"I suppose you know the story?"
"Couldn't say, without hearing it first to know."
"About Philippa and Sir Hamilton Torrens?"
"Can't say I have. But then I'm the sort of fellah nobody ever tells things to."
"I suppose I oughtn't to have mentioned it."
"I shall not tell anyone you did so. You may rely on that." Mr. Pellew gave his cigar a half-holiday to say this seriously, and Miss Dickenson felt that his type, though too tailor-made, was always to be relied on; you had only to scratch it to find a Gentleman underneath. No audience ever fails to applaud the discovery on the stage. Evidently there was no reserve needed—a relation of the Earl, too! Still, she felt satisfied at this passing recognition of Prudence on her part. Preliminaries had been done justice to.
She proceeded to tell what she knew of the episode of her friend's early engagement to the father of the gentleman who had been shot. It was really a very flat story; so like a thousand others of its sort as scarcely to claim narration-space. Youth, beauty, high spirits, the London season, first love—warranted the genuine article—parental opposition to the union of Romeo and Juliet, on the vulgar, unpoetical ground of Romeo having no particular income and vague expectations; the natural impatience of eighteen and five-and-twenty when they don't get their own way in everything; misunderstandings, ups-and-downs, reconciliations and new misunderstandings; finally one rather more serious than its predecessors, and judicious non-interference of bystanders—underhanded bystanders who were secretly favouring another suitor, who wasn't so handsome and showy as Romeo certainly, but who was of sterling worth and all that sort of thing. Besides, he was very nearly an Earl, and Hamilton Torrens was three-doors off his father's Baronetcy and Pensham Steynes. This may have had its weight with Juliet. Miss Dickenson candidly admitted that she herself would have been influenced; but then, no doubt she was a worldling. Mr. Pellew admired the candour, discerning in it exaggeration to avoid any suspicion of false pretence. He did not suspect himself of any undue leniency to this lady. She was altogether too passée to admit of any such idea.
The upshot of the flat episode, of course, was that Philippa "became engaged" to her new suitor, and did not fall out with him. They were married within the year, and three months later her former fiancé's father died, rather unexpectedly. His eldest son, coming home from Burmah on sick-leave, died on the voyage, of dysentery; and his second brother, a naval officer, was in the autumn of the same year killed by a splinter at the Battle of Navarino. So by a succession of fatalities Romeo found himself the owner of his father's estate, and a not very distant neighbour of Juliet and his successful rival.
It appeared that he had consoled himself by marrying a Miss Abercrombie, Miss Dickenson believed. These Romeos always marry a Miss Something; who, owing to the way she comes into the story, is always on the top-rung of the ladder of insipidity. Nobody cares for her; she appears too late to interest us. No doubt there were several Miss Abercrombies on draught, and he selected the tallest or the cleverest or the most musical, avoiding, of course, the dowdiest.
However, there was Lady Ancester's romance, told to account for the languid intercourse between the Castle and Pensham Steynes, and the non-recognition of one another by Gwen and the Man in the Park. Miss Dickenson added a rider to the effect that she could quite understand the position. It would be a matter of mutual tacit consent, tempered down by formal calls enough to allay local gossip. "I think Miss Torrens has stopped," said she collaterally; you know how one speaks collaterally? "Shall we walk towards the house?"