The House by the RiverHerbert, A. P. (Alan Patrick)
General
The House by the River
Herbert, A. P. (Alan Patrick)
London (England) -- Social life and customs -- 20th century -- Fiction; Murder -- Fiction; Poets -- Fiction
It was curious that at first she thought nothing of Gelert's illicit
amours in the castle, the stealing of his own friend's lady. That part
of the poem, of course, was a piece of romantic imagination, with which
she had no personal concern. But while she waited for Stephen, turning
over the leaves once more, the thought did come to her, "If one part is
true--why not all?" But this thought she firmly thrust out. She was sure
of him in _that_ way, at any rate. She flung a cushion over the
manuscript and waited.
He came in slowly as he had gone out, but she saw at once that his gloom
was somehow relieved. And as he told her in studied accents of distress
the story of the meeting, there came to her a sick certainty that he was
acting. He was not _really_ sorry that John had thought it best not to
take any action; he was glad.
When he had finished, she said, in a hard voice which startled her,
"What _do_ you make of it, Stephen? Do you think he really did it?"
Stephen looked at the fire, the first fire of late September, and he
said, "God knows, Margery; God knows. He's a funny fellow, John." He
sighed heavily and stared into the fire.
And then she was quite sure.
She stood up from the sofa, the manuscript in her hand, and came towards
him.
"Stephen," she said, "I've been reading this--You--I--oh, _Stephen_!"
The last word came with a little wail, and she burst suddenly into
tears, hiding her face against his shoulder. She stood there sobbing,
and shaken with sobbing, and he tried to soothe her, stroking her hair
with a futile caressing movement, and murmuring her name ridiculously,
over and over again.
It did not occur to him to go on acting, to pretend astonishment or
incomprehension. She had blundered somehow on the secret, and perhaps
it was better so. To her at least he could lie no more.
At last the sobbing ceased, and he kissed her gently, and she turned
from him automatically to tidy her hair in the glass.
Then she said, still breathless and incoherent, "Stephen, is it
true--that _poor_ Emily--and poor John--Oh, Stephen, how _could_ you?"
The tears were coming back, so he put his arms about her again. And he
spoke quickly, saying anything, anything to hold her attention and keep
away those terrible tears.
"Darling, I was a fool ... it was for your sake in the first place--for
your sake we kept it dark, I mean--it was John's idea--and then--I don't
know--I was a beast--But don't worry. Tomorrow I'll put it all right....
I'll give myself up--I--"
But at these words, and at the picture they raised, a great cry burst
from her, "Oh, no, Stephen. No! no!--you mustn't."
And she seized the lapels of his coat and shook him fiercely in the
intensity of her feeling, the human, passionate, protective feeling of a
wife for her own man--careless what evil he may have done if somehow he
may be made safe for her.
Public-domain text, read in full here on John Shaqi.
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