Page:The Tragic Muse (London & New York, Macmillan & Co., 1890), Volume 1.djvu/209

 XII.

summer arrived and the dense air of the Paris theatres became in fact a still more complicated mixture; yet the occasions were not few on which Peter Sherringham, having placed a box, near the stage (most often a stuffy, dusky baignoire), at the disposal of Mrs. Rooth and her daughter, found time to look in, as he said, to spend a part of the evening with them and point the moral of the performance. The pieces, the successes of the winter, had entered the automatic phase: they went on by the force of the impetus acquired, deriving little fresh life from the interpretation, and in ordinary conditions their strong points, as rendered by the actors, would have been as wearisome to Sherringham as an importunate repetition of a good story. But it was not long before he became aware that the conditions could not be regarded as ordinary. There was a new infusion in his consciousness—an element in his life which altered the relations of things. He was not easy till he had found the right name for it—a name the more satisfactory that it was simple, comprehensive and plausible. A new "distraction," in the French sense, was what he nattered himself he had discovered; he could recognize that as freely as possible without being obliged to classify the agreeable resource as a new entanglement. He was neither too much nor too little diverted; he