The Project Gutenberg EBook of Dream Life and Real Life, by Olive Schreiner This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Dream Life and Real Life Author: Olive Schreiner Posting Date: August 16, 2008 [EBook #1458] Release Date: September, 1998 Last Updated: October 12, 2016 Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK DREAM LIFE AND REAL LIFE *** Produced by Sue Asscher DREAM LIFE AND REAL LIFE A Little African Story by Olive Schreiner Author of “The Story of an African Farm” and “Dreams” Dedication. To My Brother Fred, For whose little school magazine the first of these tiny stories--one of the first I ever made--was written out many long years ago. O.S. New College, Eastbourne, Sept. 29, 1893. Contents. I. Dream Life and Real Life; a Little African Story. II. The Woman’s Rose. III. “The Policy in Favour of Protection--“. Kopjes--In the karoo, are hillocks of stones, that rise up singly or in clusters, here and there; presenting sometimes the fantastic appearance of old ruined castles or giant graves, the work of human hands. Kraal--A sheepfold. Krantz--A precipice. Sluit--A deep fissure, generally dry, in which the superfluous torrents of water are carried from the karoo plains after thunderstorms. Stoep--A porch. I. DREAM LIFE AND REAL LIFE; A LITTLE AFRICAN STORY. Little Jannita sat alone beside a milk-bush. Before her and behind her stretched the plain, covered with red sand and thorny karoo bushes; and here and there a milk-bush, looking like a bundle of pale green rods tied together. Not a tree was to be seen anywhere, except on the banks of the river, and that was far away, and the sun beat on her head. Round her fed the Angora goats she was herding; pretty things, especially the little ones, with white silky curls that touched the ground. But Jannita sat crying. If an angel should gather up in his cup all the tears that have been shed, I think the bitterest would be those of children. By and by she was so tired, and the sun was so hot, she laid her head against the milk-bush, and dropped asleep. She dreamed a beautiful dream. She thought that when she went back to the farmhouse in the evening, the walls were covered with vines and roses, and the kraals were not made of red stone, but of lilac trees full of blossom. And the fat old Boer smiled at her; and the stick he held across the door, for the goats to jump over, was a lily rod with seven blossoms at the end. When she went to the house her mistress gave her a whole roaster-cake for her supper, and the mistress’s daughter had stuck a rose in the cake; and her mistress’s son-in-law said, “Thank you!” when she pulled off his boots, and did not kick her. It was a beautiful dream. While she lay thus dreaming, one of the little kids came and licked her on her cheek, because of the salt from her dried-up tears. And in her dream she was not a poor indentured child any more, living with Boers. It was her father who kissed her. He said he had only been asleep--that day when he lay down under the thorn-bush; he had not really died. He felt her hair, and said it was grown long and silky, and he said they would go back to Denmark now. He asked her why her feet were bare, and what the marks on her back were. Then he put her head on his shoulder, and picked her up, and carried her away, away! She laughed--she could feel her face against his brown beard. His arms were so strong. As she lay there dreaming, with the ants running over her naked feet, and with her brown curls lying in the sand, a Hottentot came up to her. He was dressed in ragged yellow trousers, and a dirty shirt, and torn jacket. He had a red handkerchief round his head, and a felt hat above that. His nose was flat, his eyes like slits, and the wool on his head was gathered into little round balls. He came to the milk-bush, and looked at the little girl lying in the hot sun. Then he walked off, and caught one of the fattest little Angora goats, and held its mouth fast, as he stuck it under his arm. He looked back to see that she was still sleeping, and jumped down into one of the sluits. He walked down the bed of the sluit a little way and came to an overhanging bank, under which, sitting on the red sand, were two men. One was a tiny, ragged, old bushman, four feet high; the other was an English navvy, in a dark blue blouse. They cut the kid’s throat with the navvy’s long knife, and covered up the blood with sand, and buried the entrails and skin. Then they talked, and quarrelled a little; and then they talked quietly again. The Hottentot man put a leg of the kid under his coat and left the rest of the meat for the two in the sluit, and walked away. When little Jannita awoke it was almost sunset. She sat up very frightened, but her goats were all about her. She began to drive them home. “I do not think there are any lost,” she said. Dirk, the Hottentot, had brought his flock home already, and stood at the kraal door with his ragged yellow trousers. The fat old Boer put his stick across the door, and let Jannita’s goats jump over, one by one. He counted them. When the last jumped over: “Have you been to sleep today?” he said; “there is one missing.” Then little Jannita knew what was coming, and she said, in a low voice, “No.” And then she felt in her heart that deadly sickness that you feel when you tell a lie; and again she said, “Yes.” “Do you think you will have any supper this evening?” said the Boer. “No,” said Jannita. “What do you think you will have?” “I don’t know,” said Jannita. “Give me your whip,” said the Boer to Dirk, the Hottentot. ***** The moon was all but full that night. Oh, but its light was beautiful! The little girl crept to the door of the outhouse where she slept, and looked at it. When you are hungry, and very, very sore, you do not cry. She leaned her chin on one hand, and looked, with her great dove’s eyes--the other hand was cut open, so she wrapped it in her pinafore. She looked across the plain at the sand and the low karoo-bushes, with the moonlight on them. Presently, there came slowly, from far away, a wild springbuck. It came close to the house, and stood looking at it in wonder, while the moonlight glinted on its horns, and in its great eyes. It stood wondering at the red brick walls, and the girl watched it. Then, suddenly, as if it scorned it all, it curved its beautiful back and turned; and away it fled over the bushes and sand, like a sheeny streak of white lightning. She stood up to watch it. So free, so free! Away, away! She watched, till she could see it no more on the wide plain. Her heart swelled, larger, larger, larger: she uttered a low cry; and without waiting, pausing, thinking, she followed on its track. Away, away, away! “I--I also!” she said, “I--I also!” When at last her legs began to tremble under her, and she stopped to breathe, the house was a speck behind her. She dropped on the earth, and held her panting sides. She began to think now. If she stayed on the plain they would trace her footsteps in the morning and catch her; but if she waded in the water in the bed of the river they would not be able to find her footmarks; and she would hide, there where the rocks and the kopjes were. So she stood up and walked towards the river. The water in the river was low; just a line of silver in the broad bed of sand, here and there broadening into a pool. She stepped into it, and bathed her feet in the delicious cold water. Up and up the stream she walked, where it rattled over the pebbles, and past where the farmhouse lay; and where the rocks were large she leaped from one to the other. The night wind in her face made her strong--she laughed. She had never felt such night wind before. So the night smells to the wild bucks, because they are free! A free thing feels as a chained thing never can. At last she came to a place where the willows grew on each side of the river, and trailed their long branches on the sandy bed. She could not tell why, she could not tell the reason, but a feeling of fear came over her. On the left bank rose a chain of kopjes and a precipice of rocks. Between the precipice and the river bank there was a narrow path covered by the fragments of fallen rock. And upon the summit of the precipice a kippersol tree grew, whose palm-like leaves were clearly cut out against the night sky. The rocks cast a deep shadow, and the willow trees, on either side of the river. She paused, looked up and about her, and then ran on, fearful. “What was I afraid of? How foolish I have been!” she said, when she came to a place where the trees were not so close together. And she stood still and looked back and shivered. At last her steps grew wearier and wearier. She was very sleepy now, she could scarcely lift her feet. She stepped out of the river-bed. She only saw that the rocks about her were wild, as though many little kopjes had been broken up and strewn upon the ground, lay down at the foot of an aloe, and fell asleep. ***** But, in the morning, she saw what a glorious place it was. The rocks were piled on one another, and tossed this way and that. Prickly pears grew among them, and there were no less than six kippersol trees scattered here and there among the broken kopjes. In the rocks there were hundreds of homes for the conies, and from the crevices wild asparagus hung down. She ran to the river, bathed in the clear cold water, and tossed it over her head. She sang aloud. All the songs she knew were sad, so she could not sing them now, she was glad, she was so free; but she sang the notes without the words, as the cock-o-veets do. Singing and jumping all the way, she went back, and took a sharp stone, and cut at the root of a kippersol, and got out a large piece, as long as her arm, and sat to chew it. Two conies came out on the rock above her head and peeped at her. She held them out a piece, but they did not want it, and ran away. It was very delicious to her. Kippersol is like raw quince, when it is very green; but she liked it. When good food is thrown at you by other people, strange to say, it is very bitter; but whatever you find yourself is sweet! When she had finished she dug out another piece, and went to look for a pantry to put it in. At the top of a heap of rocks up which she clambered she found that some large stones stood apart but met at the top, making a room. “Oh, this is my little home!” she said. At the top and all round it was closed, only in the front it was open. There was a beautiful shelf in the wall for the kippersol, and she scrambled down again. She brought a great bunch of prickly pear, and stuck it in a crevice before the door, and hung wild asparagus over it, till it looked as though it grew there. No one could see that there was a room there, for she left only a tiny opening, and hung a branch of feathery asparagus over it. Then she crept in to see how it looked. There was a glorious soft green light. Then she went out and picked some of those purple little ground flowers--you know them--those that keep their faces close to the ground, but when you turn them up and look at them they are deep blue eyes looking into yours! She took them with a little earth, and put them in the crevices between the rocks; and so the room was quite furnished. Afterwards she went down to the river and brought her arms full of willow, and made a lovely bed; and, because the weather was very hot, she lay down to rest upon it. She went to sleep soon, and slept long, for she was very weak. Late in the afternoon she was awakened by a few cold drops falling on her face. She sat up. A great and fierce thunderstorm had been raging, and a few of the cool drops had fallen through the crevice in the rocks. She pushed the asparagus branch aside, and looked out, with her little hands folded about her knees. She heard the thunder rolling, and saw the red torrents rush among the stones on their way to the river. She heard the roar of the river as it now rolled, angry and red, bearing away stumps and trees on its muddy water. She listened and smiled, and pressed closer to the rock that took care of her. She pressed the palm of her hand against it. When you have no one to love you, you love the dumb things very much. When the sun set, it cleared up. Then the little girl ate some kippersol, and lay down again to sleep. She thought there was nothing so nice as to sleep. When one has had no food but kippersol juice for two days, one doesn’t feel strong. “It is so nice here,” she thought as she went to sleep, “I will stay here always.” Afterwards the moon rose. The sky was very clear now, there was not a cloud anywhere; and the moon shone in through the bushes in the door, and made a lattice-work of light on her face. She was dreaming a beautiful dream. The loveliest dreams of all are dreamed when you are hungry. She thought she was walking in a beautiful place, holding her father’s hand, and they both had crowns on their heads, crowns of wild asparagus. The people whom they passed smiled and kissed her; some gave her flowers, and some gave her food, and the sunlight was everywhere. She dreamed the same dream over and over, and it grew more and more beautiful; till, suddenly, it seemed as though she were standing quite alone. She looked up: on one side of her was the high precipice, on the other was the river, with the willow trees, drooping their branches into the water; and the moonlight was over all. Up, against the night sky the pointed leaves of the kippersol trees were clearly marked, and the rocks and the willow trees cast dark shadows. In her sleep she shivered, and half awoke. “Ah, I am not there, I am here,” she said; and she crept closer to the rock, and kissed it, and went to sleep again. It must have been about three o’clock, for the moon had begun to sink towards the western sky, when she woke, with a violent start. She sat up, and pressed her hand against her heart. “What can it be? A cony must surely have run across my feet and frightened me!” she said, and she turned to lie down again; but soon she sat up. Outside, there was the distinct sound of thorns crackling in a fire. She crept to the door and made an opening in the branches with her fingers. A large fire was blazing in the shadow, at the foot of the rocks. A little Bushman sat over some burning coals that had been raked from it, cooking meat. Stretched on the ground was an Englishman, dressed in a blouse, and with a heavy, sullen face. On the stone beside him was Dirk, the Hottentot, sharpening a bowie knife. She held her breath. Not a cony in all the rocks was so still. “They can never find me here,” she said; and she knelt, and listened to every word they said. She could hear it all. “You may have all the money,” said the Bushman; “but I want the cask of brandy. I will set the roof alight in six places, for a Dutchman burnt my mother once alive in a hut, with three children.” “You are sure there is no one else on the farm?” said the navvy. “No, I have told you till I am tired,” said Dirk; “The two Kaffirs have gone with the son to town; and the maids have gone to a dance; there is only the old man and the two women left.” “But suppose,” said the navvy, “he should have the gun at his bedside, and loaded!” “He never has,” said Dirk; “it hangs in the passage, and the cartridges too. He never thought when he bought it what work it was for! I only wish the little white girl was there still,” said Dirk; “but she is drowned. We traced her footmarks to the great pool that has no bottom.” She listened to every word, and they talked on. Afterwards, the little Bushman, who crouched over the fire, sat up suddenly, listening. “Ha! what is that?” he said. A Bushman is like a dog: his ear is so fine he knows a jackal’s tread from a wild dog’s. “I heard nothing,” said the navvy. “I heard,” said the Hottentot; “but it was only a cony on the rocks.” “No cony, no cony,” said the Bushman; “see, what is that there moving in the shade round the point?” “Nothing, you idiot!” said the navvy. “Finish your meat; we must start now.” There were two roads to the homestead. One went along the open plain, and was by far the shortest; but you might be seen half a mile off. The other ran along the river bank, where there were rocks, and holes, and willow trees to hide among. And all down the river bank ran a little figure. The river was swollen by the storm full to its banks, and the willow trees dipped their half-drowned branches into its water. Wherever there was a gap between them, you could see it flow, red and muddy, with the stumps upon it. But the little figure ran on and on; never looking, never thinking; panting, panting! There, where the rocks were the thickest; there, where on the open space the moonlight shone; there, where the prickly pears were tangled, and the rocks cast shadows, on it ran; the little hands clinched, the little heart beating, the eyes fixed always ahead. It was not far to run now. Only the narrow path between the high rocks and the river. At last she came to the end of it, and stood for an instant. Before her lay the plain, and the red farmhouse, so near, that if persons had been walking there you might have seen them in the moonlight. She clasped her hands. “Yes, I will tell them, I will tell them!” she said; “I am almost there!” She ran forward again, then hesitated. She shaded her eyes from the moonlight, and looked. Between her and the farmhouse there were three figures moving over the low bushes. In the sheeny moonlight you could see how they moved on, slowly and furtively; the short one, and the one in light clothes, and the one in dark. “I cannot help them now!” she cried, and sank down on the ground, with her little hands clasped before her. ***** “Awake, awake!” said the farmer’s wife; “I hear a strange noise; something calling, calling, calling!” The man rose, and went to the window. “I hear it also,” he said; “surely some jackal’s at the sheep. I will load my gun and go and see.” “It sounds to me like the cry of no jackal,” said the woman; and when he was gone she woke her daughter. “Come, let us go and make a fire, I can sleep no more,” she said; “I have heard a strange thing tonight. Your father said it was a jackal’s cry, but no jackal cries so. It was a child’s voice, and it cried, ‘Master, master, wake!’” The women looked at each other; then they went to the kitchen, and made a great fire; and they sang psalms all the while. At last the man came back; and they asked him, “What have you seen?” “Nothing,” he said, “but the sheep asleep in their kraals, and the moonlight on the walls. And yet, it did seem to me,” he added, “that far away near the krantz by the river, I saw three figures moving. And afterwards--it might have been fancy--I thought I heard the cry again; but since that, all has been still there.” ***** Next day a navvy had returned to the railway works. “Where have you been so long?” his comrades asked. “He keeps looking over his shoulder,” said one, “as though he thought he should see something there.” “When he drank his grog today,” said another, “he let it fall, and looked round.” Next day, a small old Bushman, and a Hottentot, in ragged yellow trousers, were at a wayside canteen. When the Bushman had had brandy, he began to tell how something (he did not say whether it was man, woman, or child) had lifted up its hands and cried for mercy; had kissed a white man’s hands, and cried to him to help it. Then the Hottentot took the Bushman by the throat, and dragged him out. Next night, the moon rose up, and mounted the quiet sky. She was full now, and looked in at the little home; at the purple flowers stuck about the room, and the kippersol on the shelf. Her light fell on the willow trees, and on the high rocks, and on a little new-made heap of earth and round stones. Three men knew what was under it; and no one else ever will. Lily Kloof, South Africa. II. THE WOMAN’S ROSE. I have an old, brown carved box; the lid is broken and tied with a string. In it I keep little squares of paper, with hair inside, and a little picture which hung over my brother’s bed when we were children, and other things as small. I have in it a rose. Other women also have such boxes where they keep such trifles, but no one has my rose. When my eye is dim, and my heart grows faint, and my faith in woman flickers, and her present is an agony to me, and her future a despair, the scent of that dead rose, withered for twelve years, comes back to me. I know there will be spring; as surely as the birds know it when they see above the snow two tiny, quivering green leaves. Spring cannot fail us. There were other flowers in the box once; a bunch of white acacia flowers, gathered by the strong hand of a man, as we passed down a village street on a sultry afternoon, when it had rained, and the drops fell on us from the leaves of the acacia trees. The flowers were damp; they made mildew marks on the paper I folded them in. After many years I threw them away. There is nothing of them left in the box now, but a faint, strong smell of dried acacia, that recalls that sultry summer afternoon; but the rose is in the box still. It is many years ago now; I was a girl of fifteen, and I went to visit in a small up-country town. It was young in those days, and two days’ journey from the nearest village; the population consisted mainly of men. A few were married, and had their wives and children, but most were single. There was only one young girl there when I came. She was about seventeen, fair, and rather fully-fleshed; she had large dreamy blue eyes, and wavy light hair; full, rather heavy lips, until she smiled; then her face broke into dimples, and all her white teeth shone. The hotel-keeper may have had a daughter, and the farmer in the outskirts had two, but we never saw them. She reigned alone. All the men worshipped her. She was the only woman they had to think of. They talked of her on the stoep, at the market, at the hotel; they watched for her at street corners; they hated the man she bowed to or walked with down the street. They brought flowers to the front door; they offered her their horses; they begged her to marry them when they dared. Partly, there was something noble and heroic in this devotion of men to the best woman they knew; partly there was something natural in it, that these men, shut off from the world, should pour at the feet of one woman the worship that otherwise would have been given to twenty; and partly there was something mean in their envy of one another. If she had raised her little finger, I suppose, she might have married any one out of twenty of them. Then I came. I do not think I was prettier; I do not think I was so pretty as she was. I was certainly not as handsome. But I was vital, and I was new, and she was old--they all forsook her and followed me. They worshipped me. It was to my door that the flowers came; it was I had twenty horses offered me when I could only ride one; it was for me they waited at street corners; it was what I said and did that they talked of. Partly I liked it. I had lived alone all my life; no one ever had told me I was beautiful and a woman. I believed them. I did not know it was simply a fashion, which one man had set and the rest followed unreasoningly. I liked them to ask me to marry them, and to say, No. I despised them. The mother heart had not swelled in me yet; I did not know all men were my children, as the large woman knows when her heart is grown. I was too small to be tender. I liked my power. I was like a child with a new whip, which it goes about cracking everywhere, not caring against what. I could not wind it up and put it away. Men were curious creatures, who liked me, I could never tell why. Only one thing took from my pleasure; I could not bear that they had deserted her for me. I liked her great dreamy blue eyes, I liked her slow walk and drawl; when I saw her sitting among men, she seemed to me much too good to be among them; I would have given all their compliments if she would once have smiled at me as she smiled at them, with all her face breaking into radiance, with her dimples and flashing teeth. But I knew it never could be; I felt sure she hated me; that she wished I was dead; that she wished I had never come to the village. She did not know, when we went out riding, and a man who had always ridden beside her came to ride beside me, that I sent him away; that once when a man thought to win my favour by ridiculing her slow drawl before me I turned on him so fiercely that he never dared come before me again. I knew she knew that at the hotel men had made a bet as to which was the prettier, she or I, and had asked each man who came in, and that the one who had staked on me won. I hated them for it, but I would not let her see that I cared about what she felt towards me. She and I never spoke to each other. If we met in the village street we bowed and passed on; when we shook hands we did so silently, and did not look at each other. But I thought she felt my presence in a room just as I felt hers. At last the time for my going came. I was to leave the next day. Some one I knew gave a party in my honour, to which all the village was invited. It was midwinter. There was nothing in the gardens but a few dahlias and chrysanthemums, and I suppose that for two hundred miles round there was not a rose to be bought for love or money. Only in the garden of a friend of mine, in a sunny corner between the oven and the brick wall, there was a rose tree growing which had on it one bud. It was white, and it had been promised to the fair haired girl to wear at the party. The evening came; when I arrived and went to the waiting-room, to take off my mantle, I found the girl there already. She was dressed in pure white, with her great white arms and shoulders showing, and her bright hair glittering in the candle-light, and the white rose fastened at her breast. She looked like a queen. I said “Good-evening,” and turned away quickly to the glass to arrange my old black scarf across my old black dress. Then I felt a hand touch my hair. “Stand still,” she said. I looked in the glass. She had taken the white rose from her breast, and was fastening it in my hair. “How nice dark hair is; it sets off flowers so.” She stepped back and looked at me. “It looks much better there!” I turned round. “You are so beautiful to me,” I said. “Y-e-s,” she said, with her slow Colonial drawl; “I’m so glad.” We stood looking at each other. Then they came in and swept us away to dance. All the evening we did not come near to each other. Only once, as she passed, she smiled at me. The next morning I left the town. I never saw her again. Years afterwards I heard she had married and gone to America; it may or may not be so--but the rose--the rose is in the box still! When my faith in woman grows dim, and it seems that for want of love and magnanimity she can play no part in any future heaven; then the scent of that small withered thing comes back:--spring cannot fail us. Matjesfontein, South Africa. III. “THE POLICY IN FAVOUR OF PROTECTION--“. Was it Right?--Was it Wrong? A woman sat at her desk in the corner of a room; behind her a fire burnt brightly. Presently a servant came in and gave her a card. “Say I am busy and can see no one now. I have to finish this article by two o’clock.” The servant came back. The caller said she would only keep her a moment: it was necessary she should see her. The woman rose from her desk. “Tell the boy to wait. Ask the lady to come in.” A young woman in a silk dress, with a cloak reaching to her feet, entered. She was tall and slight, with fair hair. “I knew you would not mind. I wished to see you so!” The woman offered her a seat by the fire. “May I loosen your cloak?--the room is warm.” “I wanted so to come and see you. You are the only person in the world who could help me! I know you are so large, and generous, and kind to other women!” She sat down. Tears stood in her large blue eyes: she was pulling off her little gloves unconsciously. “You know Mr.--” (she mentioned the name of a well-known writer): “I know you meet him often in your work. I want you to do something for me!” The woman on the hearth-rug looked down at her. “I couldn’t tell my father or my mother, or any one else; but I can tell you, though I know so little of you. You know, last summer he came and stayed with us a month. I saw a great deal of him. I don’t know if he liked me; I know he liked my singing, and we rode together--I liked him more than any man I have ever seen. Oh, you know it isn’t true that a woman can only like a man when he likes her; and I thought, perhaps, he liked me a little. Since we have been in town we have asked, but he has never come to see us. Perhaps people have been saying something to him about me. You know him, you are always meeting him, couldn’t you say or do anything for me?” She looked up with her lips white and drawn. “I feel sometimes as if I were going mad! Oh, it is so terrible to be a woman!” The woman looked down at her. “Now I hear he likes another woman. I don’t know who she is, but they say she is so clever, and writes. Oh, it is so terrible, I can’t bear it.” The woman leaned her elbow against the mantelpiece, and her face against her hand. She looked down into the fire. Then she turned and looked at the younger woman. “Yes,” she said, “it is a very terrible thing to be a woman.” She was silent. She said with some difficulty: “Are you sure you love him? Are you sure it is not only the feeling a young girl has for an older man who is celebrated, and of whom every one is talking?” “I have been nearly mad. I haven’t slept for weeks!” She knit her little hands together, till the jewelled rings almost cut into the fingers. “He is everything to me; there is nothing else in the world. You, who are so great, and strong, and clever, and who care only for your work, and for men as your friends, you cannot understand what it is when one person is everything to you, when there is nothing else in the world!” “And what do you want me to do?” “Oh, I don’t know!” She looked up. “A woman knows what she can do. Don’t tell him that I love him.” She looked up again. “Just say something to him. Oh, it’s so terrible to be a woman; I can’t do anything. You won’t tell him exactly that I love him? That’s the thing that makes a man hate a woman, if you tell it him plainly.” “If I speak to him I must speak openly. He is my friend. I cannot fence with him. I have never fenced with him in my own affairs.” She moved as though she were going away from the fireplace, then she turned and said: “Have you thought of what love is between a man and a woman when it means marriage? That long, long life together, day after day, stripped of all romance and distance, living face to face: seeing each other as a man sees his own soul? Do you realize that the end of marriage is to make the man and woman stronger than they were; and that if you cannot, when you are an old man and woman and sit by the fire, say, ‘Life has been a braver and a freer thing for us, because we passed it hand in hand, than if we had passed through it alone,’ it has failed? Do you care for him enough to live for him, not tomorrow, but when he is an old, faded man, and you an old, faded woman? Can you forgive him his sins and his weaknesses, when they hurt you most? If he were to lie a querulous invalid for twenty years, would you be able to fold him in your arms all that time, and comfort him, as a mother comforts her little child?” The woman drew her breath heavily. “Oh, I love him absolutely! I would be glad to die, if only I could once know that he loved me better than anything in the world!” The woman stood looking down at her. “Have you never thought of that other woman; whether she could not perhaps make his life as perfect as you?” she asked, slowly. “Oh, no woman ever could be to him what I would be. I would live for him. He belongs to me.” She bent herself forward, not crying, but her shoulders moving. “It is such a terrible thing to be a woman, to be able to do nothing and say nothing!” The woman put her hand on her shoulder; the younger woman looked up into her face; then the elder turned away and stood looking into the fire. There was such quiet, you could hear the clock tick above the writing-table. The woman said: “There is one thing I can do for you. I do not know if it will be of any use--I will do it.” She turned away. “Oh, you are so great and good, so beautiful, so different from other women, who are always thinking only of themselves! Thank you so much. I know I can trust you. I couldn’t have told my mother, or any one but you.” “Now you must go; I have my work to finish.” The younger woman put her arms round her. “Oh, you are so good and beautiful!” The silk dress and the fur cloak rustled out of the room. The woman who was left alone walked up and down, at last faster and faster, till the drops stood on her forehead. After a time she went up to the table; there was written illegibly in a man’s hand on a fragment of manuscript paper: “Can I come to see you this afternoon?” Near it was a closed and addressed envelope. She opened it. In it were written the words: “Yes, please, come.” She tore it across and wrote the words: “No, I shall not be at liberty.” She closed them in an envelope and addressed them. Then she rolled up the manuscript on the table and rang the bell. She gave it to the servant. “Tell the boy to give this to his master, and say the article ends rather abruptly; they must state it is to be continued; I will finish it tomorrow. As he passes No. 20 let him leave this note there.” The servant went out. She walked up and down with her hands folded above her head. ***** Two months after, the older woman stood before the fire. The door opened suddenly, and the younger woman came in. “I had to come--I couldn’t wait. You have heard, he was married this morning? Oh, do you think it is true? Do help me!” She put out her hands. “Sit down. Yes, it is quite true.” “Oh, it is so terrible, and I didn’t know anything! Did you ever say anything to him?” She caught the woman’s hands. “I never saw him again after the day you were here,--so I could not speak to him,--but I did what I could.” She stood looking passively into the fire. “And they say she is quite a child, only eighteen. They say he only saw her three times before he proposed to her. Do you think it is true?” “Yes, it is quite true.” “He can’t love her. They say he’s only marrying her for her rank and her money.” The woman turned quickly. “What right have you to say that? No one but I know him. What need has he of any one’s rank or wealth? He is greater than them all! Older women may have failed him; he has needed to turn to her beautiful, fresh, young life to compensate him. She is a woman whom any man might have loved, so young and beautiful; her family are famed for their intellect. If he trains her, she may make him a better wife than any other woman would have done.” “Oh, but I can’t bear it--I can’t bear it!” The younger woman sat down in the chair. “She will be his wife, and have his children.” “Yes.” The elder woman moved quickly. “One wants to have the child, and lay its head on one’s breast and feed it.” She moved quickly. “It would not matter if another woman bore it, if one had it to take care of.” She moved restlessly. “Oh, no, I couldn’t bear it to be hers. When I think of her I feel as if I were dying; all my fingers turn cold; I feel dead. Oh, you were only his friend; you don’t know!” The older spoke softly and quickly, “Don’t you feel a little gentle to her when you think she’s going to be his wife and the mother of his child? I would like to put my arms round her and touch her once, if she would let me. She is so beautiful, they say.” “Oh, I could never bear to see her; it would kill me. And they are so happy together today! He is loving her so!” “Don’t you want him to be happy?” The older woman looked down at her. “Have you never loved him, at all?” The younger woman’s face was covered with her hands. “Oh, it’s so terrible, so dark! and I shall go on living year after year, always in this awful pain! Oh, if I could only die!” The older woman stood looking into the fire; then slowly and measuredly she said, “There are times, in life, when everything seems dark, when the brain reels, and we cannot see that there is anything but death. But, if we wait long enough, after long, long years, calm comes. It may be we cannot say it was well; but we are contented, we accept the past. The struggle is ended. That day may come for you, perhaps sooner than you think.” She spoke slowly and with difficulty. “No, it can never come for me. If once I have loved a thing, I love it for ever. I can never forget.” “Love is not the only end in life. There are other things to live for.” “Oh, yes, for you! To me love is everything!” “Now, you must go, dear.” The younger woman stood up. “It has been such a comfort to talk to you. I think I should have killed myself if I had not come. You help me so. I shall always be grateful to you.” The older woman took her hand. “I want to ask something of you.” “What is it?” “I cannot quite explain to you. You will not understand. But there are times when something more terrible can come into a life than it should lose what it loves. If you have had a dream of what life ought to be, and you try to make it real, and you fail; and something you have killed out in your heart for long years wakes up and cries, ‘Let each man play his own game, and care nothing for the hand of his fellow! Each man for himself. So the game must be played!’ and you doubt all you have lived for, and the ground seems washing out under your feet--.” She paused. “Such a time has come to me now. If you would promise me that if ever another woman comes to seek your help, you will give it to her, and try to love her for my sake, I think it will help me. I think I should be able to keep my faith.” “Oh, I will do anything you ask me to. You are so good and great.” “Oh, good and great!--if you knew! Now go, dear.” “I have not kept you from your work, have I?” “No; I have not been working lately. Good-by, dear.” The younger woman went; and the elder knelt down by the chair, and wailed like a little child when you have struck it and it does not dare to cry loud. A year after; it was early spring again. The woman sat at her desk writing; behind her the fire burnt brightly. She was writing a leading article on the causes which in differing peoples lead to the adoption of Free Trade or Protectionist principles. The woman wrote on quickly. After a while the servant entered and laid a pile of letters on the table. “Tell the boy I shall have done in fifteen minutes.” She wrote on. Then she caught sight of the writing on one of the letters. She put down her pen, and opened it. It ran so:-- “Dear Friend,--I am writing to you, because I know you will rejoice to hear of my great happiness. Do you remember how you told me that day by the fire to wait, and after long, long years I should see that all was for the best? That time has come sooner than we hoped. Last week in Rome I was married to the best, noblest, most large-hearted of men. We are now in Florence together. You don’t know how beautiful all life is to me. I know now that the old passion was only a girl’s foolish dream. My husband is the first man I have ever truly loved. He loves me and understands me as no other man ever could. I am thankful that my dream was broken; God had better things in store for me. I don’t hate that woman any more; I love every one! How are you, dear? We shall come and see you as soon as we arrive in England. I always think of you so happy in your great work and helping other people. I don’t think now it is terrible to be a woman; it is lovely. “I hope you are enjoying this beautiful spring weather. “Yours, always full of gratitude and love, “E--.” The woman read the letter: then she stood up and walked towards the fire. She did not re-read it, but stood with it open in her hand, looking down into the blaze. Her lips were drawn in at the corners. Presently she tore the letter up slowly, and watched the bits floating down one by one into the grate. Then she went back to her desk, and began to write, with her mouth still drawn in at the corners. After a while she laid her arm on the paper and her head on her arm, and seemed to go to sleep there. Presently the servant knocked; the boy was waiting. “Tell him to wait ten minutes more.” She took up her pen--“The Policy of the Australian Colonies in favour of Protection is easily understood--” she waited--“when one considers the fact--the fact--;” then she finished the article. Cape Town, South Africa, 1892. End of Project Gutenberg’s Dream Life and Real Life, by Olive Schreiner *** END OF THIS PROJECT GUTENBERG EBOOK DREAM LIFE AND REAL LIFE *** ***** This file should be named 1458-0.txt or 1458-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/1/4/5/1458/ Produced by Sue Asscher Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg-tm’s goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation’s web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.