So that, in an odd way, she was glad when Maisie Maidan came along—and she realized that she had not, before, been afraid of husbands and of scandals, since, then, she did her best to keep Maisie’s husband unsuspicious. She wished to appear so trustful of Edward that Maidan could not possibly have any suspicions. It was an evil position for her. But Edward was very ill and she wanted to see him smile again. She thought that if he could smile again through her agency he might return, through gratitude and satisfied love—to her. At that time she thought that Edward was a person of light and fleeting passions. And she could understand Edward’s passion for Maisie, since Maisie was one of those women to whom other women will allow magnetism.
She was very pretty; she was very young; in spite of her heart she was very gay and light on her feet. And Leonora was really very fond of Maisie, who was fond enough of Leonora. Leonora, indeed, imagined that she could manage this affair all right. She had no thought of Maisie’s being led into adultery; she imagined that if she could take Maisie and Edward to Nauheim, Edward would see enough of her to get tired of her pretty little chatterings, and of the pretty little motions of her hands and feet. And she thought she could trust Edward. For there was not any doubt of Maisie’s passion for Edward. She raved about him to Leonora as Leonora had heard girls rave about drawing masters in schools. She was perpetually asking her boy husband why he could not dress, ride, shoot, play polo, or even recite sentimental poems, like their major. And young Maidan had the greatest admiration for Edward, and he adored, was bewildered by and entirely trusted his wife. It appeared to him that Edward was devoted to Leonora. And Leonora imagined that when poor Maisie was cured of her heart and Edward had seen enough of her, he would return to her. She had the vague, passionate idea that, when Edward had exhausted a number of other types of women he must turn to her. Why should not her type have its turn in his heart? She imagined that, by now, she understood him better, that she understood better his vanities and that, by making him happier, she could arouse his love.
Florence knocked all that on the head. …
Part IV
I
I have, I am aware, told this story in a very rambling way so that it may be difficult for anyone to find their path through what may be a sort of maze. I cannot help it. I have stuck to my idea of being in a country cottage with a silent listener, hearing between the gusts of the wind and amidst the noises of the distant sea, the story as it comes. And, when one discusses an affair—a long, sad affair—one goes back, one goes forward. One remembers points that one has forgotten and one explains them all the more minutely since one recognizes that one has forgotten to mention them in their proper places and that one may have given, by omitting them, a false impression. I console myself with thinking that this is a real story and that, after all, real stories are probably told best in the way a person telling a story would tell them. They will then seem most real.
At any rate, I think I have brought my story up to the date of Maisie Maidan’s death. I mean that I have explained everything that went before it from the several points of view that were necessary—from Leonora’s, from Edward’s and, to some extent, from my own. You have the facts for the trouble of finding them; you have the points of view as far as I could ascertain or put them. Let me imagine myself back, then, at the day of Maisie’s death—or rather at the moment of Florence’s dissertation on the Protest, up in the old Castle of the town of M⸺. Let us consider Leonora’s point of view with regard to Florence; Edward’s, of course, I cannot give you, for Edward naturally never spoke of his affair with my wife. (I may, in what follows, be a little hard on Florence; but you must remember that I have been writing away at this story now for six months and reflecting longer and longer upon these affairs.)
And the longer I think about them the more certain I become that Florence was a contaminating influence—she depressed and deteriorated poor Edward; she deteriorated, hopelessly, the miserable Leonora. There is no doubt that she caused Leonora’s character to deteriorate. If there was a fine point about Leonora it was that she was proud and that she was silent. But that pride and that silence broke when she made that extraordinary outburst, in the shadowy room that contained the Protest, and in the little terrace looking over the river. I don’t mean to say that she was doing a wrong thing. She was certainly doing right in trying to warn me that Florence was making eyes at her husband. But, if she did the right thing, she was doing it in the wrong way. Perhaps she should have reflected longer; she should have spoken, if she wanted to speak, only after reflection. Or it would have been better if she had acted—if, for instance, she had so chaperoned Florence that private communication between her and Edward became impossible. She should
