The Greatest Works of Edith Wharton - 31 Books in One Edition. Edith Wharton

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      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 gaslight of the hall, and plunged out into the winter night bursting with the belated eloquence of the inarticulate.

      XIII.

      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.

      There was one episode, in particular, that held the house from floor to ceiling. It was that in which Harry Montague, after a sad, almost monosyllabic scene of parting with Miss Dyas, bade her goodbye, and turned to go. The actress, who was standing near the mantelpiece and looking down into the fire, wore a gray cashmere dress without fashionable loopings or trimmings, moulded to her tall figure and flowing in long lines about her feet. Around her neck was a narrow black velvet ribbon with the ends falling down her back.

      When her wooer turned from her she rested her arms against the mantelshelf and bowed her face in her hands. On the threshold he paused to look at her; then he stole back, lifted one of the ends of velvet ribbon, kissed it, and left the room without her hearing him or changing her attitude. And on this silent parting the curtain fell.

      It was always for the sake of that particular scene that Newland Archer went to see “The Shaughraun.” He thought the adieux of Montague and Ada Dyas as fine as anything he had ever seen Croisette and Bressant do in Paris, or Madge Robertson and Kendal in London; in its reticence, its dumb sorrow, it moved him more than the most famous histrionic outpourings.

      On the evening in question the little scene acquired an added poignancy by reminding him—he could not have said why—of his leave-taking from Madame Olenska after their confidential talk a week or ten days earlier.

      It would have been as difficult to discover any resemblance between the two situations as between the appearance of the persons concerned. Newland Archer could not pretend to anything approaching the young English actor’s romantic good looks, and Miss Dyas was a tall red-haired woman of monumental build whose pale and pleasantly ugly face was utterly unlike Ellen Olenska’s vivid countenance. Nor were Archer and Madame Olenska two lovers parting in heart-broken silence; they were client and lawyer separating after a talk which had given the lawyer the worst possible impression of the client’s case. Wherein, then, lay the resemblance that made the young man’s heart beat with a kind of retrospective excitement? It seemed to be in Madame Olenska’s mysterious faculty of suggesting tragic and moving possibilities outside the daily run of experience. She had hardly ever said a word to him to produce this impression, but it was a part of her, either a projection of her mysterious and outlandish background or of something inherently dramatic, passionate and unusual in herself. Archer had always been inclined to think that chance and circumstance played a small part in shaping people’s lots compared with their innate tendency to have things happen to them. This tendency he had felt from the first in Madame Olenska. The quiet, almost passive young woman struck him as exactly the kind of person to whom things were bound to happen, no matter how much she shrank from them and went out of her way to avoid them. The exciting fact was her having lived in an atmosphere so thick with drama that her own tendency to provoke it had apparently passed unperceived. It was precisely the odd absence of surprise in her that gave him the sense of her having been plucked out of a very maelstrom: the things she took for granted gave the measure of those she had rebelled against.

      Archer had left her with the conviction that Count Olenski’s accusation was not unfounded. The mysterious person who figured in his wife’s past as “the secretary” had probably not been unrewarded for his share in her escape. The conditions from which she had fled were intolerable, past speaking of, past believing: she was young, she was frightened, she was desperate— what more natural than that she should be grateful to her rescuer? The pity was that her gratitude put her, in the law’s eyes and the world’s, on a par with her abominable husband. Archer had made her understand this, as he was bound to do; he had also made her understand that simplehearted kindly New York, on whose larger charity she had apparently counted, was precisely the place where she could least hope for indulgence.

      To have to make this fact plain to her—and to witness her resigned acceptance of it—had been intolerably painful to him. He felt himself drawn to her by obscure feelings of jealousy and pity, as if her dumbly-confessed error had put her at his mercy, humbling yet endearing her. He was glad it was to him she had revealed her secret, rather than to the cold scrutiny of Mr. Letterblair, or the embarrassed gaze of her family. He immediately took it upon himself to assure them both that she had given up her idea of seeking a divorce, basing her decision on the fact that she had understood the uselessness of the proceeding; and with infinite relief they had all turned their eyes from the “unpleasantness” she had spared them.

      “I was sure Newland would manage it,” Mrs. Welland had said proudly of her future son-in-law; and old Mrs. Mingott, who had summoned him for a confidential interview, had congratulated him on his cleverness, and added impatiently: “Silly goose! I told her myself what nonsense it was. Wanting to pass herself off as Ellen Mingott and an old maid, when she has the luck to be a married woman and a Countess!”

      These incidents had made the memory of his last talk with Madame Olenska so vivid to the young man that as the curtain fell on the parting of the two actors his eyes filled with tears, and he stood up to leave the theatre.

      In doing so, he turned to the side of the house behind him, and saw the lady of whom he was thinking seated in a box with the Beauforts, Lawrence Lefferts and one or two other men. He had not spoken with her alone since their evening together, and had tried to avoid being with her in company; but now their eyes met, and as Mrs. Beaufort recognised him at the same time, and made her languid little gesture of invitation, it was impossible not to go into the box.

      Beaufort and Lefferts made way for him, and after a few words with Mrs. Beaufort, who always preferred to look beautiful and not have to talk, Archer seated himself behind Madame Olenska. There was no one else in the box but Mr. Sillerton Jackson, who was telling Mrs. Beaufort in a confidential undertone about Mrs. Lemuel Struthers’s last Sunday reception (where some people reported that there had been dancing). Under cover of this circumstantial narrative, to which Mrs. Beaufort listened with her perfect smile, and her head at just the right angle to be seen in profile from the stalls, Madame Olenska turned and spoke in a low voice.

      “Do you think,” she asked, glancing toward the stage, “he will send her a bunch of yellow roses tomorrow morning?”

      Archer reddened, and his heart gave a leap of surprise. He had called only twice on Madame Olenska, and each time he had sent her a box of yellow roses, and each time without a card. She had never before made any allusion to the flowers, and he supposed she had never thought of him as the sender. Now her sudden recognition of the gift, and her associating it with the tender leave-taking on the stage, filled him with an agitated pleasure.

      “I was thinking of that too—I was going to leave the theatre in order to take the picture away with me,” he said.

      To his surprise her colour rose, reluctantly and duskily. She looked down at the mother-of-pearl opera-glass in her smoothly gloved hands, and said, after a pause: “What do you do while May is away?”

      “I stick to my work,” he answered, faintly annoyed by the question.

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