Years afterwards, listening to the overture to Tannhäuser, there came back to her the memory of that night. Ever through the mad Satanic discords she could hear, now faint, now conquering, the Pilgrims’ onward march. So through the jangled discords of the world one heard the Song of Life. Through the dim aeons of man’s savage infancy; through the centuries of bloodshed and of horror; through the dark ages of tyranny and superstition; through wrong, through cruelty, through hate; heedless of doom, heedless of death, still the nightingale’s song: “I love you. I love you. I love you. We will build a nest. We will rear our brood. I love you. I love you. Life shall not die.” Mary had been clasping and unclasping her hands, a habit of hers when troubled. Could good ever come out of evil? That was her doubt. Did war ever do anything but sow the seeds of future violence; substitute one injustice for another; change wrong for wrong. Did it ever do anything but add to the world’s sum of evil, making God’s task the heavier?!

“I’ll tell you who makes all the wars,” he said. “It’s you and me, my dears: we make the wars. We love them. That’s why we open our mouths and swallow all the twaddle that the papers give us; and cheer the fine, black-coated gentlemen when they tell us it’s our sacred duty to kill Germans, or Italians, or Russians, or anybody else. We are just crazy to kill something: it doesn’t matter what. If it’s to be Germans, we shout ‘A Berlin!’; and if it’s to be Russians we cheer for Liberty. I was in Paris at the time of the Fashoda trouble. How we hissed the English in the cafés! And how they glared back at us! They were just as eager to kill us. Who makes a dog fight? Why, the dog. Anybody can do it. Who could make us fight each other, if we didn’t want to? Not all the king’s horses and all the King’s men. No, my dears, it’s we make the wars. You and me, my dears.” He raised his eyes and fixed them on her with a pleading, dog-like look.

She ought to have insisted on their going to a decent shop. The mere advertisement ought to have forewarned her. It was the posters that had captured Mrs. Phillips: those dazzling apartments where bejewelled society reposed upon the “high-class but inexpensive designs” of Mr. Krebs. Artists ought to have more self-respect than to sell their talents for such purposes. “No,” answered Madge, “but I think I can guess. She hopes—or perhaps ‘fears’ would be more correct—that her husband is going to join the Cabinet, and is trying to fit herself by suddenly studying political and social questions. For a month she’s been clinging like a leech to Helen Lavery, who takes her to meetings and gatherings. I suppose they’ve struck up some sort of a bargain. It’s rather pathetic.” Joan remained silent. It made her mad, that a man could be suddenly robbed of fifteen years’ labour: the weapon that his heart and brain had made keen wrested from his hand by a legal process, and turned against the very principles for which all his life he had been fighting.