# Possession (Bromfield)/Chapter 28

THAT there was any such thing as kindliness involved in all these complicated, new relationships had never occurred to Ellen, perhaps because she had never for a moment expected it. It was only with the invitation to dinner, in itself a tacit recognition of her individuality as something more than a mere music box, that the real state of affairs first became clear to her. It was as if she had progressed a step in the world, as if she had achieved a little already of the vast things she had set out to accomplish. She tried, in her direct, unsubtle way of speaking, to convey something of the idea to Clarence. She wanted him, as always, desperately to understand her actions. She wanted him, perhaps dishonestly, to believe that she could not help acting as she did, that it was not from choice but from a desire to brighten both their lives that she left him now and then to venture forth into regions which it was impossible for him to penetrate. And in her own fashion, as she had done so often with her mother, she told him the truth selectively, so that al​though she did not lie she managed to achieve an effect that was not the truth.
The great thing which she neglected to admit was this . . . that she had come now to the point where it was no longer possible to take him with her. Even his fantastic dreams could not make him more than he was, and that was not enough. He had come to the end of his tether. She had barely begun. Imagine him in Mrs. Callendar's drawing-room! Fancy the abrupt Sabine Cane talking to him as she talked to Ellen! He, she knew, would suffer more than any one.
She said to him, "I'm sorry, but on Thursday I shall be out for dinner. . . . I've got to dine with Mrs. Callendar. . . . It's business, dear. . . . I must do these things."
And at the speech, Clarence assumed that hurt and crestfallen look which touched her sense of pity. It was the one thing which could alter her determination; indeed there were times when she must have suspected that he used it consciously, as his only weapon. It moved her even now, so that she went so far as to kiss him and say, "It's just one night."
"But it's a beginning." He saw it perhaps, clearly enough, more clearly than she ever imagined. "I wish you wouldn't."
And then she explained to him again the things which it was necessary for her to do in order to win what she must have. She talked long and eloquently, for she was earnest and she pitied him. It was clear that her dishonesty arose not so much out of any evil calculation as out of a desire to have everything, to go her way and still leave Clarence unharmed and happy. It was a thing impossible, of course, yet it never seemed so to her. There was in her so much of her indomitable mother that she was never able to believe in the impossible.
So she talked eloquently and at length she even arranged it for him that he should dine on Thursday night with Mr. and Mrs. Bunce. Thus, by a single act, she accomplished another thing. She dined with the Bunces without having to dine with them. ​She knew too that they would be happier with Clarence there alone. It would be like the old days, without strain, an evening when the three of them,—Clarence and Harry Bunce and his rosy wife,—could dine, as one might say, in peace. There would be no strain, no sense of an intruder in their midst. For she was a stranger, always; they were never quite at ease with her.
Thus Clarence found the evening arranged, and he was content in his way, for he liked the Bunces.
Afterward Ellen's clearest memory of the evening was the voice of Sabine drifting from the drawing-room as she entered the hall, saying, "The trouble with Boston people is that they are all descended from middle class immigrants and they've been proud of it ever since."
This speech became fixed somehow in her brain as a symbol of Sabine's queer worldliness, of a strangely cynical honesty that would color her whole point of view up to the very end. If Sabine thought it idiotic to take pride in being middle class, if she thought it absurd not to strive after distinction, she would say it, whether or not people thought her a snob. The world to her was thus and so; it moved according to an ancient pattern. All the orations in the world upon the subject of democracy could not alter the rule of things. Besides, it was a good enough rule. Why pretend it wasn't? Sabine, of course, could afford to take such a position. In a worldly sense, she had nothing to strive for. She had been born to those things.
Ellen, removing the squirrel coat Clarence had given her, turned these considerations over in her mind as she entered the room. She was watching them all to-night as she had watched them once before through the crack in the lacquered screen, cautiously, with an air of an enemy laying siege to their fortress.
There was, beneath the gaze of the Callendar ancestors, only Mrs. Callendar in a dress of jet and sequins, Sabine in a brilliant green gown and Richard Callendar, handsome and dark in his black and white clothes. Richard rose and came forward to meet her.
​"Mama," he said, smiling, "has just been talking of you. She believes that one day you will be a great personality."
"We are dining alone, the four of us," said Mrs. Callendar abruptly. It was clear that she meant to keep Ellen forever in ignorance of what she had said.
The dining room was done in the grand manner of the Second Empire, a room copied at the behest of young Callendar's grandfather from a house built by the Duc de Morny for one of his mistresses. It was grandiose, with columns of white and gilt, centering upon a massive table and a group of chairs with backs which ended a foot or two sooner than they should have ended. On the four panels of the walls there hung pictures of Venice in the dry, hard manner of Canaletto . . . Venice at Dawn, Venice at Sunset, Venice at Carnival Time and Venice in Mourning for the Pope. On the huge table stood a silver épergne filled to overflowing with the most opulent of fruits . . . mangoes, persimmons, red bananas, Homberg grapes and pomegranates. It was as if Thérèse Callendar had built this monument of fruit to recapture something of her own Oriental background—the rest of the room was so bad, so filled with the shadows of Cockney demi-mondaines and snuffbox adventures out of the Second Empire. At the four corners of the vast épergne stood four huge candelabra of silver.
Despite the air of depression given out by the monstrous room, it possessed a somber magnificence. To Ellen, the only magnificence approaching it lay in the drawing-room of that gloomy house known as Shane's Castle, set in the midst of the smoking furnaces. Aunt Julia's house was like it, filled with pictures and furniture and carpets which, like these, had been brought out of Europe.
There were wines for dinner, not one or two, but an array of port, madeira, sauterne, sherry and, at the place where Mrs. Callendar seated herself in a chair raised more than the others so that she might dominate the massive table, a pint of champagne for ​herself in a tiny silver bucket filled with ice. It was a schoolgirl's dream of magnificence . . . something out of the pages of a super-romantic novelette. In the beginning, the spectacle, proceeding through course after course, dazzled Ellen and made her shy. It was superb food, for in the veins of Thérèse there blended the blood of Frenchman and Greek. It was food that had a taste . . . not the boiled stuff of Anglo-Saxons.
After dinner, when they had all gone into the dark library, the moment came at last when Ellen's tongue was loosed. It may have been the wine she drank or it may have been the cigarette which, in her new freedom, she smoked over the coffee (for in a single evening she had broken two of Clarence's rules); but it is more likely that it was the picture hanging over the mantelpiece, which changed everything.
She looked at it carefully and then said, "Is that by Turner? My aunt has one by him."
And a moment later, under the subtle urgence of Sabine, she was telling them everything. She described, for example, the Town, its Mills, its desolation, the misery of the workers. She painted for them a picture of her own family, of the Red Scot who lay now, helpless and childish, in her own big bed. She told them of her other grandfather, cold and aloof, who had run away in his youth and lived in the Paris of the Second Empire, and now existed in a room walled in by books. She recreated before their eyes the gloomy color of Shane's Castle, only to be interrupted in the midst by Thérèse Callendar, who turned to Sabine and observed, "She is a cousin, you know, of the Madame Shane we saw once at Madame de Cyon's in Paris. . . . You remember Madame de Cyon, the Russian woman, whose husband was French minister to Bulgaria. . . . She lived in the Avenue du Bois. A Bonapartist. Madame Shane was the beauty with red hair. . . . Miss Tolliver's Aunt Julia is her mother."
And then she permitted Ellen to continue, and the girl meanwhile, even as she talked, understood that Mrs. Callendar had not ​forgotten Lily. She had even fixed the place and time of their meeting. It was clear that she had been thinking of Lily, as every one did.
She told the story simply enough, but with an earnestness that was moving. To her the canvas which she painted was not remarkable, but to the listeners it appeared to hold, perhaps because it was so new to them, the fascination of a world which was utterly strange and a little exotic. They listened, moved by the simplicity of her utterance, and Richard Callendar asked her questions about the mills and furnaces, about the foreign population. The recital was a success and out of it she learned something new,—that there was nothing of such power as simplicity, nothing of such interest as individuality. She understood all that from the way in which they listened. It was the first time in all her life when she had thrown caution to the winds. She was, for an hour, her complete self.
But there was one part of the story which she did not tell. It was that part which concerned her elopement and all that had followed it. She said simply, "And so I came to New York to study, and luckily fell into the hands of Sanson. . . ."
Richard Callendar stood up suddenly and poked the fire. His mother said, "You could not have done better," and Sabine observed, "Here in New York we forget that the rest of the country exists. . . . I've never been out of New York except to go to Europe or to some summer place."
To-night, instead of being a performer, one who played in public, she was the guest, the center of the evening.
She played for them the Moonlight Sonata and while she played, she became conscious again of the curious, breathless way in which Richard Callendar listened. It seemed, for a time, that he existed only in a single spirit which somehow enveloped her and the music of Beethoven. All the evening he had been silent and watchful, as silent and as watchful as herself, save in the moment when she was carried away by her own story. When she had finished play​ing she was conscious of another fact, perhaps even more interesting. It was that Sabine had noticed a difference and was regarding the handsome Callendar with a look so intent that Ellen, turning sharply, caught her unaware.
This new world was a world of shadows, of hints, of insinuations, a world of curious restraints and disguises. Out of these, in the very instant she turned from the piano, she understood that the relation between Sabine and young Callendar was more than a casual friendship. Sabine was in love with him, passionately, perhaps without even knowing it, for it must have required a terrible force to lead a woman so circumspect into such a betrayal.
That night, for a second time, Ellen left the house in company with Sabine and Richard Callendar. It came about that, as they were preparing to leave, young Callendar proposed to accompany them and without further discussion entered the carriage. In the past it had been the custom to send Ellen home in the cabriolet while Callendar followed in the brougham with Sabine. Sometimes these two walked to Sabine's house. She lived in Park Avenue, a half dozen blocks away, in a tall narrow house, exceedingly stiff and formal in appearance . . . a house which one could not but say suited her admirably.
On the way, they talked music for a time and when the cabriolet approached Sabine's corner, she said simply, "I am tired. You can drop me at home."
So she bade them good night without further ado and disappeared into the narrow house. It was a strange thing for her to have done. Ellen and Callendar must have expected her to accompany them all the way to the Babylon Arms and to return alone with him; that would have been the order of things. But she was more subtle than they imagined. If she understood, as Ellen was certain she had, that there was some new thing come into the relations that existed among them all, she was clever. She did not attempt to change or even interrupt this new current; wise in the depths of her shrewd mind she saw that to be an obstacle was ​not the same as to be a goal. So she left Richard Callendar with the stranger who had become her rival. It may have caused her sleeplessness and torment; she may have felt a keen jealousy, but it was impossible to know. It may also have been that, knowing the continental ideas of Callendar, she was not concerned over her ultimate victory. By the rule of the very tradition which had shut her in, Callender could not marry this stranger.