THE SONG OF THE LARK
Yes, she reflected, this new part of her life had all begun that morning when she sat on the clay bank beside Ray Kennedy, under the flickering shade of the cottonwood tree. She remembered the way Ray had looked at her that morning. Why had he cared so much? And Wunsch, and Dr. Archie, and Spanish Johnny, why had they? It was something that had to do with her that made them care, but it was not she. It was something they believed in, but it was not she. Perhaps each of them concealed another person in himself, just as she did. Why was it that they seemed to feel and to hunt for a second person in her and not in each other? Thea frowned up at the dull lamp in the roof of the car. What if one's second self could some how speak to all these second selves? What if one could bring them out, as whiskey did Spanish Johnny's? How deep they lay, these second persons, and how little one knew about them, except to guard them fiercely. It was to music, more than to anything else, that these hidden things in people responded. Her mother—even her mother had something of that sort which replied to music.
Thea found herself listening for the coughing behind her and not hearing it. She turned cautiously and looked back over the head-rest of her chair. The poor girl had fallen asleep. Thea looked at her intently. Why was she so afraid of men? Why did she shrink into herself and avert her face whenever a man passed her chair? Thea thought she knew; of course, she knew. How horrible to waste away like that, in the time when one ought to be growing fuller and stronger and rounder every day. Suppose there were such a dark hole open for her, between to-night and that place where she was to meet herself? Her eyes narrowed. She put her hand on her breast and felt how warm it was; and within it there was a full, powerful pulsation. She smiled—though she was ashamed of it—with the natural contempt of strength for weakness, with the sense of physical security which makes the savage
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