He turned his eyes and stared at Miss Garvice like one who wakes from a reverie, and then got up and strolled down the laboratory toward his refuge, the preparation-room.
Part 7
Then one day a little thing happened that clothed itself in significance.
She had been working upon a ribbon of microtome sections of the developing salamander, and he came to see what she had made of them. She stood up and he sat down at the microscope, and for a time he was busy scrutinizing one section after another. She looked down at him and saw that the sunlight was gleaming from his cheeks, and that all over his cheeks was a fine golden down of delicate hairs. And at the sight something leaped within her.
Something changed for her.
She became aware of his presence as she had never been aware of any human being in her life before. She became aware of the modelling of his ear, of the muscles of his neck and the textures of the hair that came off his brow, the soft minute curve of eyelid that she could just see beyond his brow; she perceived all these familiar objects as though they were acutely beautiful things. They WERE, she realized, acutely beautiful things. Her sense followed the shoulders under his coat, down to where his flexible, sensitive-looking hand rested lightly upon the table. She felt him as something solid and strong and trustworthy beyond measure. The perception of him flooded her being.
He got up. "Here's something rather good," he said, and with a start and an effort she took his place at the microscope, while he stood beside her and almost leaning over her.
She found she was trembling at his nearness and full of a thrilling dread that he might touch her. She pulled herself together and put her eye to the eye-piece.
"You see the pointer?" he asked.
"I see the pointer," she said.
"It's like this," he said, and dragged a stool beside her and sat down with his elbow four inches from hers and made a sketch. Then he got up and left her.
She had a feeling at his departure as of an immense cavity, of something enormously gone; she could not tell whether it was infinite regret or infinite relief....
But now Ann Veronica knew what was the matter with her.
Part 8
And as she sat on her bed that night, musing and half-undressed, she began to run one hand down her arm and scrutinize the soft flow of muscle under her skin. She thought of the marvellous beauty of skin, and all the delightfulness of living texture. Oh the back of her arm she found the faintest down of hair in the world. "Etherialized monkey," she said. She held out her arm straight before her, and turned her hand this way and that.
"Why should one pretend?" she whispered. "Why should one pretend?
"Think of all the beauty in the world that is covered up and overlaid."
She glanced shyly at the mirror above her dressing-table, and then about her at the furniture, as though it might penetrate to the thoughts that peeped in her mind.
"I wonder," said Ann Veronica at last, "if I am beautiful? I wonder if I shall ever shine like a light, like a translucent goddess?—
"I wonder—
"I suppose girls and women have prayed for this, have come to this—In Babylon, in Nineveh.
"Why shouldn't one face the facts of one's self?"
She stood up. She posed herself before her mirror and surveyed herself with gravely thoughtful, gravely critical, and yet admiring eyes. "And, after all, I am just one common person!"
She watched the throb of the arteries in the stem of her neck, and put her hand at last gently and almost timidly to where her heart beat beneath her breast.
Part 9
The realization that she was in love flooded Ann Veronica's mind, and altered the quality of all its topics.
She began to think persistently of Capes, and it seemed to her now that for some weeks at least she must have been thinking persistently of him unawares. She was surprised to find how stored her mind was with impressions and memories of him, how vividly she remembered his gestures and little things that he had said. It occurred to her that it was absurd and wrong to be so continuously thinking of one engrossing topic, and she made a strenuous effort to force her mind to other questions.
But it was extraordinary what seemingly irrelevant things could restore her to the thought of Capes again. And when she went to sleep, then always Capes became the novel and wonderful guest of her dreams.
For a time it really seemed all-sufficient to her that she should love. That Capes should love her seemed beyond the compass of her imagination. Indeed, she did not want to think of him as loving her. She wanted to think of him as her beloved person, to be near him and watch him, to have him going about, doing this and that, saying this and that, unconscious of her, while she too remained unconscious of herself. To think of him as loving her would make all that different. Then he would turn his face to her, and she would have to think of herself in his eyes. She would become defensive—what she did would be the thing that mattered. He would require things of her, and she would be passionately concerned to meet his requirements. Loving was better than that. Loving was self-forgetfulness, pure delighting in another human being. She felt that with Capes near to her she would be content always to go on loving.
She went next day to the schools, and her world seemed all made of happiness just worked up roughly into shapes and occasions and duties. She found she could do her microscope work all the better for being in love. She winced when first she heard the preparation-room door open and Capes came down the laboratory; but when at last he reached her she was self-possessed. She put a stool for him at a little distance from her own, and after he had seen the day's work he hesitated, and then plunged into a resumption of their discussion about beauty.
"I think," he said, "I was a little too mystical about beauty the other day."
"I like the mystical way," she said.
"Our business here is the right way. I've been thinking, you know—I'm not sure that primarily the perception of beauty isn't just intensity of feeling free from pain; intensity of perception without any tissue destruction."
"I like the mystical way better," said Ann Veronica, and thought.
"A number of beautiful things are not intense."
"But delicacy, for example, may be intensely perceived."
"But why is one face beautiful and another not?" objected Ann Veronica; "on your theory any two faces side by side in the sunlight ought to be equally beautiful. One must get them with exactly the same intensity."
He did not agree with that. "I don't mean simply intensity of sensation. I said intensity of perception. You may perceive harmony, proportion, rhythm, intensely. They are things faint and slight in themselves, as physical facts, but they are like the detonator of a bomb: they let loose the explosive. There's the internal factor as well as the external.... I don't know if I express myself clearly. I mean that the point is that vividness of perception is the essential factor of beauty; but, of course, vividness may be created by a whisper."