“Well, then: is it worth while to risk
what may be infinitely disagreeable and painful?
Think of the newspapers—their vileness!
It’s all stupid and narrow and unjust—but
one can’t make over society.”
“No,” she acquiesced; and her tone was
so faint and desolate that he felt a sudden remorse
for his own hard thoughts.
“The individual, in such cases, is nearly always
sacrificed to what is supposed to be the collective
interest: people cling to any convention that
keeps the family together—protects the
children, if there are any,” he rambled on,
pouring out all the stock phrases that rose to his
lips in his intense desire to cover over the ugly
reality which her silence seemed to have laid bare.
Since she would not or could not say the one word that
would have cleared the air, his wish was not to let
her feel that he was trying to probe into her secret.
Better keep on the surface, in the prudent old New
York way, than risk uncovering a wound he could not
heal.
“It’s my business, you know,” he
went on, “to help you to see these things as
the people who are fondest of you see them.
The Mingotts, the Wellands, the van der Luydens, all
your friends and relations: if I didn’t
show you honestly how they judge such questions, it
wouldn’t be fair of me, would it?” He
spoke insistently, almost pleading with her in his
eagerness to cover up that yawning silence.
She said slowly: “No; it wouldn’t
be fair.”
The fire had crumbled down to greyness, and one of
the lamps made a gurgling appeal for attention.
Madame Olenska rose, wound it up and returned to
the fire, but without resuming her seat.
Her remaining on her feet seemed to signify that
there was nothing more for either of them to say, and
Archer stood up also.
“Very well; I will do what you wish,”
she said abruptly. The blood rushed to his forehead;
and, taken aback by the suddenness of her surrender,
he caught her two hands awkwardly in his.
“I—I do want to help you,”
he said.
“You do help me. Good night, my cousin.”
He bent and laid his lips on her hands, which were
cold and lifeless. She drew them away, and he
turned to the door, found his coat and hat under the
faint gas-light of the hall, and plunged out into
the winter night bursting with the belated eloquence
of the inarticulate.
It was a crowded night at Wallack’s theatre.
The play was “The Shaughraun,” with Dion
Boucicault in the title role and Harry Montague and
Ada Dyas as the lovers. The popularity of the
admirable English company was at its height, and the
Shaughraun always packed the house. In the galleries
the enthusiasm was unreserved; in the stalls and boxes,
people smiled a little at the hackneyed sentiments
and clap-trap situations, and enjoyed the play as
much as the galleries did.
