English fiction -- 20th century; Lancashire (England) -- Fiction
“Suits you!” she cried incredulously, and he told her why of all the
things she might have been she was the one which definitely wiped out
all possibility of his return to Staithley. They couldn’t force him
there with a Bradshaw for his wife, they would be the first to cry out
that it wouldn’t do: she was his master-card, Mary, whom he loved; she
was Mary Arden and tremendously a catch; she was Mary Bradshaw, his sure
defense against the rigid expectations of the Hepplestalls and... oh,
uncounted things besides. “And I apologize,” he said, “I apologize for
arguing, for dragging in the surrounding circumstance. But you tell me
you’re Bradshaw as if it unmade us and I tell you it’s the best touch in
the making of us.”
She wasn’t sure of that. She was idiosyncratic and peculiar herself in
wishing to go back to Staithley, but she felt that her dream, though she
had stripped it of romantic hate, yet stood for something sounder than
his mere obstinate refusal to return. He left himself in air; he was
a negative; rejecting Staithley, he had no plans of what he was to do
after the war.
But that was to prejudge him, it was certainly to calculate, and she had
calculated too much in her life. Caution be hanged! There was a place
for wildness.
They would say, of course, that she was marrying for position. Let them
say: she would, certainly, be Lady Hepplestall, but at what a discount!
To be Lady Hep-plestall and not to live in Lancashire, in the one place
where the significance of being Hepplestall was grasped in full! It was
like marrying a king in exile, it was like receiving a rope of pearls
upon condition that she never wore them. It excluded the pungent climax
of Mary Ellen as Mistress of Staithley Hall.
Her dream had set, indeed, in a painted sky, but she would not linger in
gaze upon its afterglow; she was not looking at sunset but at dawn, and
raised her eyes to his. She discovered that she was being kissed. She
had the sensation, ecstatic and poignant, surrendering and triumphant,
of being kissed by the man she loved.
She had not, hitherto, conceived a high opinion of kissing. On the stage
and off, it was a professional convention, fractionally more expressive
than a handshake. This was radically different; this was, tinglingly,
vividly, to feel, to be aware of herself and, through their lips, of
him. She had the exaltation of the giver who gives without reserve, and
from up there, bemused in happiness, star-high with Rupert’s kiss and
her renunciations, she fell through space when he unclasped her and
said with brisk assurance, “Engagement ring before lunch. License after
lundi. That’s a reasonable program, isn’t it?”
Perhaps it was reasonable to a time-pressed man whose leave could now
be counted by the hour. Perhaps she hadn’t seen that there is only one
first kiss. It came, and no matter what the sequel held, went lonely,
unmatched, unique. What passion-laden words could she expect from him to
lengthen a moment that was gone?
Public-domain text, read in full here on John Shaqi.
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