Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
As she turned into Gifford Road she asked herself seriously the
question: “What has come over me? Am I mad? ...”
§ 7
More than once during the next few weeks she wished for a
reconciliation with George. It was not so much a desire for him as a
sense of despair at being once more wholly alone and adrift. Now she
was back again where she was when she first came to Gifford Road. With
redoubled energy she laboured at her music, and soon the idea of a
recital in a London concert hall began to dance attractively in her
vision. She extended her reputation by playing in other suburbs; she
thought even of setting up as a private teacher of the pianoforte. With
the surplus earnings of a few months she bought an upright piano of
decent tone and installed it in the basement sitting-room at Gifford
Road.
George wrote to her once, a long letter of mingled pleading and
expostulation. He mentioned that he had not yet told his parents what
had happened, so that if she desired to change her mind it would be
easy to do so. He laid stress on the difficulty he should find in
giving Helen and his father and mother an adequate explanation of their
separation.
After the receipt of this letter Catherine ceased her vague misgivings.
She replied immediately in a letter, short by comparison with his,
whose every sentence was the result of careful excogitation:
It is no good thinking of our ever becoming engaged again, because
if we did we should soon quarrel. We simply aren’t made for one
another, and however kind and sympathetic we try to be there’ll always
be something lacking that sooner or later we shan’t be able to do
without....
I am bound to confess that the idea of marriage with you always struck
me as fantastic and improbable. I never, I believe, considered it
seriously. I knew something would happen to put an end to our plans....
Public-domain text, read in full here on John Shaqi.
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