Artists and patrons -- Fiction; Authors and readers -- Fiction; Humorous stories; Italy -- Fiction; Satire
If the number of Miss Thriplow’s friends who belonged to the type of the
emotionally impotent was surprisingly large, the fact was due to a
tendency in Miss Thriplow herself towards precisely this spiritual
weakness. Being by nature a good deal more acute and self-analytic than
most of the men and women who indignantly castigate their own inveterate
sins, Miss Thriplow was not unaware, while she criticised others, of the
similar defect in herself. She could not help suspecting, when she read
Dostoievsky and Tchehov, that she was organised differently from these
Russians. It seemed to her that she felt nothing so acutely, with such
an intricate joy or misery as did they. And even before she had started
reading the Russians, Miss Thriplow had come to the painful conclusion
that if the Brontë sisters were emotionally normal, then she must be
decidedly sub-normal. And even if they weren’t quite normal, even if
they were feverish, she desired to be like them; they seemed to her
entirely admirable. It was the knowledge of her sub-normality (which she
had come, however, to attribute to a lack of opportunities—we lead such
sheltered, artificial lives—for the display of her potential passions
and emotions) that had made Miss Thriplow so passionate an admirer of
fine spontaneous feelings. It caused her at the same time to be willing
and anxious to embrace every opportunity that presented itself for the
testing of her reactions. It is experience that makes us aware of what
we are; if it were not for contacts with the world outside ourselves we
should have no emotions at all. In order to get to know her latent
emotional self, Miss Thriplow desired to have as much experience, to
make as many contacts with external reality as possible. When the
external reality was of an unusual character and offered to be
particularly fruitful in emotional revelations, she sought it with a
special eagerness. Thus, a love affair with Calamy had seemed to her
fraught with the most interesting emotional possibilities. She would
have liked him well enough even if his drowsiness had concealed no
inward fires. But the conviction that there was something “queer,” as
Mrs. Aldwinkle would say, and dangerous about the man made her imagine
at every stage of their intimacy that she liked him better than she
actually did; made her anxious to advance to further stages in the hope
that, as he revealed himself, ampler and more interesting revelations of
her own hidden soul might there be awaiting her. She had had her reward;
Calamy had already genuinely frightened her, had revealed himself as
excitingly brutal.
“You exasperate me so much,” he had said, “that I could wring your
neck.”
Public-domain text, read in full here on John Shaqi.
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