"The Caffres," Fenton continued, after an instant's pause, "are said to be so fond of sugar that they will eat a handful of sand rather than lose a grain or two that has fallen to the ground; it seems to me life is the sand and joy in the proportion of the sugar. I'm not willing to take the sand, and I protest against it. There is no morality in it." "There is no morality in any thing but death," Helen returned drearily. "Death!" echoed Fenton. "Do you call that moral! Death that crushes the emotions, that kills the passions, that pollutes the flesh; the monster which debauches all that is sacred in the physical, that degrades to the level of the lowest all that is high in the intellectual--is this your idea of the moral? The coarsest rioting of sensual life is sacred beside it. Death moral? _Mon Dieu_, Helen, how you do abuse terms!" Fenton was continually treading upon the dangerous edge between pathos and bathos, between impressiveness and absurdity. Had he not possessed extremely sensitive perceptions which enabled him to judge swiftly and exactly of the effect of his declamations, and the keenest sense of the ludicrous that helped him to turn into ridicule whatever could not be made to pass for earnest, much of his extravagant talk would have excited amusement and, not impossibly, contempt, instead of producing the half serious effect he desired. He could impart a vast air of sincerity to his speech, moreover, and could even for the moment be sincere. In the present case his earnest and real feeling saved this outburst from the somewhat theatrical air which the words might easily have had if spoken at all artificially. "The history of mankind," went on the artist, in a sort of two-fold consciousness, deeply feeling on the one hand what he was saying, but on the other endeavoring to direct the conversation to generalities in which would be lost the dangerous personal remarks which threatened, "the whole history of mankind is a protest against death as an insult, an outrage. All religions are only mankind's defiance of death more or less largely phrased." "No," Helen said. "Not our defiance; our confession of a craven fear. I am afraid of death. I don't dare take my life." "We are talking," responded her companion, in his turn leaving the table and approaching the window, "like a couple of unmitigated ghouls. I acknowledge your right to put aside your life if it bores you; man has at least that one inalienable right. But why should you? Art is left still." "Art," she repeated with profound sadness; "yes, but a woman is never content with abstractions. She demands something more definite. And, by the way, Will came to see me yesterday." "Yes! What did he want?" "He said he only came to see how I was. I think he recognizes that now he has come from Europe our secret is sure to leak out soon, and is looking the ground over to see how it is best to behave. He was very entertaining; I never enjoyed him more thoroughly."