During this period of what might have been called financial and commercial progress, the affairs of Aileen and Cowperwood had been to a certain extent smoothed over. Each summer now, partly to take Aileen's mind off herself and partly to satisfy his own desire to see the world and collect objects of art, in which he was becoming more and more interested, it was Cowperwood's custom to make with his wife a short trip abroad or to foreign American lands, visiting in these two years Russia, Scandinavia, Argentine, Chili, and Mexico. Their plan was to leave in May or June with the outward rush of traffic, and return in September or early October. His idea was to soothe Aileen as much as possible, to fill her mind with pleasing anticipations as to her eventual social triumph somewhere--in New York or London, if not Chicago--to make her feel that in spite of his physical desertion he was still spiritually loyal.
By now also Cowperwood was so shrewd that he had the ability to simulate an affection and practise a gallantry which he did not feel, or, rather, that was not backed by real passion. He was the soul of attention; he would buy her flowers, jewels, knickknacks, and ornaments; he would see that her comfort was looked after to the last detail; and yet, at the very same moment, perhaps, he would be looking cautiously about to see what life might offer in the way of illicit entertainment. Aileen knew this, although she could not prove it to be true. At the same time she had an affection and an admiration for the man which gripped her in spite of herself.
You have, perhaps, pictured to yourself the mood of some general who has perhaps suffered a great defeat; the employee who after years of faithful service finds himself discharged. What shall life say to the loving when their love is no longer of any value, when all that has been placed upon the altar of affection has been found to be a vain sacrifice? Philosophy? Give that to dolls to play with. Religion? Seek first the metaphysical-minded. Aileen was no longer the lithe, forceful, dynamic girl of 1865, when Cowperwood first met her. She was still beautiful, itis true, a fair, full-blown, matronly creature not more than thirty-five, looking perhaps thirty, feeling, alas, that she was a girl and still as attractive as ever. It is a grim thing to a woman, however fortunately placed, to realize that age is creeping on, and that love, that singing will-o'-the-wisp, is fading into the ultimate dark. Aileen, within the hour of her greatest triumph, had seen love die. It was useless to tell herself, as she did sometimes, that it might come back, revive. Her ultimately realistic temperament told her this could never be. Though she had routed Rita Sohlberg, she was fully aware that Cowperwood's original constancy was gone.
She was no longer happy. Love was dead. That sweet illusion, with its pearly pink for heart and borders, that laughing cherub that lures with Cupid's mouth and misty eye, that young tendril of the vine of life that whispers of eternal spring-time, that calls and calls where aching, wearied feet by legion follow, was no longer in existence.
In vain the tears, the storms, the self-tortures; in vain the looks in the mirror, the studied examination of plump, sweet features still fresh and inviting. One day, at the sight of tired circles under her eyes, she ripped from her neck a lovely ruche that she was adjusting and, throwing herself on her bed, cried as though her heart would break. Why primp? Why ornament? Her Frank did not love her. What to her now was a handsome residence in Michigan Avenue, the refinements of a French boudoir, or clothing that ran the gamut of the dressmaker's art, hats that were like orchids blooming in serried rows? In vain, in vain! Like the raven that perched above the lintel of the door, sad memory was here, grave in her widow weeds, crying "never more." Aileen knew that the sweet illusion which had bound Cowperwood to her for a time had gone and would never come again. He was here. His step was in the room mornings and evenings; at night for long prosaic, uninterrupted periods she could hear him breathing by her side, his hand on her body. There were other nights when he was not there--when he was "out of the city"--and she resigned herself to accept his excuses at their face value. Why quarrel? she asked herself. What could she do? She was waiting, waiting, but for what?
And Cowperwood, noting the strange, unalterable changes which time works in us all, the inward lap of the marks of age, the fluted recession of that splendor and radiance which is youth, sighed at times perhaps, but turned his face to that dawn which is forever breaking where youth is. Not for him that poetic loyalty which substitutes for the perfection of young love its memories, or takes for the glitter of passion and desire that once was the happy thoughts of companionship--the crystal memories that like early dews congealed remain beaded recollections to comfort or torture for the end of former joys. On the contrary, after the vanishing of Rita Sohlberg, with all that she meant in the way of a delicate insouciance which Aileen had never known, his temperament ached, for he must have something like that. Truth to say, he must always have youth, the illusion of beauty, vanity in womanhood, the novelty of a new, untested temperament, quite as he must have pictures, old porcelain, music, a mansion, illuminated missals, power, the applause of the great, unthinking world.
