Americans -- France -- Fiction; Domestic fiction; France -- Fiction; Love stories; Man-woman relationships -- Fiction
She seemed to wait for Darrow to agree with her, or to put some other
question, and he finally found voice to ask: “Then you think it’s not a
final break?”
“I hope not--I’ve never hoped it more! I had a word with Owen, too,
after I left her, and I think he understands that he must let her go
without insisting on any positive promise. She’s excited ... he must let
her calm down...”
Again she waited, and Darrow said: “Surely you can make him see that.”
“She’ll help me to--she’s to see him, of course, before she goes. She
starts immediately, by the way, with Adelaide Painter, who is motoring
over to Francheuil to catch the one o’clock express--and who, of course,
knows nothing of all this, and is simply to be told that Sophy has been
sent for by the Farlows.”
Darrow mutely signed his comprehension, and she went on: “Owen is
particularly anxious that neither Adelaide nor his grandmother should
have the least inkling of what’s happened. The need of shielding Sophy
will help him to control himself. He’s coming to his senses, poor boy;
he’s ashamed of his wild talk already. He asked me to tell you so; no
doubt he’ll tell you so himself.”
Darrow made a movement of protest. “Oh, as to that--the thing’s not
worth another word.”
“Or another thought, either?” She brightened. “Promise me you won’t even
think of it--promise me you won’t be hard on him!”
He was finding it easier to smile back at her. “Why should you think it
necessary to ask my indulgence for Owen?”
She hesitated a moment, her eyes wandering from him. Then they came back
with a smile. “Perhaps because I need it for myself.”
“For yourself?”
“I mean, because I understand better how one can torture one’s self over
unrealities.”
As Darrow listened, the tension of his nerves began to relax. Her gaze,
so grave and yet so sweet, was like a deep pool into which he could
plunge and hide himself from the hard glare of his misery. As this
ecstatic sense enveloped him he found it more and more difficult to
follow her words and to frame an answer; but what did anything matter,
except that her voice should go on, and the syllables fall like soft
touches on his tortured brain?
“Don’t you know,” she continued, “the bliss of waking from a bad dream
in one’s own quiet room, and going slowly over all the horror without
being afraid of it any more? That’s what I’m doing now. And that’s why
I understand Owen...” She broke off, and he felt her touch on his arm.
“BECAUSE I’D DREAMED THE HORROR TOO!”
He understood her then, and stammered: “You?”
“Forgive me! And let me tell you!... It will help you to understand
Owen...There WERE little things ... little signs ... once I had begun to
watch for them: your reluctance to speak about her ... her reserve with
you ... a sort of constraint we’d never seen in her before...”
She laughed up at him, and with her hands in his he contrived to say:
“NOW you understand why?”
Public-domain text, read in full here on John Shaqi.
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