Milly: At Love's Extremes; A Romance of the SouthlandThompson, Maurice
Philosophy
Milly: At Love's Extremes; A Romance of the Southland
Thompson, Maurice
Southern States -- Fiction
He looked into her eyes as if trying to read the lowest lines of
their meaning, but he found nothing to aid him. The love-light had
faded and in its stead the cold beam of loveless duty shone out clear
and strong. He saw that she was as hopelessly gone from him as if
she lay dead in her grave. He stretched out his arms toward her, but
quickly withdrew them, not, however, on account of a swift, facile
movement of Ransom's hand to the place where a pistol is usually
concealed by a man who carries one, for he did not see it, but
because her eyes repelled him. There was nothing for him to do but
to go away forever. He rushed from the room and from the house.
Half way to the gate he stopped and turned about, fixing upon the
weather-stained old building a gaze that it would have been awful to
contemplate, so intense, so wild, so malignant. His hands were
clenched, his lips, so compressed that they seemed welded, were cold
and purple. For a mere point of time he was a murderer; but, despite
the intervening wall of the house, he could see Agnes clinging to her
husband and the mood was flung aside. Her husband! What right had
he to survive that well-aimed shot? What right had he to escape from
a Mexican prison and drag his wrecked body and withered soul back
here to crush out such a love as that which but an hour ago had
lighted up the whole world?
It was but a flash of desperate passion, that came and went in an
instant, leaving Reynolds all the more helplessly bewildered. What
could he do? He stood there rigid, breathless, choking in the
impotence of utter irresolution.
Again he turned towards the carriage. Far and near in the tender
foliage of the trees the mocking birds sang with lusty fervor. The
sweet South breathed upon him the warm, odorous breath of love's own
clime.
Dan the driver, from his seat on the carriage, had watched this
melodramatic scene from first to last, so far at least as it was not
shut out from his vision, with all the open-mouthed wonder
characteristic of a negro under such circumstances. He well knew
that the predicament was one of no ordinary sort, and that weighty
interests were involved. He had expected every moment to see knives
or pistols gleam and flash, but he had been so dazed and scared that
he could not have moved to save his life. He sat there gripping the
lines and leaning forward in an attitude of painful rigidity, his
shoulders elevated and his chin thrust out, lost to every thing but
the excitement that had taken possession of him.
Uncle Mono, in blissful ignorance of the drama, was down in the
little plat of ground devoted to his melon vines, stirring the sandy
loam with a hoe and singing a lively camp-meeting song. The two
silver dollars given to him by Reynolds had made him very happy
indeed.
Public-domain text, read in full here on John Shaqi.
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