Europe -- Social conditions -- 20th century -- Fiction; Great Britain -- Social conditions -- 20th century -- Fiction; Love stories
I said of course I would, and then he took Venice’s arm to lead her
away. But Venice dragged, her eyes intent on the carpet, and when she
suddenly looked round at me I saw that her eyes were brimming with
tears.
“Men!” she smiled. “Men!”
“Men!” mocked Napier, but he smiled, too. “What?”
“But don’t you think it’s a shame!” she bitterly appealed to me.
“There’s Mrs. Storm very ill and expecting to see Napier, all lonely up
there, and here Naps puts me in the beastly position of a wife who----”
But I was thinking that the shame of it lay in the disadvantage at which
a woman always is with a man whom she loves more than she feels he loves
her, the disadvantage of never knowing how far she may use an artificial
pride, for there is no real pride in a heart in love, without upsetting
the apple-cart.
“Nonsense, Venice,” Napier was saying, and it was his mildness, his
calmness, that was so astonishing now. It was as though the man had
suddenly found peace: as though love-lost Tristram raving in the
wilderness had, in a sudden flash, realised that he was trying God too
far....
“Nonsense, Venice,” he scowled, still holding her arm. “She isn’t
beginning to expect me and she never did. I just turned up by
chance....” He turned to me with that clear, not conspiratorial, look in
his eyes. “You will say good-bye from me, won’t you?”
“Of course,” I said. “I may be seeing her to-day.”
“Yes, just say good-bye,” said Napier, and as he and I shook hands
Venice laughed nervously: “Dear, how serious! I can’t bear
good-byes....” And so she shook my hand without saying good-bye, saying
instead: “You have been a darling to let me bore you with my nonsense,
and I hope you’ll pray that it keeps fine for us in your sister’s car.
See you in London soon....”
And away they went, Napier and Venice, he still holding her arm just
above the elbow, she still appearing to drag a little, across the now
deserted and darkening lounge to the glass doors, which a small boy
opened to them. But the small boy must hold it open, for they stood in
the doorway a short while, as it might be they were arguing, and through
the gloom of the afternoon I could see Napier’s set white profile, drawn
in ivory it might have been, and the way he seemed to be smiling grimly
into Venice’s upturned face, and I could see the way Venice’s face
suddenly lit right up with a smile, just like a garden with the sun
after rain. Now what could he have said to make her smile so, or had he
said just any little thing, which her love, most princely alchemist, had
straightway transmuted into a golden word?
Public-domain text, read in full here on John Shaqi.
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