Architects -- Fiction; Castles -- Conservation and restoration -- Fiction; Love stories; Wessex (England) -- Fiction
The play was now nearly at an end, and Somerset sat on, feeling what
he could not express. More than ever was he assured that there had been
collusion between the two artillery officers to bring about this end.
That he should have been the unhappy man to design those picturesque
dresses in which his rival so audaciously played the lover to his,
Somerset’s, mistress, was an added point to the satire. He could
hardly go so far as to assume that Paula was a consenting party to this
startling interlude; but her otherwise unaccountable wish that his own
love should be clandestinely shown lent immense force to a doubt of her
sincerity. The ghastly thought that she had merely been keeping him on,
like a pet spaniel, to amuse her leisure moments till she should have
found appropriate opportunity for an open engagement with some one else,
trusting to his sense of chivalry to keep secret their little episode,
filled him with a grim heat.
IX.
At the back of the room the applause had been loud at the moment of the
kiss, real or counterfeit. The cause was partly owing to an exceptional
circumstance which had occurred in that quarter early in the play.
The people had all seated themselves, and the first act had begun,
when the tapestry that screened the door was lifted gently and a figure
appeared in the opening. The general attention was at this moment
absorbed by the newly disclosed stage, and scarcely a soul noticed the
stranger. Had any one of the audience turned his head, there would have
been sufficient in the countenance to detain his gaze, notwithstanding
the counter-attraction forward.
He was obviously a man who had come from afar. There was not a square
inch about him that had anything to do with modern English life. His
visage, which was of the colour of light porphyry, had little of its
original surface left; it was a face which had been the plaything of
strange fires or pestilences, that had moulded to whatever shape they
chose his originally supple skin, and left it pitted, puckered, and
seamed like a dried water-course. But though dire catastrophes or
the treacherous airs of remote climates had done their worst upon his
exterior, they seemed to have affected him but little within, to judge
from a certain robustness which showed itself in his manner of standing.
The face-marks had a meaning, for any one who could read them, beyond
the mere suggestion of their origin: they signified that this man
had either been the victim of some terrible necessity as regarded the
occupation to which he had devoted himself, or that he was a man of
dogged obstinacy, from sheer sang froid holding his ground amid malign
forces when others would have fled affrighted away.
Public-domain text, read in full here on John Shaqi.
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