Women -- Social conditions -- 19th century -- Fiction
Ethel knew nothing of the language of love. She had read of it in her
favourite poets; but she was yet too young and guileless to apply any of
its feelings to herself. Love had always appeared to her blended with
the highest imaginative beauty and heroism, and thus was in her eyes, at
once awful and lovely. Nothing had vulgarized it to her. The greatest
men were its slaves, and according as their choice fell on the worthy or
unworthy, they were elevated or disgraced by passion. It was the part of
a woman so to refine and educate her mind, as to be the cause of good
alone to him whose fate depended on her smile. There was something of
the Orondates' vein in her ideas; but they were too vague and general to
influence her actions. Brought up in American solitude, with all the
refinement attendant on European society, she was aristocratic, both as
regarded rank and sex; but all these were as yet undeveloped
feelings--seeds planted by the careful paternal hand, not yet called
into life or growth.
Whitelock began his operations, and was obliged to be explicit to be at
all understood. He spoke of misery and despair; he urged no plea, sought
no favour, except to be allowed to speak of his wretchedness. Ethel
listened--Eve listened to the serpent, and since then, her daughters
have been accused of an aptitude to give ear to forbidden discourse. He
spoke well, too, for he was a man of unquestioned talent. It is a
strange feeling for a girl, when first she finds the power put into her
hand of influencing the destiny of another to happiness or misery. She
is like a magician holding for the first time a fairy wand, not having
yet had experience of its potency. Ethel had read of the power of love;
but a doubt had often suggested itself, of how far she herself should
hereafter exercise the influence which is the attribute of her sex.
Whitelock dispelled that doubt. He impressed on her mind the idea that
he lived or died through her fiat.
Public-domain text, read in full here on John Shaqi.
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