How he was to prevent it he did not know: to his tormented imagination every issue seemed closed. For a fantastic instant he was moved to follow Madame de Chantelle’s suggestion and urge Anna to withdraw her approval. If his reticence, his efforts to avoid the subject, had not escaped her, she had doubtless set them down to the fact of his knowing more, and thinking less, of Sophy Viner than he had been willing to admit; and he might take advantage of this to turn her mind gradually from the project. Yet how do so without betraying his insincerity? If he had had nothing to hide he could easily have said: “It’s one thing to know nothing against the girl, it’s another to pretend that I think her a good match for Owen.” But could he say even so much without betraying more? It was not Anna’s questions, or his answers to them, that he feared, but what might cry aloud in the intervals between them. He understood now that ever since Sophy Viner’s arrival at Givre he had felt in Anna the lurking sense of something unexpressed, and perhaps inexpressible, between the girl and himself...When at last he fell asleep he had fatalistically committed his next step to the chances of the morrow. The first that offered itself was an encounter with Mrs. Leath as he descended the stairs the next morning. She had come down already hatted and shod for a dash to the park lodge, where one of the gatekeeper’s children had had an accident. In her compact dark dress she looked more than usually straight and slim, and her face wore the pale glow it took on at any call on her energy: a kind of warrior brightness that made her small head, with its strong chin and close-bound hair, like that of an amazon in a frieze. It was their first moment alone since she had left him, the afternoon before, at her mother-in-law’s door; and after a few words about the injured child their talk inevitably reverted to Owen. Anna spoke with a smile of her “scene” with Madame de Chantelle, who belonged, poor dear, to a generation when “scenes” (in the ladylike and lachrymal sense of the term) were the tribute which sensibility was expected to pay to the unusual. Their conversation had been, in every detail, so exactly what Anna had foreseen that it had clearly not made much impression on her; but she was eager to know the result of Darrow’s encounter with her mother-in-law. “She told me she’d sent for you: she always ‘sends for’ people in emergencies. That again, I suppose, is DE L’EPOQUE. And failing Adelaide Painter, who can’t get here till this afternoon, there was no one but poor you to turn to.” She put it all lightly, with a lightness that seemed to his tight-strung nerves slightly, undefinably over-done. But he was so aware of his own tension that he wondered, the next moment, whether anything would ever again seem to him quite usual and insignificant and in the common order of things.