Scotland -- Social life and customs -- 19th century -- Fiction
Agneta and Mary had started when Cecilia stood alone in front of her
image in the glass; she held up her veil and looked into the reflected
face. It was the last time she would see Cecilia Raeburn, and, with a
kind of curiosity, she regarded the outer shell of the woman, who, it
seemed to her, had no identity left. The Cecilia who had grown up at
Morphie was dead; as dead as that companion with whom she had shared
the old house. Between the parted friends there was this momentous
difference: while one was at rest, the other had still to carry that
picture in the mirror as bravely as she could through the world, till
the long day’s work should roll by and the two should meet. She thought
of that dark morning at Morphie and of her aunt’s dying face against
Fullarton’s shoulder, and told herself that, were the moment to return,
she would not do differently. She was glad to remember that, had
Gilbert Speid come back, he would have cast no shadow between them; the
knowledge seemed to consecrate the gleam of happiness she had known
with him so briefly. But it was hard that, when the path by which they
might have reached each other had been smoothed at so terrible a cost,
the way had been empty. She was thinking of the time when two pairs of
eyes had met in a looking-glass and she had plastered his cut cheek in
the candlelight. After to-day, she must put such remembrances from her.
She dropped her veil and turned away, for Fullarton’s voice was calling
to her to come down.
While she sat beside him in the carriage, looking out, her hands were
pressed together in her lap. The rain-washed world was so beautiful,
and, between the woods touched with spring, the North Lour ran full.
The lights lying on field and hill seemed to smile. As they passed
Morphie House she kept her face turned from it; she could not trifle
with her strength. She was thankful that they would not be near the
coast where she could hear the sea-sound.
Public-domain text, read in full here on John Shaqi.
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