Artists -- Fiction; British -- France -- Paris -- Fiction; Man-woman relationships -- Fiction; Young women -- Fiction
"I don't believe the gipsies who say they can see marriage in a hand,"
he answered gravely, and Betty feared he had thought her flippant, or
even vulgar; "what one sees are not the shadows of coming conventions.
One sees the great emotional events, the things that change and mould
and develop character. Yes, you will be greatly beloved, and you will
love deeply."
"I'm not to be happy in my affairs of the heart then." Still a careful
flippancy seemed best to Betty.
"Did I say so? Do you really think that there are no happy love
affairs but those that end in a wedding breakfast and bridesmaids,
with a Bazaar show of hideous silver and still more hideous crockery,
and all one's relations assembled to dissect one's most sacred
secrets?"
Betty had thought so, but it seemed coarse to own it.
"Can't you imagine," he went on dreamily, "a love affair so perfect
that it could not but lose its finest fragrance if the world were
called to watch the plucking of love's flower? Can't you imagine a
love so great, so deep, so tender, so absolutely possessing the whole
life of the lover that he would almost grudge any manifestation of it?
Because such a manifestation must necessarily be a repetition of some
of the ways in which unworthy loves have been manifested, by less
happy lovers? I can seem to see that one might love the one love of a
life-time, and be content to hold the treasure in one's heart, a
treasure such as no other man ever had, and grudge even a word or a
look that might make it less the single perfect rose of the world."
"Oh, dear!" said Betty to herself.
"But I'm talking like a book," he said, and laughed. "I always get
dreamy and absurd when I tell fortunes. Anyway, as I said before, you
will be greatly beloved. Indeed, unless your hand is very untruthful,
which I'm sure it never could be, you are beloved now, far more than
you can possibly guess."
Betty caught at her flippancy but it evaded her, and all she found to
say was, "Oh," and her eyes fell.
There was a silence. Vernon still held her hand, but he was no longer
looking at it.
A black figure darkened the daylight.
The two on the plough started up--started apart. Nothing more was
wanted to convince the Rector of all that he least wished to believe.
"Go home, Lizzie," he said, "go to your room," and to her his face
looked the face of a fiend. It is hard to control the muscles under a
sudden emotion compounded of sorrow, sympathy and an immeasurable
pity. "Go to your room and stay there till I send for you."
Betty went, like a beaten dog.
The Rector turned to the young man.
"Now, Sir," he said.
CHAPTER V.
THE PRISONER.
When Vernon looked back on that interview he was honestly pleased with
himself. He had been patient, he had been kind even. In the end he had
been positively chivalrous. He had hardly allowed himself to be
ruffled for an instant, but had met the bitter flow of Mr. Underwood's
biblical language with perfect courtesy.
Public-domain text, read in full here on John Shaqi.
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