“That is sharply and bitterly said, Judith, but terribly impetuous,” Lorm said, with quiet irony. “I’m an old hand at living, and far from young, and a good bit too experienced to fly into the passion of a Romeo at even the most precious offers and surprises of a woman. Suppose we discuss what you’ve done like two friends, and you postpone for a bit any final judgment of my behaviour.” Judith told him that she had written her father, and requested him to make some other disposition of the annual income which he had settled on her at the time of her marriage, since she had determined to get a divorce from Felix Imhof, and to marry a man who had made this step a definite condition of their union. At the same time she had made a legal declaration of her renunciation before a notary, which she had brought to show Lorm, and intended thereupon to send on to her father. All this she told him very calmly. Felix had known nothing of her intentions at the time of her departure. She had left a note for him in the care of his valet. “Explanations are vain under such circumstances,” she said. “To tell a man whom one is leaving why one is leaving him is as foolish as turning back the hands of the clock in the hope of really bringing back hours that are dead. He knows where I am and what I want. That’s enough. Anyhow, it’s not the sort of thing he comprehends, and there are so many affairs in his busy life that one more or less will make little difference.” Lorm sat quietly, his head bent forward, his chin resting on the mother-of-pearl handle of his stick. His carefully combed hair, which was brown and still rather thick, gleamed in the light. His brows were knit. In the lines about his nose, and his wearied actor’s mouth, there was a deep joylessness. A waiter appeared at the door and vanished again. “You don’t know what you’re letting yourself in for, Judith,” Lorm said, and tapped the floor lightly with his feet. “Then tell me about it, so that I can adjust myself.” “I’m an actor,” he said almost threateningly. “I know it.” He laid his stick on the table, and folded his hands. “I’m an actor,” he repeated, and his face assumed the appearance of a mask. “My profession involves my representing human nature at its moments of extreme expressiveness. The fascination of the process consists in the artificial concentration of passion, its immediate projection, and the assigning to it of consequences that reality rarely or never affords. And so it naturally happens--and this deception is the fatal law of the actor’s life--that my person, this Edgar Lorm who faces you here, is surrounded by a frame that suits him about as well as a Gothic cathedral window would suit a miniature. A further consequence is that I lack all power of adjustment to any ordered social life, and all my attempts to bring myself in harmony with such a life have been pitiable failures. I struggle and dance in a social vacuum. My art is beaten foam.