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“Oh, no. He was far too literary for that,” I answered. “He had a reputation to lose.”

“Pretty good,” said Minver, “even if Ormond is dead.”

Wanhope ignored us both. “After awhile, his wife said, she began to notice a certain change in his attitude toward the personifications. She noticed this, always expecting that fit of sickness for him; but she was not so much troubled by his returning seriousness. Oh, I ought to tell you that when she first began to be anxious for him she privately wrote home to their family doctor, telling him how strangely happy Ormond was, and asking him if he could advise anything. He wrote back that if Ormond was so very happy they had better not do anything to cure him; that the disease was not infectious, and was seldom fatal.”

“What an ass!” said Rulledge.

“Yes, I think he was, in this instance. But probably he had been consulted a good deal by Mrs. Ormond,” said Wanhope. “The change that began to set her mind at rest about Ormond was his taking the personifications more seriously. Why, he began to ask, but always with a certain measure of joke in it, why shouldn’t there be something in the personifications? Why shouldn’t Morn and Eve come corporeally walking up their lawn, with little or no clothes on, or Despair be sitting in their woods with her hair over her face, or Famine coming gauntly up to their back door for a hand-out? Why shouldn’t they any day see pop-eyed Rapture passing on the trolley, or Meditation letting the car she intended to take go by without stepping lively enough to get on board? He pretended that we could have the personifications back again, if we were not so conventional in our conceptions of them. He wanted to know what reason there was for representing Life as a very radiant and bounding party, when Life usually neither shone nor bounded; and why Death should be figured as an enemy with a dart, when it was so often the only friend a man had left, and had the habit of binding up wounds rather than inflicting them. The personifications were all right, he said, but the poets and painters did not know how they really looked. By the way,” Wanhope broke off, “did you happen to see Hauptmann’s ‘Hannele’ when it was here?”

None of us had, and we waited rather restively for the passing of the musing fit which he fell into. After a while he resumed at a point whose relation to the matter in hand we could trace:

“It was extremely interesting for all reasons, by its absolute fearlessness and freshness in regions where there has been nothing but timid convention for a long time; but what I was thinking of was the personification of Death as it appears there. The poor little dying pauper, lying in her dream at the almshouse, sees the figure of Death. It is not the skeleton with the dart, or the phantom with the shrouded face, but a tall, beautiful young man,–as beautiful as they could get into the cast, at any rate,–clothed in simple black, and standing with his back against the mantlepiece, with his hands resting on the hilt of a long, two-handed sword. He is so quiet that you do not see him until some time after the child has seen him. When she begins to question him whether she may not somehow get to heaven without dying, he answers with a sort of sorrowful tenderness, a very sweet and noble compassion, but unsparingly as to his mission. It is a singular moment of pure poetry that makes the heart ache, but does not crush or terrify the spirit.”

“And what has it got to do with Ormond?” asked Rulledge, but with less impatience than usual.

“Why, nothing, I’m afraid, that I can make out very clearly. And yet there is an obscure connection with Ormond, or his vision, if it was a vision. Mrs. Ormond could not be very definite about what he saw, perhaps because even at the last moment he was not definite himself. What she was clear about, was the fact that his mood, though it became more serious, by no means became sadder. It became a sort of solemn joy instead of the light gaiety it had begun by being. She was no sort of scientific observer, and yet the keenness of her affection made her as closely observant of Ormond as if she had been studying him psychologically. Sometimes the light in his room would wake her at night, and she would go to him, and find him lying with a book faced down on his breast, as if he had been reading, and his fingers interlaced under his head, and a kind of radiant peace in his face. The poor thing said that when she would ask him what the matter was, he would say, ‘Nothing; just happiness,’ and when she would ask him if he did not think he ought to do something, he would laugh, and say perhaps it would go off of itself. But it did not go off; the unnatural buoyancy continued after he became perfectly tranquil. ‘I don’t know,’ he would say. ‘I seem to have got to the end of my troubles. I haven’t a care in the world, Jenny. I don’t believe you could get a rise out of me if you said the nastiest thing you could think of. It sounds like nonsense, of course, but it seems to me that I have found out the reason of things, though I don’t know what it is. Maybe I’ve only found out that there is a reason of things. That would be enough, wouldn’t it?'”