"Yes, I know," she said. "That is why I love you. For I do love you: but...." "But you love the other fellow too?" She laughed, and said, with a soft look in her eyes and a tender note in her voice: "Stay!" He was just about to give in once more when Lucien Lévy-Coeur came in: and he was welcomed with the same soft look in her eyes and the same tender note in her voice. Christophe sat for some time in silence watching Colette at her tricks: then he went away, having made up his mind to break with her. He was sick and sorry at heart. It was so stupid to grow so fond, always to be falling into the trap! When he reached home he toyed with his books, and idly opened his Bible and read: "... _The Lord saith, Because the daughters of Zion are haughty and walk with stretched forth necks and wanton eyes, walking and mincing as they go, and making a tinkling with their feet, "Therefore the Lord will smite with a scab the crown of the head of the daughters of Zion, and the Lord will discover their secret parts_ ..." He burst out laughing as he thought of Colette's little tricks: and he went to bed well pleased with himself. Then he thought that he too must have become tainted with the corruption of Paris for the Bible to have become a humorous work to him. But he did not stop saying over and over again the judgment of the great judiciary humorist: and he tried to imagine its effect on the head of his young friend. He went to sleep laughing like a child. He had lost all thought of his new sorrow. One more or less.... He was getting used to it. * * * * * He did not give up Colette's music-lessons: but he refused to take the opportunities she gave him of continuing their intimate conversations. It was no use her being sorry about it or offended, and trying all sorts of tricks: he stuck to his guns: they were rude to each other: of her own accord she took to finding excuses for missing the lessons: and he also made excuses for declining the Stevens' invitations. He had had enough of Parisian society: he could not bear the emptiness of it, the idleness, the moral impotence, the neurasthenia, its aimless, pointless, self-devouring hypercriticism. He wondered how people could live in such a stagnant atmosphere of art for art's sake and pleasure for pleasure's sake. And yet the French did live in it: they had beep, a great nation, and they still cut something of a figure in the world: at least, they seemed to do so to the outside spectator. But where were the springs of their life? They believed in nothing, nothing but pleasure....