To be torn between divided allegiances is the painful fate of almost every human being. Pull devil, pull baker; pull flesh, pull spirit; pull love, pull duty; pull reason and pull hallowed prejudice. The conflict, in its various forms, is the theme of every drama. For though we have learnt to feel disgust at the spectacle of a bull-fight, an execution or a gladiatorial show, we still look on with pleasure at the contortions of those who suffer spiritual anguish. At some distant future date, when society is organized in a rational manner so that every individual occupies the position and does the work for which his capacities really fit him, when education has ceased to instil into the minds of the young fantastic prejudices instead of truths, when the endocrine glands have been taught to function in perfect harmony and diseases have been suppressed, all our literature of conflict and unhappiness will seem strangely incomprehensible; and our taste for the spectacle of mental torture will be regarded as an obscene perversion of which decent men should feel ashamed. Joy will take the place of suffering as the principal theme of art; in the process, it may be, art will cease to exist. A happy people, we now say, has no history; and we might add that happy individuals have no literature. The novelist dismisses in a paragraph his hero's twenty years of happiness; over a week of misery and spiritual debate he will linger through twenty chapters. When there is no more misery, he will have nothing to write about. Perhaps it will be all for the best.

The conflict which had raged during the last few months within Irene's spirit, though not so serious as some of the inward battles that have distracted strong men in their search for the salvation of integrity, was still for her a painful one. Put baldly in its most concrete form, the question at issue was this: should she paint pictures and write? or should she make her own underclothing?

But for Aunt Lilian the conflict would never have become serious; indeed, it would never, in all probability, have begun at all. For if it had not been for Aunt Lilian, the Natural Woman in Irene would have remained undisputed mistress of the field, and she would have passed her days in a placid contentment over the lacy intricacies of her undergarments. Aunt Lilian, however, was on the side of the Unnatural Woman; it was she who had practically called the writer and the painter of pictures into existence, had invented Irene's higher talents and ranged them against the homelier.

Mrs. Aldwinkle's enthusiasm for the arts was such that she wanted every one to practise one or other of them. It was her own greatest regret that she herself had no aptitude for any of them. Nature had endowed her with no power of self-expression; even in ordinary conversation she found it difficult to give utterance to what she wanted to say. Her letters were made up of the fragments of sentences; it was as though her thoughts had been blown to ungrammatical pieces by a bomb and scattered themselves on the page. A curious clumsiness of hand united with her native impatience to prevent her from drawing correctly or even doing plain sewing. And though she listened to music with an expression of rapture, she had an ear that could not distinguish a major from a minor third. 'I'm one of those unfortunate people,' she used to say, 'who have an artistic temperament without an artist's powers.' She had to content herself with cultivating her own temperament and developing other people's capacities. She never met a young person of either sex without encouraging him or her to become a painter, a novelist, a poet or a musician. It was she who had persuaded Irene that her little dexterity with camel's-hair brushes was a talent and that she ought on the strength of her amusing letters to write lyrics. 'How can you spend your time so stupidly and frivolously?' she used to ask, whenever she found Irene busy at her underlinen. And Irene, who adored her Aunt Lilian with the dog-like devotion that is only possible when one is eighteen, and rather young for one's age at that, put her sewing away and devoted all her energy to portraying in water-colours and describing in rhyme the landscape and the flowers of the garden. But the underclothing remained, none the less, a permanent temptation. She found herself wondering whether her chain-stitch wasn't better than her painting, her button-holing superior to her verse. She asked herself whether nightdresses weren't more useful than water-colours. More useful--and besides she was so awfully particular about what she wore next her skin; and she adored pretty things. So did Aunt Lilian, who used to laugh at her when she wore ugly, dowdy ones. At the same time Aunt Lilian didn't give her much of an allowance. For thirty shillings Irene could make a garment that it would have cost her five or six guineas to buy in a shop....

Underclothing became for Irene the flesh, became illicit love and rebellious reason; poetry and water-colour painting, invested by her adoration of Aunt Lilian with a quality of sacredness, became spirit, duty and religion. The struggle between her inclination and what Aunt Lilian considered good was prolonged and distressing.

On nights like this, however, the Natural Woman faded completely out. Under the stars, in the solemn darkness, how could one think of underclothing? And Aunt Lilian was being so affectionate. Still, it certainly was rather cool.

'Art's the great thing,' Mrs. Aldwinkle was saying earnestly, 'the thing that really makes life worth living and justifies one's existence.' When Mr. Cardan was away she let herself go more confidently on her favourite themes.

And Irene, sitting at her feet, leaning against her knee, couldn't help agreeing. Mrs. Aldwinkle stroked the girl's soft hair, or with combing fingers disordered its sleek surface. Irene shut her eyes; happily, drowsily, she listened. Mrs. Aldwinkle's talk came to her in gusts--here a phrase, there a phrase.

'Disinterested,' she was saying, 'disinterested...' Mrs. Aldwinkle had a way, when she wanted to insist on an idea, of repeating the same word several times. 'Disinterested...' It saved her the trouble of looking for phrases which she could never find, of making explanations which always turned out, at the best, rather incoherent. 'Joy in the work for its own sake.... Flaubert spent days over a single sentence.... Wonderful....'

'Wonderful!' Irene echoed.

A little breeze stirred among the bay trees. Their stiff leaves rattled dryly together, like scales of metal. Irene shivered a little; it was downright cold.

'It's the only really creative...' Mrs. Aldwinkle couldn't think of the word 'activity' and had to content herself with making a gesture with her free hand. 'Through art man comes nearest to being a god... a god....'

The night wind rattled more loudly among the bay leaves. Irene crossed her arms over her chest, hugging herself to keep warm. Unfortunately, this boa of flesh and blood was itself sensitive. Her frock was sleeveless. The warmth of her bare arms drifted off along the wind; the temperature of the surrounding atmosphere rose by a hundred-billionth of a degree.

'It's the highest life,' said Mrs. Aldwinkle. 'It's the only life.'

Tenderly she rumpled Irene's hair. And at this very moment, Mr. Falx was meditating, at this very moment, on tram-cars in the Argentine, among Peruvian guano-beds, in humming power-stations at the foot of African waterfalls, in Australian refrigerators packed with slaughtered mutton, in the heat and darkness of Yorkshire coal-mines, in tea-plantations on the slopes of the Himalaya, in Japanese banks, at the mouth of Mexican oil-wells, in steamers walloping along across the China Sea--at this very moment, men and women of every race and colour were doing their bit to supply Mrs. Aldwinkle with her income. On the two hundred and seventy thousand pounds of Mrs. Aldwinkle's capital the sun never set. People worked; Mrs. Aldwinkle led the higher life. She for art only, they--albeit unconscious of the privilege--for art in her.

Young Lord Hovenden sighed. If only it were he whose fingers were playing in the smooth thick tresses of Irene's hair! It seemed an awful waste that she should be so fond of her Aunt Lilian. Somehow, the more he liked Irene the less he liked Aunt Lilian.

'Haven't you sometimes longed to be an artist yourself, Hovenden?' Mrs. Aldwinkle suddenly asked. She leaned forward, her eyes glittering with the reflected light of two or three hundred million remote suns. She was going to suggest that he might try his hand at poetical rhapsodies about political injustice and the condition of the lower classes. Something half-way between Shelley and Walt Whitman.

'Me!' said Hovenden in astonishment. Then he laughed aloud: Ha, ha, ha! It was a jarring note.

Mrs. Aldwinkle drew back, pained. 'I don't know why you should think the idea so impossibly comic,' she said.

'Perhaps he has other work to do,' said Mr. Falx out of the darkness. 'More important work.' And at the sound of that thrilling, deep, prophetical voice Lord Hovenden felt that, indeed, he had.

'More important?' queried Mrs. Aldwinkle. 'But can anything be more important? When one thinks of Flaubert...' One thought of Flaubert--working through all a fifty-four hour week at a relative clause. But Mrs. Aldwinkle was too enthusiastic to be able to say what followed when one had thought of Flaubert.

'Think of coal-miners for a change,' said Mr. Falx in answer. 'That's what I suggest.'

'Yes,' Lord Hovenden agreed, gravely nodding. A lot of his money came from coal. He felt particularly responsible for miners when he had time to think of them.

'Think,' said Mr. Falx in his deep voice; and he relapsed into a silence more eloquently prophetical than any speech.

For a long time nobody spoke. The wind came draughtily and in ever chillier gusts. Irene clasped her arms still tightlier over her breast; she shivered, she yawned with cold. Mrs. Aldwinkle felt the shaking of the young body that leaned against her knees. She herself was cold too; but after what she had said to Cardan and the others it was impossible for her to go indoors yet awhile. She felt, in consequence, annoyed with Irene for shivering. 'Do stop,' she said crossly. 'It's only a stupid habit. Like a little dog that shivers even in front of the fire.'

'All ve same,' said Lord Hovenden, coming to Irene's defence, 'it is getting raver cold.'

'Well, if you find it so,' retorted Mrs. Aldwinkle, with overwhelming sarcasm, 'you'd better go in and ask them to light a fire.'

It was nearly midnight before Mrs. Aldwinkle finally gave the word to go indoors.