She heard herself sigh, and he sighed too.
'Sarah! Do you imagine I don't know how all this sounds? I am not so mad that… give me some credit.' They stood on the edge of a vast lawn, glimmering a strong green in yellow light. 'For a time I believed I was possessed. I even considered going off to be exorcised — but for that kind of thing to work, surely you have to believe in it? But I'm afraid I don't believe that some Tom, Dick, or Harry of a priest can deal with… Someone no better than I am? Nonsense. And then I began to do a lot of reading, and I found that Julie is that side of myself that was never allowed to live. The Jungians have a word for it. My anima. What's in a word? It seems to me all that kind of thing amounts to — well, not much more than the pleasures of definition. Why is a word like that useful when you are experiencing…? All I know is that if she walked towards me now I wouldn't be in the least surprised.'
The great lawn, as flat as a lake, was backed by beeches, chestnuts, and oaks; and some shrubs that were all in flower, pink, white, and yellow, although well grown themselves, were made so small by the trees they seemed like flowers in a border. In the middle of the green expanse was a wooden stage, about three feet in height. There the musicians and singers would be tomorrow. A few wooden chairs idled on the grass: apparently this was an audience that liked to stroll about while it listened. Slowly the two approached the little stage, which was like a flat rock in still water. This place, this stage, this lawn, was a vast O framed by trees, green heights around flat green. Now the two were circling the stage. On the far side of it was a poster of Julie, or rather of Julie's drawing of herself as an Arab girl, a transparent veil across the lower part of her face, her eyes black and — yes, the word haunting would do. Stephen came to a standstill. He made a small sound — a protest. 'Elizabeth didn't say she was using this one,' he said. It was not the picture on the other posters. 'What's wrong with it?' she asked. He did not reply. He was staring helplessly, as at an accident, or a catastrophe. He was pale. Sarah put her hand into his arm and moved him away. He walked stiffly, even stumbled. He turned his face to her, and Sarah almost let out that laugh which says, 'You are doing it well, congratulations.' Nothing that he had said, nothing she had thought about him — and she believed she had been prepared to dive deep into his wells of fantasy — had prepared her for what she saw. His face was pulled into that mask that illustrates Tragedy — the other side of Comedy; the theatrical stereotypes. She was standing still, staring at him. Her heart beat. Foreboding. Fear — yes, it was that. Yes, she had seen his face wretched; she had said to herself the sanitized sets of words we use in this time of ours, which has banished this kind of thing, has decided it is all an affair of horoscopes, or 'ghosts', and that if they squeak and gibber, then they are comic rather than not. She had never even begun to imagine what she was seeing now, the haunted tragic face with the dragged-down mouth that seemed as if an invisible hand held it, a mouth all suffering. She was shocked as if she had opened a door by mistake and seen something like a murder or an act of torture, or a woman in an extreme of grief, sitting rocking, clutching at her hair with both hands, then raking her nails across her breasts, where the blood runs down.
He's ill, she thought. She thought, That's grief. What I am looking at — that's grief. She felt ashamed to be a witness of it and turned her face away, thinking, I've never, ever, felt anything like that.
Now he remembered she was there, and he turned his own face away and said, his voice rough, 'You see, you have no idea at all, Sarah. You simply don't understand… well, why should you? I hope you never will.'
At supper that night there were seven people. The informal meal was taken in a room that had a hatch through into the kitchen, and it had been cooked and served by a pleasant motherly sort of woman not unlike an auburn-haired blue- eyed sheepdog. This was Norah Daniels, a housekeeper, or something of that sort, and she sat at the table with Stephen and Elizabeth and Sarah and the three boys, James, about twelve, George, ten or so, and Edward, seven. These children were beautifully behaved, in a style imposed on them by their parents: a light impersonal affection, and it was joky, for there was a lot of banter of the kind Sarah remembered from her school days. It was mostly Norah who played this game. Stephen was silent. He claimed he had a headache and they must forgive him. Not ask too much of him was what he meant and what they all heard. It was evident that this was a message heard often in this family, from him, and from Elizabeth, because she was so very busy. She kept saying she was, and that was why she had not done a variety of things she had promised — ring up a friend's mother, write a letter about a visit, buy new cricket balls. But she would do all these things tomorrow. The three boys, fair, slight, blue- eyed, angelic-looking children, watched the adults' faces carefully for signals. This was their habit. This was their necessity. They had been taught never to ask too much. Only Norah was outside this pattern, for she smiled special smiles at each of them, helped them to food in an indulgent way, remembered personal tastes, gave Edward, the smallest one, an extra helping of pudding, kissed him warmly, with a hug, and then excused herself, her own meal finished, saying she had things to do. At once the boys asked permission to leave the table, and they slid away into a warm dusk. For a time their high clear voices could be heard from the garden. Soon music sounded from the top of the house — some pop group. Elizabeth remarked that it was time the boys were asleep, and departed, but only briefly, to make sure they were in bed.
Then Stephen and Elizabeth apologized to Sarah, saying they needed a couple of hours to discuss arrangements for tomorrow, for more people were coming than they had expected. 'This Julie of yours is obviously a great draw,' said Elizabeth, but it did not seem she meant anything special by it.
Sarah walked about in the dusk for a while, until the birds stopped commenting on the affairs of the day and the moon made itself brilliantly felt. She telephoned her brother's house. Anne answered. Yes, she had sent the girls to collect Joyce, who, on arriving home, had at once disappeared again. Anne did not suggest this was Sarah's fault, as Hal would have done. He had said they should all have a serious talk about Joyce, and suggested Monday night. Sarah agreed, but knew her voice communicated to Anne, as Anne's did to her, that nothing would come of this.
Sarah's room was full of moonlight and overlooked the great lawn and the trees beyond, the scene full of glamour and mystery, like a theatre set.
She lay in bed and was determined she would not think about Joyce, for she did not feel strong enough to accommodate the anxiety thoughts of Joyce always brought with them, when she was already anxious enough. She had expected to be disturbed by this visit, and she was. Not in the way she had been afraid of. Whatever it was that Stephen and she shared, they shared it still. No, now she felt she had been selfish, for she could not get out of her mind the look on his face that afternoon — such grief, such pain, such a degree of suffering. It was crazy. He might be sane in nine-tenths of his life, this intelligent hard-working many-sided life of his, but in one part of it he was, quite simply, not normal. Well, what of it? It did not seem to be doing much harm, and certainly not to Elizabeth. But there was something bothering Sarah, and she couldn't put a finger on it. She went off to sleep, glad to forget it all, and woke completely and as suddenly as if there had been a clap of thunder. The moon had left her room. She was remembering a scene at the table of Norah handing Elizabeth a glass of wine, and Elizabeth's smile at Norah. Well, yes, that was it. And she shut her eyes and replayed the scene. Stephen was at one end of the table, Elizabeth at the other, Norah beside Elizabeth. The women's bodies had carried on a comfortable conversation with each other, as well-married bodies often do. And Stephen? Now it seemed to Sarah that he was an outsider in his own house