Contemplating the blended tones of pink and brown framed within the postcard’s scalloped edge of gold, one could not help thinking how extraordinarily unlike ‘the real thing’ was this particular representation of a pair of lovers; indeed, how indifferently, at almost every level except the highest, the ecstasies and bitterness of love are at once conveyed in art. So much of the truth remains finally unnegotiable; in spite of the fact that most persons in love go through remarkably similar experiences. Here, in the picture, for example, implications were misleading, if not positively inaccurate. The matter was presented as all too easy, the twin flames of dual egotism reduced almost to nothing, so that there was no pain; and, for that matter, almost no pleasure. A sense of anxiety, without which the condition could scarcely be held to exist, was altogether absent.
Yet, after all, even the crude image of the postcard depicted with at least a degree of truth one side of love’s outward appearance. That had to be admitted. Some of love was like the picture. I had enacted such scenes with Jean: Templer with Mona: now Mona was enacting them with Quiggin: Barnby and Umfraville with Anne Stepney: Stringham with her sister Peggy: Peggy now in the arms of her cousin: Uncle Giles, very probably, with Mrs. Erdleigh: Mrs. Erdleigh with Jimmy Stripling: Jimmy Stripling, if it came to that, with Jean: and Duport, too.
The behaviour of the lovers in the plush armchair beside the sparse heads of those sad flowers was perfectly normal; nor could the wording of the couplet be blamed as specially far-fetched, or in some other manner indefensible. ‘D’étrange et de troublant’ were epithets, so far as they went, perfectly appropriate in their indication of those indefinable, mysterious emotions that love arouses. In themselves there was nothing incongruous in such descriptive labels. They might, indeed, be regarded as rather apt. I could hardly deny that I was at that moment experiencing something of the sort.
The mere act of a woman sitting on a man’s knee, rather than a chair, certainly suggested the Templer milieu. A memorial to Templer himself, in marble or bronze, were public demand ever to arise for so unlikely a cenotaph, might suitably take the form of a couple so grouped. For some reason — perhaps a confused memory of Le Baiser — the style of Rodin came to mind. Templer’s own point of view seemed to approximate to that earlier period of the plastic arts. Unrestrained emotion was the vogue then, treatment more in his line than some of the bleakly intellectual statuary of our own generation.
Even allowing a fairly limited concession to its character as a kind of folk perception — an eternal girl sitting on an eternal young man’s knee — the fact remained that an infinity of relevant material had been deliberately omitted from this vignette of love in action. These two supposedly good-looking persons were, in effect, going through the motions of love in such a manner as to convince others, perhaps less well equipped for the struggle than themselves, that they, too, the spectators, could be easily identified with some comparable tableau. They, too, could sit embracing on crimson chairs. Although hard to define with precision the exact point at which a breach of honesty had occurred, there could be no doubt that this performance included an element of the confidence-trick.
The night was a shade cooler now. Jean was wearing a white blouse, or sports shirt, open at the neck. Beneath it, her body trembled a little.
‘What was your dinner like?’ she asked.
‘Peter turned up.’
‘He said he would probably go there.’
I told her about Le Bas; and also about Stringham.
‘That is why I am a bit late.’
‘Did Peter mention that Bob is back in England?’
‘Yes.’
‘And that his prospects are not too bad?’
‘Yes.’
‘That may make difficulties.’
‘I know.’
‘Don’t let’s talk of them.’
‘No.’
‘Darling Nick.’
Outside, a clock struck the hour. Though ominous, things still had their enchantment. After all, as St. John Clarke was reported to have said at the Huntercombes’, ‘All blessings are mixed blessings.’ Perhaps, in spite of everything, the couple of the postcard could not be dismissed so easily. It was in their world that I seemed now to find myself.