*****
SEPTEMBER
Amory selected a blade of grass and nibbled at it scientifically.
"I never fall in love in August or September," he proffered.
"When then?"
"Christmas or Easter. I'm a liturgist."
"Easter!" She turned up her nose. "Huh! Spring in corsets!"
"Easter would bore spring, wouldn't she? Easter has her hair braided, wears a tailored suit."
"Bind on thy sandals, oh, thou most fleet. Over the splendor and speed of thy feet--"
quoted Eleanor softly, and then added: "I suppose Hallowe'en is a better day for autumn than Thanksgiving."
"Much better--and Christmas eve does very well for winter, but summer..."
"Summer has no day," she said. "We can't possibly have a summer love. So many people have tried that the name's become proverbial. Summer is only the unfulfilled promise of spring, a charlatan in place of the warm balmy nights I dream of in April. It's a sad season of life without growth.... It has no day."
"Fourth of July," Amory suggested facetiously.
"Don't be funny!" she said, raking him with her eyes.
"Well, what could fulfil the promise of spring?"
She thought a moment.
"Oh, I suppose heaven would, if there was one," she said finally, "a sort of pagan heaven--you ought to be a materialist," she continued irrelevantly.
"Why?"
"Because you look a good deal like the pictures of Rupert Brooke."
To some extent Amory tried to play Rupert Brooke as long as he knew Eleanor. What he said, his attitude toward life, toward her, toward himself, were all reflexes of the dead Englishman's literary moods. Often she sat in the grass, a lazy wind playing with her short hair, her voice husky as she ran up and down the scale from Grantchester to Waikiki. There was something most passionate in Eleanor's reading aloud. They seemed nearer, not only mentally, but physically, when they read, than when she was in his arms, and this was often, for they fell half into love almost from the first. Yet was Amory capable of love now? He could, as always, run through the emotions in a half hour, but even while they revelled in their imaginations, he knew that neither of them could care as he had cared once before--I suppose that was why they turned to Brooke, and Swinburne, and Shelley. Their chance was to make everything fine and finished and rich and imaginative; they must bend tiny golden tentacles from his imagination to hers, that would take the place of the great, deep love that was never so near, yet never so much of a dream.