Ghosts -- Fiction; Invalids -- Fiction; Women authors -- Fiction
Margaret’s indifference to mundane things was sufficient to make her
presently accept the position, if not enthusiastically, yet agreeably.
And, strangely enough, Mrs. Merrill-Cotton proved to be as alleged. She
had never had a daughter, and wished to mother Margaret: she had no
other ulterior motive in marrying the American. Her income was at least
as much as she had said, and she knew a great many people. That they
were city people of greater wealth than distinction made no difference
to her future husband. He wanted a domestic hearth and some one to share
the embarrassment of his exceptional daughter.
The first thing they did after the wedding was to take Margaret to
Dresden for those piano lessons she craved. She broke down quickly,—had
not the health, so the doctors said, for her chosen profession. They
said her heart was weak, and that she was anæmic. So father and
stepmother brought her back to England, and installed her as the centre
of interest in the big house in Queen Anne’s Gate.
At eighteen she published her first novel, at her father’s expense. It
was new in method and tone. Word was sent round by the publisher that
the authoress was a young and beautiful American heiress, and the result
was quite an extraordinary little success.
The Lady Mayoress presented her to her Sovereign, after which the social
atmosphere of the house quickly changed. Margaret began to understand,
and act. Into the thick coagulated stream of city folk for whom the new
Mrs. Rysam had an indefinable respect there meandered journalists,
actors, painters, musicians. The whole tone of the house unconsciously
but quickly altered. Culture was now the watchword. Money, no longer a
topic of conversation, was nevertheless permitted to minister to the
creature comfort of men and women of distinction in art and letters. The
two elderly people accustomed themselves easily to the change, they were
of the non-resistant type, and Margaret led them. When in her twentieth
year her first play was produced at a West End theatre, and she came
before the curtain to bow her acknowledgment of the applause, their
pride was overwhelming. The next book was praised by all the critics who
had been entertained and the journalists who hoped for further
entertainment. Another and another followed. Open house was kept in
Queen Anne’s Gate, and there was an idea afloat in lower Bohemia that
here was the counterpart of the Eighteenth-century salon.
Public-domain text, read in full here on John Shaqi.
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