A small photograph, mounted on a card, fell out of the book. A first glance showed me that it represented the portraits of two persons.
One of the persons I recognized as my husband.
The other person was a woman.
Her face was entirely unknown to me. She was not young. The picture represented her seated on a chair, with my husband standing behind, and bending over her, holding one of her hands in his. The woman’s face was hard-featured and ugly, with the marking lines of strong passions and resolute self-will plainly written on it. Still, ugly as she was, I felt a pang of jealousy as I noticed the familiarly affectionate action by which the artist (with the permission of his sitters, of course) had connected the two figures in a group. Eustace had briefly told me, in the days of our courtship, that he had more than once fancied himself to be in love before he met with me. Could this very unattractive woman have been one of the early objects of his admiration? Had she been near enough and dear enough to him to be photographed with her hand in his? I looked and looked at the portraits until I could endure them no longer. Women are strange creatures—mysteries even to themselves. I threw the photograph from me into a corner of the cupboard. I was savagely angry with my husband; I hated—yes, hated with all my heart and soul!—the woman who had got his hand in hers—the unknown woman with the self-willed, hard-featured face.
All this time the lower shelf of the cupboard was still waiting to be looked over.
I knelt down to examine it, eager to clear my mind, if I could, of the degrading jealousy that had got possession of me.
Unfortunately, the lower shelf contained nothing but relics of the Major’s military life, comprising his sword and pistols, his epaulets, his sash, and other minor accouterments. None of these objects excited the slightest interest in me. My eyes wandered back to the upper shelf; and, like the fool I was (there is no milder word that can fitly describe me at that moment), I took the photograph out again, and enraged myself uselessly by another look at it. This time I observed, what I had not noticed before, that there were some lines of writing (in a woman’s hand) at the back of the portraits. The lines ran thus:
“To Major Fitz-David, with two vases. From his friends, S. and E. M.”
Was one of those two vases the vase that had been broken? And was the change that I had noticed in Major Fitz-David’s face produced by some past association in connection with it, which in some way affected me? It might or might not be so. I was little disposed to indulge in speculation on this topic while the far more serious question of the initials confronted me on the back of the photograph.
“S. and E. M.?” Those last two letters might stand for the initials of my husband’s name—his true name—Eustace Macallan. In this case the first letter (“S.”) in all probability indicated her name. What right had she to associate herself with him in that manner? I considered a little—my memory exerted itself—I suddenly called to mind that Eustace had sisters. He had spoken of them more than once in the time before our marriage. Had I been mad enough to torture myself with jealousy of my husband’s sister? It might well be so; “S.” might stand for his sister’s Christian name. I felt heartily ashamed of myself as this new view of the matter dawned on me. What a wrong I had done to them both in my thoughts! I turned the photograph, sadly and penitently, to examine the portraits again with a kinder and truer appreciation of them.