Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
Before long she had thoroughly convinced herself that Verreker, whether
consciously or not, preferred Helen’s companionship to her own. A
fiendish pleasure in lacerating herself made her ever observant for
trivialities that seemed to confirm her conviction. A word, a look, a
quick movement of his became overcharged with significance.... And so
ashamed was she of this miserable jealousy, so angry with herself for
harbouring it, that she deliberately encouraged his friendship with
Helen. She told him of Helen’s splendidly sympathetic disposition, of
her wonderful capacity for understanding, and of the staunchness of
her friendship. She thrust Helen to the front whenever the three of
them were together. She would say: “I’m sorry I’m engaged on Saturday
afternoon, so I can’t come to the opera.... But you and Helen go. Don’t
stay behind on my account.” Sometimes Verreker would show evident
reluctance at her withdrawal from the triangle of friendship. And this
reluctance, rare and slight though it was, was worth all the pain she
had inflicted on herself. This reluctance was the thing in her life
that she treasured most.
She was becoming distinctly morbid.
From thrusting Helen forward at every opportunity, her morbidity
developed into the deeper folly of avoiding him herself. If she met
him in company she would treat him curtly. Her one aim was that he
should notice the change in her demeanour. He did so after a week or
so of this treatment, and his manner to her became curiously tender
and sympathetic. And although she knew the terrible morbidity of her
manœuvring, she drank in his tenderness and sympathy until he had
seemingly no more to give. She knew the situation could not last, but
she had not the courage to put an end to it. Something impelled her to
accentuate the curtness that had produced such bitter-sweetness for
her. She did so, and overreached herself. His sympathy vanished if she
avoided him, he avoided her as much if not more. And all the time
friendship with Helen was growing apace: Catherine’s withdrawal left
the two of them more than ever together.... Secretly, Catherine was
conscious that she was ruining whatever relationship existed between
Verreker and herself. She had only herself to blame.
Casually, unostentatiously, she slipped back into the triangle. But her
position was subtly different from before. The difference was indicated
by his manner of inviting her to concerts, theatres, etc. Formerly he
said: “I am going to the opera to-night: would you and Helen care to
come?”
But now he said: “Helen and I are going to the opera to-night: would
you care to come with us?”
It betokened a change, subtle, but of immense significance. And to
endure it was all the harder, because Catherine knew that she was
entirely responsible for it herself.
§ 5
Public-domain text, read in full here on John Shaqi.
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