Page:Terminations (New York, Harper and Brothers, 1895).djvu/249

the responsibility of it was what was uppermost in his thoughts. The refrain had grown old to them, the plea for just one more. There came a day when, for simple exhaustion, if symmetry should really demand just one more, he was ready to take symmetry into account. Symmetry was harmony, and the idea of harmony began to haunt him; he said to himself that harmony was of course every thing. He took, in fancy, his composition to pieces, redistributing it into other lines, making other juxtapositions and contrasts. He shifted this and that candle; he made the spaces different; he effaced the disfigurement of a possible gap. There were subtle and complex relations, a scheme of cross-reference, and moments in which he seemed to catch a glimpse of the void so sensible to the woman who wandered in exile or sat where he had seen her with the portrait of Acton Hague. Finally, in this way, he arrived at a conception of the total, the ideal, which left a clear opportunity for just another figure. "Just one more, to round it off; just one more, just one," continued to hum itself in his head. There was a strange confusion in the thought, for he felt the day to be near when he too should be one of the Others. What, in this case, would the Others matter to him, since they only mattered to the living? Even as one of the Dead, what would his altar matter to him, since his particular dream of keeping it up had melted away? What had harmony to do with the case, if his lights were all to be quenched? What he had