Chapter Twenty Four.
Contrasts Two Loves.
When a woman of Claudia Nevill’s passionate temperament loves, it is with her whole soul. The women with dark flashing eyes, red lips, arched brows, and oval countenances can never do things by halves. They either love fiercely, or else are as cold as ice; they hate with all the vindictiveness of hell, or are patient, forbearing and forgiving to the end. Dudley Chisholm knew this well enough, and was aware how deep and devoted was the love of the true-hearted woman from whom he had tried to part, but without whom there seemed a void in his life.
Because gossips had maligned them he had striven, for her sake as well as his own, to put an end to their affection. His words had pained him and had stabbed her cruelly, but they had turned out; to be inconclusive. Their lives were bound together, as she had so frequently declared.
Now that she had approached the subject, he longed to tell her of the secret in his heart. But how could he when he had made that strange, unholy compact with that woman, her rival, who now held his future in her hands?
With an effort he put such thoughts aside, and with feigned carelessness strove to assure her that he was in no wise changed. When, however, a woman really loves, it is difficult to deceive her. She reads man’s innermost thoughts as clearly as though they were written upon an open page. The wavering of the eyes, the twitching of the lips, the slight movement of the muscles of the face, and the well nigh imperceptible swelling at the temples, although entirely unobserved by the woman who is not in love, are plain and open declarations of the truth to her who loves the face exhibiting these subtle signals. Truly the feminine intuition is marvellous and inexplicable.
Dudley knew that to lie to her was impossible. Little by little he managed to convince her that his mysterious visitor had come from the Foreign Office. At length he succeeded in turning their conversation into a different channel.
At his request she crossed to the grand piano at the end of the magnificent room in which there were so many signs of her exquisite taste, seated herself at the instrument, and played Mendelssohn’s “Rondo capriccioso” and Chopin’s “Valse Op. 70.”
Though he made an attempt to turn over the leaves of the music, he found it difficult to keep himself from becoming absorbed in reverie. What, he wondered, could she suspect? Surely the woman into whose hands he had given himself had told her nothing. No. Had she not promised in the most emphatic manner that no word of his terrible secret should pass her lips? As she had already exhibited marvellous cleverness and diplomatic finesse, he felt confident of her discretion and silence.