who was unaccomplished and without grace and breeding; and then embark on an evil-smelling hulk that would have no human sympathy with his human ills.
He had done a little yachting, of course; with the Ansteys the year before last.
His lips bent to a small ironical smile as he reflected on the difference between "a little yachting" and the sinister fascination of that ugly, uninspired painting....