The Young Diana: An Experiment of the FutureCorelli, Marie
Science
The Young Diana: An Experiment of the Future
Corelli, Marie
Experiments -- Fiction; Psychological fiction; Rejuvenation -- Fiction; Science fiction; Single women -- Fiction
“Oh, he wouldn’t mind!” Diana assured her. “To begin with, he wouldn’t
listen, and if he did, he would grin that funny little grin of his and
say you were ‘over-wrought.’ That’s his great word! You can make no
impression on Pa if he doesn’t want to be impressed. He has absolutely
no feelings--I mean real _feelings_,--he has only just ‘impulses,’ of
anger or pleasure, such as an animal has--and he doesn’t attempt to
control either.”
They had by this time left the drawing-room, and were standing together
in a charming little bedroom, furnished all in white and rose-colour.
“This is my ‘visitor’s room,’” said Sophy. ”And you can occupy it as
long as you like. And I’ll bring you one of my Paris tea-gowns to slip
on for dinner,--it’s lovely and you’ll look sweet!”
Diana smiled.
“I! Dear Sophy, you expect miracles!”
But Sophy was not so far wrong. That evening, Diana, arrayed in a
gracefully flowing garment of cunningly interwoven soft shades, varying
from the hue of Neapolitan violets to palest turquoise, and wearing
her really beautiful bright hair artistically coiled on the top of her
well-shaped head, was a very different looking Diana to the weary, worn
and angular woman in severely cut navy serge who had presented the
appearance of an out-of-place governess but a few hours before. If she
could not be called young or beautiful, she was distinctly attractive,
and Sophy Lansing was delighted.
“My dear, you pay for dressing!” she said, enthusiastically. “And--you
mark my words!--you don’t look ‘mature’ enough for that Dr. Dimitrius!”
CHAPTER VI
There are certain people who take a bland and solemn pleasure in the
details of death and disaster,--who are glad to assume an air of
what they call “Christian resignation,” and who delight in funerals
and black-edged note-paper. Regular church-goers are very frequently
most particular about this last outward sign and token of the heart’s
incurable sorrow; some choose a narrow black edge as being less
obtrusive but more subtle,--others a broad, as emblematic of utter
hopelessness. The present writer once happened on a cynical stationer,
who had his own fixed ideas on this particular department of mourning
which was so closely connected with his trade.
“The broader the edge, the less the grief,” he assured me. “Just as I
say of widows, the longer the veil, the sooner the second wedding,--and
the more wreaths there are on a hearse, the fewer the friends of the
deceased. That’s my experience.”
But no one should accept these remarks as anything but the cynical
view of a small tradesman whose opinion of his clients was somewhat
embittered.
A letter with a black border which was neither broad nor narrow,
but discreetly medium, appeared among Sophy Lansing’s daily pile of
correspondence the morning after Diana’s arrival at her flat, and,
recognising the handwriting on the envelope, she at once selected
it from the rest, and ran into her friend’s room, waving it aloft
triumphantly.
Public-domain text, read in full here on John Shaqi.
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