The Ordeal of Richard Feverel: A History of a Father and SonMeredith, George
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The Ordeal of Richard Feverel: A History of a Father and Son
Meredith, George
Domestic fiction; England -- Fiction; Fathers and sons -- Fiction
It is possible for young heads to conceive proper plans of action,
and occasionally, by sheer force of will, to check the wild horses
that are ever fretting to gallop off with them. But when they have
given the reins and the whip to another, what are they to do? They
may go down on their knees, and beg and pray the furious charioteer
to stop, or moderate his pace. Alas! each fresh thing they do
redoubles his ardour. There is a power in their troubled beauty
women learn the use of, and what wonder? They have seen it kindle
Ilium to flames so often! But ere they grow matronly in the house of
Menelaus, they weep, and implore, and do not, in truth, know how
terribly two-edged is their gift of loveliness. They resign
themselves to an incomprehensible frenzy; pleasant to them, because
they attribute it to excessive love. And so the very sensible things
which they can and do say, are vain.
I reckon it absurd to ask them to be quite in earnest. Are not those
their own horses in yonder team? Certainly, if they were quite in
earnest, they might soon have my gentleman as sober as a carter. A
hundred different ways of disenchanting him exist, and Adrian will
point you out one or two that shall be instantly efficacious. For
Love, the charioteer, is easily tripped, while honest jog-trot Love
keeps his legs to the end. Granted dear women are not quite in
earnest, still the mere words they utter should be put to their good
account. They do mean them, though their hearts are set the wrong
way. 'Tis a despairing, pathetic homage to the judgment of the
majority, in whose faces they are flying. Punish Helen, very young,
lightly. After a certain age you may select her for special
chastisement. An innocent with Theseus, with Paris she is an
advanced incendiary.
The fair young girl was sitting as her lover had left her; trying to
recall her stunned senses. Her bonnet was unremoved, her hands
clasped on her knees; dry tears in her eyes. Like a dutiful slave,
she rose to him. And first he claimed her mouth. There was a speech,
made up of all the pretty wisdom her wild situation and true love
could gather, awaiting him there; but his kiss scattered it to
fragments. She dropped to her seat weeping, and hiding her shamed
cheeks.
By his silence she divined his thoughts, and took his hand and drew
it to her lips.
He bent beside her, bidding her look at him.
"Keep your eyes so."
She could not.
"Do you fear me, Lucy?"
A throbbing pressure answered him.
"Do you love me, darling?"
She trembled from head to foot.
"Then why do you turn from me?"
She wept: "O Richard, take me home! take me home!"
"Look at me, Lucy!"
Her head shrank timidly round.
"Keep your eyes on me, darling! Now speak!"
But she could not look and speak too. The lover knew his mastery
when he had her eyes.
"You wish me to take you home?"
She faltered: "O Richard? it is not too late."
"You regret what you have done for me?"
"Dearest! it is ruin."
Public-domain text, read in full here on John Shaqi.
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