MAN AND MAID

Suzette (Renee Adoree) makes the tedious hours of the wounded Sir Nicholas Thormonde (Lew Cody) seem less monotonous. (A scene from Elinor Glyn's production "Man and Maid" for Metro-Goldwyn-Mayer)

COPYRIGHT, 1922, BY ELINOR GLYN

MAN AND MAID

February, 1918.

I am sick of my life—The war has robbed it of all that a young man can find of joy.

I look at my mutilated face before I replace the black patch over the left eye, and I realize that, with my crooked shoulder, and the leg gone from the right knee downwards, that no woman can feel emotion for me again in this world.

So be it—I must be a philosopher.

Mercifully I have no near relations—Mercifully I am still very rich, mercifully I can buy love when I require it, which under the circumstances, is not often.

Why do people write journals? Because human nature is filled with egotism. There is nothing so interesting to oneself as oneself; and journals cannot yawn in one's face, no matter how lengthy the expression of one's feelings may be!

A clean white page is a sympathetic thing, waiting there to receive one's impressions!

Suzette supped with me, here in my appartement last night—When she had gone I felt a beast. I had found her attractive on Wednesday, and after an excellent lunch, and two Benedictines, I was able to persuade myself that her tenderness and passion were real, and not the result of some thousands of francs,—And then when she left I saw my face in the glass without the patch over the socket, and a profound depression fell upon me.

Is it because I am such a mixture that I am this rotten creature?—An American grandmother, a French mother, and an English father. Paris—Eton—Cannes—Continuous traveling. Some years of living and enjoying a rich orphan's life.—The war—fighting—a zest hitherto undreamed of—unconsciousness—agony—and then?—well now Paris again for special treatment.

Why do I write this down? For posterity to take up the threads correctly?—Why?

From some architectural sense in me which must make a beginning, even of a journal, for my eyes alone, start upon a solid basis?

I know not—and care not.

Three charming creatures are coming to have tea with me to-day. They had heard of my loneliness and my savageness from Maurice—They burn to give me their sympathy—and have tea with plenty of sugar in it—and chocolate cake.

I used to wonder in my salad days what the brains of women were made of—when they have brains!—The cleverest of them are generally devoid of a logical sense, and they seldom understand the relative value of things, but they make the charm of life, for one reason or another.

When I have seen these three I will dissect them. A divorcée—a war widow of two years—and the third with a husband fighting.

All, Maurice assures me, ready for anything, and highly attractive. It will do me a great deal of good, he protests. We shall see.

Night. They came, with Maurice and Alwood Chester, of the American Red Cross. They gave little shrill screams of admiration for the room.

"Quel endroit delicieux!—What boiserie! English?—Yes, of course, English dix-septième, one could see—What silver!—and cleaned—And everything of a chic!—And the hermit so séduisant with his air maussade!—Hein."

"Yes, the war is much too long—One has given of one's time in the first year—but now, really, fatigue has overcome one!—and surely after the spring offensive peace must come soon—and one must live!"

They smoked continuously and devoured the chocolate cake, then they had liqueurs.

They were so well dressed! and so lissome. They wore elastic corsets, or none at all. They were well painted; cheeks of the new tint, rather apricot coloured—and magenta lips. They had arranged themselves when they had finished munching, bringing out their gold looking-glasses and their lip grease and their powder—and the divorcee continued to endeavour to enthrall my senses with her voluptuous half closing of the eyes, while she reddened her full mouth.

They spoke of the theatre, and the last bons mots about their chères amies—the last liasons—the last passions—They spoke of Gabrielle—her husband was killed last week—'So foolish of him, since one of Alice's 'friends' among the Ministers could easily have got him a soft job, and one must always help one's friends! Alice adored Gabrielle.—But he has left her well provided for—Gabrielle will look well in her crepe—and there it is, war is war—Que voulez vous?'

"After all, will it be as agreeable if peace does come this summer?—One will be able to dance openly—that will be nice—but for the rest? It may be things will be more difficult—and there may be complications. One has been very well during the war—very well, indeed—N'est ce pas ma cherie—n'est ce pas?"

Thus they talked.

The widow's lover is married, Maurice tells me, and has been able to keep his wife safely down at their place in Landes, but if peace should come he must be en famille, and the wife can very well be disagreeable about the affair.

The divorcée's three lovers will be in Paris at the same time. The married one's husband returned for good—"Yes, certainly, peace will have its drawbacks—The war knows its compensations—But considerable ones!"

When they had departed, promising to return very soon—to dinner this time, and see all the "exquisite appartement," Burton came into the room to take away the tea things. His face was a mask as he swept up the cigarette ash, which had fallen upon the William and Mary English lac table, which holds the big lamp, then he carefully carried away the silver ash trays filled with the ends, and returned with them