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
She spoke happily of Stephen Michael Hilary Byrne, of his charm and his
intelligence, and how already he really had something of Stephen about
him; and as she said that she smiled at Stephen. And she leaned back
with a little sigh of content and looked round at her drawing-room, rich
with warm and comfortable colour, at the striped material of delicate
purple, at the Japanese prints she had bought with Stephen at a sale, at
the curious but excellent wall-paper of dappled grey, and the pleasant
rows of books on the white shelves, at the flowers in the Chinese bowl
which Stephen had bought for her in some old shop, and the mass of roses
on the shiny Sheraton table; then she looked out through the window at
the red light of a tug sliding mysteriously down through the steely dark
and back again at Stephen. And John knew that she was counting up her
happiness; and he thought with an intense pity and rage how precarious
that happiness was. He realized then that he could not allow Stephen to
"do the right thing"; he would not press for it. After all, it was a
small thing for himself to suffer, this petty local suspicion, even the
visitations of the Gaunts, compared with the suffering which this dear
and delicate lady would have to bear if the truth were told. Surely it
was an easy sacrifice for a man to make.
So John sat glowing with sentiment and resolution, and Margery pondered
the happiness of life, and Stephen brooded darkly in the window, and
they were all silent. Then Margery suggested that the two men should
sing together as they used to do; and they sang. They sang odd things
from an Old English song book, picked out at random as they turned over
the leaves. And it seemed as if every song in that book must have for
those two some hidden and sinister meaning. It was bad enough, in any
case, to stand there together behind Margery at the piano, and try to
sing as they had sung in the old days, when nothing had happened. But
these songs had some terrible innuendoes: "Blow, blow, thou winter
wind," they sang first, and "Sigh no more, ladies." And when they came
to "a friend's ingratitude" and "fellowship forgot" and "Men were
deceivers ever," the two men became foolishly self-conscious. They
looked studiously in front of them, and each in his heart hoped that the
other had not noticed, hoped that his own expression was perfectly
normal and composed. It was exceedingly foolish. There were other songs
like this, and after a few more Stephen said shortly that that was
enough.
Then they tried to talk again; but the men could think of no topic which
did not somehow lead them near to Emily Gaunt and such dangerous
ground. Even when Margery began to speak of the motor-boat, the men
seemed to be stricken silly and dumb. Margery wondered what ailed them,
till she remembered about John's "wood-collecting" evidence, and blushed
suddenly at her folly.
Public-domain text, read in full here on John Shaqi.
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