“You are restless, Margie,” she said. “There is a volume of Marcus Aurelius on the table beside you, if you care to read.”
“No, thank you, mother,” I said. “I think I shall go for a walk.”
“Wrap up well, my dear,” she replied.
She then resumed her book.
I went out of our little garden, and stood on the cliff. The wind flew at me like some wild thing. Spray stung my face. I was filled with a wild exhilaration.
And then the idea came to me. The simplest, most dramatic idea. Quaint, whimsical, with just that suggestion of pathos blended with it which makes the fortunes of a play. The central idea, to be brief, of The Girl who Waited.
Of my Maenad tramp along the cliff-top with my brain afire, and my return, draggled and dripping, an hour late for dinner; of my writing and re-writing, of my tears and black depression, of the pens I wore out and the quires of paper I spoiled, and finally of the ecstasy of the day when the piece began to move and the characters to live, I need not speak. Anyone who has ever written will know the sensations. James must have gone through a hundred times what I went through once. At last, at long last, the play was finished.
For two days I gloated alone over the great pile of manuscript.
Then I went to my mother.
My diffidence was exquisite. It was all I could do to tell her the nature of my request, when I spoke to her after lunch. At last she understood that I had written a play, and wished to read it to her. She took me to the bow-window with gentle solicitude, and waited for me to proceed.