It is the close of a busy and vexatious day—say half past five or six o’clock of a winter afternoon. I have had a cocktail or two, and am stretched out on a divan in front of a fire, smoking. At the edge of the divan, close enough for me to reach her with my hand, sits a woman not too young, but still good-looking and well-dressed—above all, a woman with a soft, low-pitched, agreeable voice. As I snooze she talks—of anything, everything, all the things that women talk of: books, music, the play, men, other women. No politics. No business. No religion. No metaphysics. Nothing challenging and vexatious—but remember, she is intelligent; what she says is clearly expressed, and often picturesquely. I observe the fine sheen of her hair, the pretty cut of her frock, the glint of her white teeth, the arch of her eye-brow, the graceful curve of her arm. I listen to the exquisite murmur of her voice. Gradually I fall asleep—but only for an instant. At once, observing it, she raises her voice ever so little, and I am awake. Then to sleep again—slowly and charmingly down that slippery hill of dreams. And then awake again, and then asleep again, and so on. I ask you seriously: could anything be more unutterably beautiful? The sensation of falling asleep is to me the most exquisite in the world. I delight in it so much that I even look forward to death itself with a sneaking wonder and desire. Well, here is sleep poetized and made doubly sweet. Here is sleep set to the finest music in the world. I match this situation against any that you ran think of. It is not only enchanting; it is also, in a very true sense, ennobling. In the end, when the girl grows prettily miffed and throws me out, I return to my sorrows somehow purged and glorified. I am a better man in my own sight. I have grazed upon the fields of asphodel. I have been genuinely, completely and unregrettably happy. 47. Apologia in Conclusion