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
A dreadful paralysis seemed to have succeeded the heavy strain. He
looked as the men used to look after a long spell in the line, sitting
at last in a dingy billet--played out.
John Egerton took the sculls and turned the boat round. The boat moved
stiffly, with a steady gurgle at the bows; the noiseless tide swung
violently by; the oars creaked complainingly.
"This _tide_ ..." muttered John.
Stephen Byrne raised his head. "The tide's going out," he said
stupidly.
IV
Margery Byrne walked home very happily from the Underground Station at
Stamford Brook, The ticket collector uttered a reverent "Good night,
mum"; the policeman at the corner of St. Peter's Square brightened
suddenly at her and saluted with the imperishable manner of past
military service. The world was very kind and friendly, she felt. But
that was the usual manner of the world to Margery Byrne. The world
invariably looked at her as it passed her in the street. The male world
invariably looked again. The mannerless male world usually looked back.
The shameless male world stared at her in Tubes and manoeuvred
obviously for commanding positions. But that part of the world, having
secured its positions, was generally either disappointed or abashed.
There was an aspect of fragility and virtue about her which stirred in
the bold and shameless male the almost atrophied instincts of chivalry
and protection. After a little they ceased to stare, but opened doors
for her with a conscious knighthood. There are women who make a man feel
evil at the sight of them. Margery made a man feel good.
But this aspect of fragility was without any suggestion of feebleness.
It was just that she was slight and fair, and her face small and her
features intensely delicate and refined. She had a rarefied look--as if
all flaws and imperfections and superfluities had been somehow
chemically removed, leaving only the essential stamina and grace. For
she had stamina. She walked with an easy un-urban swing, and she could
walk a long way. Her lips were little and slightly anæmic, but firm.
There was an evident will in the determined and perfectly proportioned
chin. The nose was small but admirably straight and set very close above
the mouth. Only her large blue eyes seemed a little out of proportion,
but these suggested a warm sympathy which the smallness of her features
might otherwise have concealed. Her head, balanced attractively on
straight white shoulders, was covered gloriously, if a little thinly,
with hair of a light gold, an indescribable tint not often encountered
outside the world of books. But such, in fact, was Margery's hair. Her
skin also was of a colour and texture not to be painted in words--it had
that indefinable quality for which there has been discovered no better
name than transparent. And this pale, almost colourless quality of
complexion completed the effect of fragility, of physical refinement.
Public-domain text, read in full here on John Shaqi.
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