'How d'you know?'

'Passion doesn't count the cost. Pascal said that the heart has its reasons that reason takes no account of. If he meant what I think, he meant that when passion seizes the heart it invents reasons that seem not only plausible but conclusive to prove that the world is well lost for love. It convinces you that honour is well sacrificed and that shame is a cheap price to pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O'Shea. And if it doesn't destroy it dies. It may be then that one is faced with the desolation of knowing that one has wasted the years of one's life, that one's brought disgrace upon oneself, endured the frightful pang of jealousy, swallowed every bitter mortification, that one's expended all one's tenderness, poured out all the riches of one's soul on a poor drab, a fool, a peg on which one hung one's dreams, who wasn't worth a stick of chewing gum.'

Before I finished this harangue I knew very well that Isabel wasn't paying any attention to me, but was occupied with her own reflections. But her next remark surprised me.

'Do you think Larry is a virgin?'

'My dear, he's thirty-two.'

'I'm certain he is.'

'How can you be?'

'That's the kind of thing a woman knows instinctively.'

'I knew a young man who had a very prosperous career for some years by convincing one beautiful creature after another that he'd never had a woman. He said it worked like a charm.'

'I don't care what you say. I believe in my intuition.'

It was growing late, Gray and Isabel were dining with friends, and she had to dress. I had nothing to do, so I walked in the pleasant spring evening up the Boulevard Raspail. I have never believed very much in women's intuition; it fits in too neatly with what they want to believe to persuade me that it is trustworthy; and as I thought of the end of my long talk with Isabel I couldn't help but laugh. It put me in mind of Suzanne Rouvier and it occurred to me that I hadn't seen her for several days. I wondered if she was doing anything. If not, she might like to dine with me and go to a movie. I stopped a prowling taxi and gave the address of her apartment.

I mentioned Suzanne Rouvier at the beginning of this book. I had known her for ten or twelve years and at the date which I have now reached she must have been not far from forty. She was not beautiful; in fact she was rather ugly. She was tall for a Frenchwoman, with a short body, long legs, and long arms, and she held herself gawkily as though she didn't know how to cope with the length of her limbs. The colour of her hair changed according to her whim, but most often it was a reddish brown. She had a small square face, with very prominent cheekbones vividly rouged, and a large mouth with heavily-painted lips. None of this sounds attractive, but it was; it is true that she had a good skin, strong white teeth, and big, vividly blue eyes. They were her best feature, and she made the most of them by painting her eyelashes and her eyelids. She had a shrewd, roving, friendly look and she combined great good nature with a proper degree of toughness. In the life she had led she needed to be tough. Her mother, the widow of a small official in the government, had on his death returned to her native village in Anjou to live on her pension, and when Suzanne was fifteen she apprenticed her to a dressmaker in the neighbouring town, which was near-enough for her to be able to come home on Sundays. It was during her fortnight's holiday, when she had reached the age of seventeen, that she was seduced by an artist who was spending his summer in the village to paint landscape. She already knew very well that without a penny to bless herself with her chance of marriage was remote and when the painter, at the end of the summer, proposed taking her to Paris she consented with alacrity. He took her to live with him in a rabbit-warren of studios in Montmartre, and she spent a very pleasant year in his company.

At the end of this he told her that he had not sold a single canvas and could no longer afford the luxury of a mistress. She had been expecting the news for some time and was not disconcerted by it. He asked her if she wanted to go home and when she said she didn't, told her that another painter in the same block would be glad to have her. The man he named had made a pass at her two or three times and though she had rebuffed him it had been with so much good humour that he was not affronted. She did not dislike him and so accepted the proposition with placidity. It was convenient that she did not have to go to the expense of taking a taxi to transport her trunk. Her second lover, a good deal older than the first, but still presentable, painted her in every conceivable position, clothed and in the nude; and she passed two happy years with him. She was proud to think that with her as a model he had made his first real success and she showed me a reproduction cut out of an illustrated paper of the picture that had brought it about. It had been purchased by an American gallery. It was a nude, life-size, and she was lying in something of the same position as Manet's Olympe. The artist had been quick to see that there was something modern and amusing in her proportions, and, fining down her thin body to emaciation, he had elongated her long legs and arms, he had emphasized her high cheekbones and made her blue eyes extravagantly large. From the reproduction I naturally could not tell what the colour was like, but I was sensible of the elegance of the design. The picture brought him sufficient notoriety to enable him to marry an admiring widow with money, and Suzanne, well aware that a man had to think of his future, accepted the rupture of their cordial relations without acrimony.

For by now she knew her value. She liked the artistic life, it amused her to pose, and after the day's work was over she found it pleasant to go to the cafe and sit with painters, their wives and mistresses, while they discussed art, reviled dealers, and told bawdy stories. On this occasion, having seen the break coming, she had made her plans. She picked out a young man who was unattached and who, she thought, had talent. She chose her opportunity when he was alone at the cafe, explained the circumstances, and without further preamble suggested that they should live together.

'I'm twenty and a good housekeeper. I'll save you money there and I'll save you the expense of a model. Look at your shirt, it's a disgrace, and your studio is a mess. You want a woman to look after you.'

He knew she was a good sort. He was amused at her proposal and she saw he was inclined to accept.

'After all, there's no harm in trying,' she said. 'If it doesn't work we shall neither of us be worse off than we are now.'

He was a non-representative artist and he painted portraits of her in squares and oblongs. He painted her with one eye and no mouth. He painted her as a geometrical arrangement in black and brown and grey. He painted her in a criss-cross of lines through which you vaguely saw a human face. She stayed with him for a year and a half and left him of her own accord.

'Why?' I asked her. 'Didn't you like him?'

'Yes, he was a nice boy. I didn't think he was getting any further. He was repeating himself.'

She found no difficulty in discovering a successor. She remained faithful to artists.

'I've always been in painting,' she said. 'I was with a sculptor for six months, but I don't know why, it said nothing to me.'

She was pleased to think that she had never separated from a lover with unpleasantness. She was not only a good model, but a good housewife. She loved working about the studio she happened for a while to be living in and took pride in keeping it in apple-pie order. She was a good cook and could turn out a tasty meal at the smallest possible cost. She mended her lovers' socks and sewed buttons on their shirts.