Man-woman relationships -- Fiction; United States -- Social life and customs -- 19th century -- Fiction; Women -- Fiction
Catharine’s eyes filled as she looked upon the portrait, and traced back
its dim resemblance to the stricken woman whom she had just left,
catching like an infant at the sunbeams that came into her
chamber-window. The bright, beautiful life, so charming in the picture,
had all faded out from the original being. That image on the canvas
seemed vital, Elsie the picture. Catharine sunk down to the easy-chair
and wept.
After a time she went to the pendant of this picture, still oppressed by
the strange dread which had followed her ever since she first entered
the room. A sweep of her hand carried away the gauze from this portrait
also, and that which was behind seemed to chill her into marble. She did
not breathe, the color left her lips, and she retreated slowly backward,
mute and astonished.
It was the portrait of her husband, the man who had abandoned her and
her child to disgrace and starvation. Her own husband, for say what they
would, deny it as he might, the man yonder, smiling upon her from the
crimson of the wall, with his clear gray eyes and chestnut hair, was her
husband. All the perjury on earth could not change the truth.
It was a terrible shock, this sudden appearance of the man who had
wronged her. How frankly those eyes looked down into hers; that smile
hovering around the fine mouth! her heart swelled to meet it with a
great throb of joy. Those curls—chestnut with a gleam of gold in
them—how often had she swept them together in masses with her own hand,
and laughed at the air of playful impatience with which he had shaken
them back to their place on his white temples.
Oh, these memories were too sweet and too painful. The joy of the past
was upon it in a bright, rosy cloud, but underneath lay the black
thought that he had wronged and left her; even as she looked on the
picture, it was there, darting like a flash of lightning through her
heart.
In this struggle of joy and anguish she sat down, gazing up wistfully at
the portrait, and though she knew that it was inanimate, beseeching it
to speak one word, and tell her that he was blameless,—that the miserly
old woman, his mother, had maligned him, and she would believe his first
breath, believe even a look against the whole world, against facts,
against truth itself.
Thus, half madly, the poor girl, the wife who had no husband, who had
been a mother and was childless, pleaded with the dumb, smiling picture.
Public-domain text, read in full here on John Shaqi.
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