The Death of the Heart - Elizabeth Bowen [82]
Frantic smiles at parties, overtures that have desperation behind them, miasmic reaches of talk with the lost bore, short cuts to approach through staring, squeezing or kissing all indicate that one cannot live alone. Not only is there no question of solitude, but in the long run we may not choose our company. The attempt at Windsor Terrace to combat this may have been what made that house so queasy and cold. That mistaken approach to life—of which at intervals they were all conscious, from Thomas Quayne down to the cook—produced the tensions and hitches of an unpromising love affair. Each person at Windsor Terrace lived impaled upon a private obsession, however slight. The telephone, the door bell, the postman's knock were threatening intimations, though still far off. Crossing that springy door mat, the outside person suffered a sea change. In fact, something edited life in the Quaynes' house—the action of some sort of brake or deterrent was evident in the behaviour of such people as Eddie. At the same time, no one seemed clear quite what was being discarded, or whether anything vital was being let slip away. If Matchett were feared, if she seemed to threaten the house, it was because she seemed most likely to put her thumb on the thing.
The uneditedness of life here at Waikiki made for behaviour that was pushing and frank. Nothing set itself up here but the naïvest propriety—that made Daphne shout but not swear, that kept Dickie so stern and modest, that had kept even Mr. Bursely's hand, at yesterday evening's party, some inches above the bow on Daphne's behind. Propriety is no serious check to nature—in fact, nature banks itself up behind it—thus, eyes constantly bulged and skins changed colour with immediate unsubtle impulses. Coming from Windsor Terrace, Portia found at Waikiki the upright rudeness of the primitive state—than which nothing is more rigidly ruled. The tremble felt through the house when a door banged or someone came hurriedly downstairs, the noises made by the plumbing, Mrs. Heccomb's prodigality with half crowns and shillings, the many sensory hints that Doris was human and did not function in a void of her own—all these made Waikiki the fount of spontaneous living. Life here seemed to be at its highest voltage, and Portia stood to marvel at Daphne and Dickie as she might have marvelled at dynamos. At nights, she thought of all that force contained in those single beds in the other rooms.
In terms of this free living, she now saw, or re-saw, not only the people she met at Waikiki, but everyone she had known. The few large figures she saw here represented society with an alarming fairness, an adequacy that she could not deny. In them, she was forced to see every motive and passion—for motives and passions are alarmingly few. Any likeness between Mr. Bursely and Eddie her love did still hope to reject. All the same, something asked her, or forced her to ask herself, whether,