I am railing at my husband for all this, but I love him for it just the same, and it shows why the table is laid for three.
“Salemina,” I said, extending my slipper toe to the glowing peat, which by extraordinary effort had been brought up from the hotel kitchen, as a bit of local colour, “it is ridiculous that we three women should be in Ireland together; it's the sort of thing that happens in a book, and of which we say that it could never occur in real life. Three persons do not spend successive seasons in England, Scotland and Ireland unless they are writing an Itinerary of the British Isles. The situation is possible, certainly, but it isn't simple, or natural, or probable. We are behaving precisely like characters in fiction, who, having been popular in the first volume, are exploited again and again until their popularity wanes. We are like the Trotty books or the Elsie Dinmore series. England was our first volume, Scotland our second, and here we are, if you please, about to live a third volume in Ireland. We fall in love, we marry and are given in marriage, we promote and take part in international alliances, but when the curtain goes up again, our accumulations, acquisitions—whatever you choose to call them—have disappeared. We are not to the superficial eye the spinster-philanthropist, the bride to be, the wife of a year; we are the same old Salemina, Francesca and Penelope. It is so dramatic that my husband should be called to America; as a woman I miss him and need him; as a character I am much better single. I don't suppose publishers like married heroines any more than managers like married leading ladies. Then how entirely proper it is that Ronald Macdonald cannot leave his new parish in the Highlands. The one, my husband, belongs to the first volume; Francesca's lover to the second; and good gracious, Salemina, don't you see the inference?”
“I may be dull,” she replied, “but I confess I do not.”
“We are three?”
“Who is three?”
“That is not good English, but I repeat with different emphasis WE are three. I fell in love in England, Francesca fell in love in Scotland-” And here I paused, watching the blush mount rosily to Salemina's grey hair; pink is very becoming to grey, and that, we always say, accounts more satisfactorily for Salemina's frequent blushes than her modesty, which is about of the usual sort.
“Your argument is interesting, and even ingenious,” she replied, “but I fail to see my responsibility. If you persist in thinking of me as a character in fiction, I shall rebel. I am not the stuff of which heroines are made; besides, I would never appear in anything so cheap and obvious as a series, and the three-volume novel is as much out of fashion as the Rollo books.”
“But we are unconscious heroines, you understand,” I explained. “While we were experiencing our experiences we did not notice them, but they have attained by degrees a sufficient bulk so that they are visible to the naked eye. We can look back now and perceive the path we have travelled.”
“It isn't retrospect I object to, but anticipation,” she retorted; “not history, but prophecy. It is one thing to gaze sentimentally at the road you have travelled, quite another to conjure up impossible pictures of the future.”
Salemina calls herself a trifle over forty, but I am not certain of her age, and think perhaps that she is uncertain herself. She has good reason to forget it, and so have we. Of course she could consult the Bible family record daily, but if she consulted her looking-glass afterward the one impression would always nullify the other. Her hair is silvered, it is true, but that is so clearly a trick of Nature that it makes her look younger rather than older.