The sordid domesticity of the scene had glorified by contrast her own dramatic mood. Poor Audrey! She hated vulgarity, and yet she was trying to lay hold on "the great things of life" through the vulgarest of all life's tragedies.
Langley would be in town again in a week. He would ask if she had made up her mind; and she knew now too well the answer she would give him.
But Langley was not in town again in a week, nor yet in a fortnight. And when, at the end of six weeks, he did come back, he came back married—to Miss Alison Fraser.
Nobody ever knew how that came about. Miss Gladys Armstrong, who may be considered an authority, maintained that as Wyndham had the pride which is supposed to be the peculiar property of the Evil One, he could never have proposed to the same woman twice. Consequently Miss Fraser must have proposed to him. Perhaps she had; there are ways of doing these things, and whatever Alison Fraser did she did gracefully. As for her private conscience, in refusing him with conscious magnanimity she had done no good to anybody, not even herself; in marrying him finally she had saved the situation, without knowing that there was a situation to be saved.
The news threw Audrey into what she imagined to be the beginning of a brain fever, but which proved to be a state of nervous collapse, lasting, with some intermissions, for a fortnight. At the end of that time—whether it was that she was so fickle a creature that even Fate could make no abiding impression on her, or that she was no longer burdened with the decision of a momentous question—to all appearances she recovered. So much so that, when some one sent her an invitation to the private view at the New Gallery, she put on her best clothes (not without a pang) and went.
Alas! the place was full of associations, melancholy with the sheeted ghosts of the past. This time last year she had been to the private view with Ted. They had amused themselves with laughing at the pictures, and wondering how long it would be before one of his would be hanging there. And as she listlessly turned the pages of her catalogue, the first names that caught her attention were, "Haviland, Katherine, 232"; "Haviland, Edward, 296." She turned back the pages hastily to No. 232 and read, "The Witch of Atlas." That picture she knew. No. 296 gave her "Sappho: A Study of a Head."
Of a head? Whose head?
She found the picture (not exactly in the place of honour, but agreeably well hung and with a small crowd before it), and recognised Katherine's striking profile raised in the attitude of a suppliant who implores, the cloud of her dark hair flaming into bronze against a sunset sky. Ted was rather too fond of that trick; but the study was not a mere vulgar success—he had achieved expression in it. It was marked "Sold." There were some lines of verse on the square panel at the base of the frame. Ted could not have afforded such a setting for his picture, but the frame was contributed by Mr. Percival Knowles, the purchaser of the canvas. The same gentleman was also the author of the verse, specially written for the portrait. Knowles, by-the-bye, was an occasional poet—that is to say, he could burst into poetry occasionally; and Audrey read:—
"Oh Aphrodite, queen of dread desire!
By all the dreams that throng Love's golden ways,
By all the honied vows thy votary pays,
By sacrificial wine, and holy fire!
Thou who hast made my heart thy living lyre,
Hast thou no gift for me, nor any grace?
Why hast thou turned the light of Love's sweet face
From me, the sweetest singer of Love's choir?"