Ernesto, himself, to still the evil rumors, goes to live in a studio alone.  This simple move on his part suggests to everybody—­todo el mundo—­that he must have had a real motive for making it.  Gossip increases, instead of diminishing; and the emotions of Teodora, Don Julian, and himself are stirred to the point of nervous tensity.  Don Julian, in spite of his own sweet reasonableness, begins subtly to wonder if there could be, by any possibility, any basis for his brother’s vehemence.  Don Severo’s wife, Dona Mercedes, repeats the talk of the town to Teodora, and turns her imagination inward, till it falters in self-questionings.  Similarly the great Gallehault,—­which is the word of all the world,—­whispers unthinkable and tragic possibilities to the poetic and self-searching mind of Ernesto.  He resolves to seek release in Argentina.  But before he can sail away, he overhears, in a fashionable cafe, a remark which casts a slur on Teodora, and strikes the speaker of the insult in the face.  A duel is forthwith arranged, to take place in a vacant studio adjacent to Ernesto’s.  When Don Julian learns about it, he is troubled by the idea that another man should be fighting for his wife, and rushes forthwith to wreak vengeance himself on the traducer.  Teodora hears the news; and in order to prevent both her husband and Ernesto from endangering their lives, she rushes to Ernesto’s rooms to urge him to forestall hostilities.  Meanwhile her husband encounters the slanderer, and is severely wounded.  He is carried to Ernesto’s studio.  Hearing people coming, Teodora hides herself in Ernesto’s bedroom, where she is discovered by her husband’s attendants.  Don Julian, wounded and enfevered, now at last believes the worst.

Ernesto seeks and slays Don Julian’s assailant.  But now the whole world credits what the whole world has been whispering.  In vain Ernesto and Teodora protest their innocence to Don Severo and to Dona Mercedes.  In vain they plead with the kindly and noble man they both revere and love.  Don Julian curses them, and dies believing in their guilt.  Then at last, when they find themselves cast forth isolate by the entire world, their common tragic loneliness draws them to each other.  They are given to each other by the world.  The insidious purpose of the great Gallehault has been accomplished; and Ernesto takes Teodora for his own.

VII

BLANK VERSE ON THE CONTEMPORARY STAGE

It is amazing how many people seem to think that the subsidiary fact that a certain play is written in verse makes it of necessity dramatic literature.  Whether or not a play is literature depends not upon the medium of utterance the characters may use, but on whether or not the play sets forth a truthful view of some momentous theme; and whether or not a play is drama depends not upon its trappings and its suits, but on whether or not it sets forth a tense and vital