Aaron's Rod. Дэвид Герберт Лоуренс

bear it," Aaron heard his wife's voice.

      They were downstairs. Their feet click-clicked on the tiled passage. They had gone into the middle room. Aaron sat and listened.

      "She won't have any more bouts. If she does, give her a few drops from the little bottle, and raise her up. But she won't have any more," the doctor said.

      "If she does, I s'll go off my head, I know I shall."

      "No, you won't. No, you won't do anything of the sort. You won't go off your head. You'll keep your head on your shoulders, where it ought to be," protested the doctor.

      "But it nearly drives me mad."

      "Then don't let it. The child won't die, I tell you. She will be all right, with care. Who have you got sitting up with her? You're not to sit up with her tonight, I tell you. Do you hear me?"

      ​"Miss Smitham's coming in. But it's no good—I shall have to sit up. I shall have to."

      "I tell you you won't. You obey me. I know what's good for you as well as for her. I am thinking of you as much as of her."

      "But I can't bear it—all alone." This was the beginning of tears. There was a dead silence—then a sound of Millicent weeping with her mother. As a matter of fact, the doctor was weeping too, for he was an emotional sympathetic soul, over forty.

      "Never mind—never mind—you aren't alone," came the doctor's matter-of-fact voice, after a loud nose-blowing. "I am here to help you. I will do whatever I can—whatever I can."

      "I can't bear it. I can't bear it," wept the woman.

      Another silence, another nose-blowing, and again the doctor:

      "You'll have to bear it—I tell you there's nothing else for it. You'll have to bear it—but we'll do our best for you. I will do my best for you—always—always—in sickness or out of sickness—There!" He pronounced there oddly, not quiet dhere.

      "You haven't heard from your husband?" he added.

      "I had a letter—"—sobs—"from the bank this morning."

      "From de bank?"

      "Telling me they were sending me so much per month, from him, as an allowance, and that he was quite well, but he was travelling."

      "Well then, why not let him travel? You can live."

      "But to leave me alone," there was burning indignation in her voice. "To go off and leave me with every responsibility, to leave me with all the burden."

      "Well I wouldn't trouble about him. Aren't you better off without him?"

      "I am. I am," she cried fiercely. "When I got that letter this morning, I said May evil befall you, you selfish demon. And I hope it may."

      "Well-well, well-well, don't fret. Don't be angry, it won't make it any better, I tell you."

      ​"Angry! I am angry. I'm worse than angry. A week ago I hadn't a grey hair in my head. Now look here—" There was a pause.

      "Well-well, well-well, never mind. You will be all right, don't you bother. Your hair is beautiful anyhow."

      "What makes me so mad is that he should go off like that—never a word—coolly takes his hook. I could kill him for it."

      "Were you ever happy together?"

      "We were all right at first. I know I was fond of him. But he'd kill anything.—He kept himself back, always kept himself back, couldn't give himself—"

      There was a pause.

      "Ah well," sighed the doctor. "Marriage is a mystery. I'm glad I'm not entangled in it."

      "Yes, to make some woman's life a misery.—I'm sure it was death to live with him, he seemed to kill everything off inside you. He was a man you couldn't quarrel with, and get it over. Quiet—quiet in his tempers, and selfish through and through. I've lived with him twelve years—I know what it is. Killing! You don't know what he was—"

      "I think I knew him. A fair man? Yes?" said the doctor.

      "Fair to look at.—There's a photograph of him in the parlour—taken when he was married—and one of me.—Yes, he's fairhaired."

      Aaron guessed that she was getting a candle to come into the parlour. He was tempted to wait and meet them—and accept it all again. Devilishly tempted, he was. Then he thought of her voice, and his heart went cold. Quick as thought, he obeyed his first impulse. He felt behind the couch, on the floor where the curtains fell. Yes—the bag was there. He took it at once. In the next breath he stepped out of the room and tip-toed into the passage. He retreated to the far end, near the street door, and stood behind the coats that hung on the hall-stand.

      At that moment his wife came into the passage, holding a candle. She was red-eyed with weeping, and looked frail.

      ​"Did you leave the parlour door open?" she asked of Millicent, suspiciously.

      "No," said Millicent from the kitchen.

      The doctor, with his soft, Oriental tread followed Mrs. Sisson into the parlour. Aaron saw his wife hold up the candle before his portrait and begin to weep. But he knew her. The doctor laid his hand softly on her arm, and left it there, sympathetically. Nor did he remove it when Millicent stole into the room, looking very woe-begone and important. The wife wept silently, and the child joined in.

      "Yes, I know him," said the doctor. "If he thinks he will be happier when he's gone away, you must be happier too, Mrs. Sisson. That's all. Don't let him triumph over you by making you miserable. You enjoy yourself as well. You're only a girl——"

      But a tear came from his eye, and he blew his nose vigorously on a large white silk handkerchief, and began to polish his pince nez. Then he turned, and they all bundled out of the room.

      The doctor took his departure. Mrs. Sisson went almost immediately upstairs, and Millicent shortly crept after her. Then Aaron, who had stood motionless as if turned to a pillar of salt, went quietly down the passage and into the living room. His face was very pale, ghastly-looking. He caught a glimpse of himself in the mirror over the mantel, as he passed, and felt weak, as if he were really a criminal. But his heart did not relax, nevertheless. So he hurried into the night, down the garden, climbed the fence into the field, and went away across the field in the rain, towards the high-road.

      He felt sick in every fibre. He almost hated the little handbag he carried, which held his flute and piccolo. It seemed a burden just then—a millstone round his neck. He hated the scene he had left—and he hated the hard, inviolable heart that stuck unchanging in his own breast.

      Coming to the high-road, he saw a tall, luminous tram-car roving along through the rain. The trams ran across country from town to town. He dared not board, because people ​knew him. So he took a side road, and walked in a detour for two miles. Then he came out on the high-road again and waited for a tram-car. The rain blew on his face. He waited a long time for the last car.

      ​

      At the Opera

       Table of Contents

      CHAPTER V

      AT THE OPERA

      A friend had given Josephine Ford a box at the opera for one evening; our story continues by night. The box was large and important, near the stage. Josephine and Julia were there, with Robert and Jim—also two more men. The women sat in the front of the box, conspicuously. They were both poor, they were rather excited. But they belonged to a set which looked on social triumphs as a downfall that one allows oneself. The two men, Lilly and Struthers, were artists, the former literary, the latter a painter. Lilly sat by Josephine