Artists -- Fiction; Fantasy fiction; London (England) -- Fiction; Married people -- Fiction; Portraits -- Fiction
As this was the case, and no human ingenuity
could soften the fact, Mrs. Aiken only said: "I
know it's very troublesome."
To which Miss Priscilla replied: "Nothing is
troublesome, so long as you only say distinctly.
Now, do you want anything to eat? Because
dinner is taken away." Reviving decision, after
sleep, became emphatic. Self-respect called for
self-assertion.
Mrs. Aiken shuffled. She wasn't hungry, she said.
"Have you _had_ dinner? Because if you have
not had dinner, you must have dinner. Ring the
bell twice, and Pemphridge will come."
Pemphridge came, and could warm the chicken.
Pemphridge did warm the chicken, and Mrs. Aiken
hardly touched it. After which she returned, looking
extremely miserable, to her aunt in the drawing-room,
who said majestically: "And now perhaps,
Euphemia, you will tell me what all this means."
"It's Reginald," said Euphemia.
"I am not surprised," said her aunt.
"But you don't _know_ yet."
"I know nothing whatever. But I am not surprised.
Is it reasonable, Euphemia, to expect me to
be surprised? After what I have so frequently had
occasion to say. But I am quite prepared to hear
that I have said no such thing. Pray tell me
anything you like. I will not contradict you." Aunt
Priscilla assumed a rigid continuousness, as of one
who forms to receive aspersions. Truth will triumph
in the end; meanwhile there is no harm in portending
that triumph by an aggressive stony patience.
"Only you don't know what it is, Aunt Prissy,"
said her niece. No more she did, speaking academically.
She was, however, quite prepared for every
contingency.
"I do not think _you_ are the person to say that
to me, Euphemia, seeing that you have told me
nothing--absolutely nothing! But I can wait." She
waited. As she lay face upwards on the
sofa--the nearest approach to an Early Victorian
recumbent effigy that the Nature of Things permits--she
presented the appearance of a deserving person
floating on her back in a sea of exasperation.
Unless this image justifies itself, it must be
condemned. Nothing in literature can excuse it.
Mrs. Euphemia was so used to her aunt, with
whom she had lived since the death of her parents
fifteen years since, that she knew she might never
get a better moment than this for telling the story
of her passage of arms with her husband. She
therefore embarked on a narrative of the events we
know, and contrived to get them told, in spite of
interruptions, the nature of which, after the
foregoing sample of Aunt Priscilla, we can surmise.
Neither need be repeated.
Public-domain text, read in full here on John Shaqi.
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