Janet sent out before her into the hall a bursting sigh, a hot wave of
impatient fiery breath, which seemed to raise a little mist before her
eyes as she emerged into the silence and found herself alone, leaving
mockery and music, and sentiment true or false, behind. What did he
mean, what did he want, that visitor whose non-appearance had held the
household in suspense, whose coming had introduced so many elements of
disturbance? It cannot be said that Janet herself had been uninfluenced
by his absence. It had been a fact of which she could not get rid,
always present with her as with Gussy, though in a different way.
Certainly he had taken away much of the salt of life with him--the
interest, the drama. And now that he had come back the salt had not lost
its savor; it was almost too keen: it affected sharply not only the
chief personage in the piece, but the audience. He was now more than
actor--he was audience also; and that look of intelligence which had
conveyed so many confidences on his own part now expressed the most
daring suggestions as to hers. Janet burst out of the room with a sense
that her period of peace was over. His looks would put motives to the
most trifling actions. What had he to do with her? How dared he to
suggest that this booby, this music-hall hero, this cherished only son,
could in any way affect the life of Janet? “Miss Summerhayes plays his
accompaniments.” The tone was light enough, the laugh as light; but it
stung Janet to the very depths of her heart.
Public-domain text, read in full here on John Shaqi.
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