The growth of a relationship between Cowperwood and Rita Sohlberg was fostered quite accidentally by Aileen, who took a foolishly sentimental interest in Harold which yet was not based on anything of real meaning. She liked him because he was a superlatively gracious, flattering, emotional man where women--pretty women--were concerned. She had some idea she could send him pupils, and, anyhow, it was nice to call at the Sohlberg studio. Her social life was dull enough as it was. So she went, and Cowperwood, mindful of Mrs. Sohlberg, came also. Shrewd to the point of destruction, he encouraged Aileen in her interest in them. He suggested that she invite them to dinner, that they give a musical at which Sohlberg could play and be paid. There were boxes at the theaters, tickets for concerts sent, invitations to drive Sundays or other days.
The very chemistry of life seems to play into the hands of a situation of this kind. Once Cowperwood was thinking vividly, forcefully, of her, Rita began to think in like manner of him.
Hourly he grew more attractive, a strange, gripping man. Beset by his mood, she was having the devil's own time with her conscience.
Not that anything had been said as yet, but he was investing her, gradually beleaguering her, sealing up, apparently, one avenue after another of escape. One Thursday afternoon, when neither Aileen nor he could attend the Sohlberg tea, Mrs. Sohlberg received a magnificent bunch of Jacqueminot roses. "For your nooks and corners," said a card. She knew well enough from whom it came and what it was worth. There were all of fifty dollars worth of roses.
It gave her breath of a world of money that she had never known.
Daily she saw the name of his banking and brokerage firm advertised in the papers. Once she met him in Merrill's store at noon, and he invited her to lunch; but she felt obliged to decline. Always he looked at her with such straight, vigorous eyes. To think that her beauty had done or was doing this! Her mind, quite beyond herself, ran forward to an hour when perhaps this eager, magnetic man would take charge of her in a way never dreamed of by Harold.
But she went on practising, shopping, calling, reading, brooding over Harold's inefficiency, and stopping oddly sometimes to think --the etherealized grip of Cowperwood upon her. Those strong hands of his--how fine they were--and those large, soft-hard, incisive eyes. The puritanism of Wichita (modified sometime since by the art life of Chicago, such as it was) was having a severe struggle with the manipulative subtlety of the ages--represented in this man.
"You know you are very elusive," he said to her one evening at the theater when he sat behind her during the entr'acte, and Harold and Aileen had gone to walk in the foyer. The hubbub of conversation drowned the sound of anything that might be said. Mrs. Sohlberg was particularly pleasing in a lacy evening gown.
"No," she replied, amusedly, flattered by his attention and acutely conscious of his physical nearness. By degrees she had been yielding herself to his mood, thrilling at his every word. "It seems to me I am very stable," she went on. "I'm certainly substantial enough."
She looked at her full, smooth arm lying on her lap.
Cowperwood, who was feeling all the drag of her substantiality, but in addition the wonder of her temperament, which was so much richer than Aileen's, was deeply moved. Those little blood moods that no words ever (or rarely) indicate were coming to him from her--faint zephyr-like emanations of emotions, moods, and fancies in her mind which allured him. She was like Aileen in animality, but better, still sweeter, more delicate, much richer spiritually.
Or was he just tired of Aileen for the present, he asked himself at times. No, no, he told himself that could not be. Rita Sohlberg was by far the most pleasing woman he had ever known.
"Yes, but elusive, just the same," he went on, leaning toward her.
"You remind me of something that I can find no word for--a bit of color or a perfume or tone--a flash of something. I follow you in my thoughts all the time now. Your knowledge of art interests me. I like your playing--it is like you. You make me think of delightful things that have nothing to do with the ordinary run of my life. Do you understand?"
"It is very nice," she said, "if I do." She took a breath, softly, dramatically. "You make me think vain things, you know." (Her mouth was a delicious O.) "You paint a pretty picture." She was warm, flushed, suffused with a burst of her own temperament.
"You are like that," he went on, insistently. "You make me feel like that all the time. You know," he added, leaning over her chair, "I sometimes think you have never lived. There is so much that would complete your perfectness. I should like to send you abroad or take you--anyhow, you should go. You are very wonderful to me. Do you find me at all interesting to you?"
"Yes, but"--she paused--"you know I am afraid of all this and of you." Her mouth had that same delicious formation which had first attracted him. "I don't think we had better talk like this, do you? Harold is very jealous, or would be. What do you suppose Mrs. Cowperwood would think?"
"I know very well, but we needn't stop to consider that now, need we? It will do her no harm to let me talk to you. Life is between individuals, Rita. You and I have very much in common. Don't you see that? You are infinitely the most interesting woman I have ever known. You are bringing me something I have never known.
Don't you see that? I want you to tell me something truly. Look at me. You are not happy as you are, are you? Not perfectly happy?"
"No." She smoothed her fan with her fingers.
"Are you happy at all?"
"I thought I was once. I'm not any more, I think."
"It is so plain why," he commented. "You are so much more wonderful than your place gives you scope for. You are an individual, not an acolyte to swing a censer for another. Mr. Sohlberg is very interesting, but you can't be happy that way. It surprises me you haven't seen it."
