“Great Lord, what are you talking about?” he exclaimed when he got his breath.
“I think I'll take a man next time,” she continued calmly, “who has something to him, some ambition. The kind of man I thought I was getting when I took you only I shouldn't be fooled again. Women remarry a good deal in these days, and I'm beginning to see the reason why. And the women who have done it appear to be perfectly happy—much happier than they were at first. I saw one of them at Lily Dallam's this afternoon. She was radiant. I can't see any particular reason why a woman should be tied all her life to her husband's apron strings—or whatever he wears—and waste the talents she has. It's wicked, when she might be the making of some man who is worth something, and who lives somewhere.”
Her husband got up.
“Jehosaphat!” he cried, “I never heard such talk in my life.”
The idea that her love for him might have ebbed a little, or that she would for a moment consider leaving him, he rejected as preposterous, of course: the reputation which the majority of her sex had made throughout the ages for constancy to the marriage tie was not to be so lightly dissipated. Nevertheless, there was in her words a new undertone of determination he had never before heard—or, at least, noticed.
There was one argument, or panacea, which had generally worked like a charm, although some time had elapsed since last he had resorted to it. He tried to seize and kiss her, but she eluded him. At last he caught her, out of breath, in the corner of the room.
“Howard—you'll knock over the lamp—you'll ruin my gown—and then you'll have to buy me another. I DID mean it,” she insisted, holding back her head; “you'll have to choose between Rivington and me. It's—it's an ultimatum. There were at least three awfully attractive men at Lily Dallam's tea—I won't tell you who they were—who would be glad to marry me in a minute.”
He drew her down on the arm of his chair.
“Now that Lily has a house in town,” he said weakly, “I suppose you think you've got to have one.”
“Oh, Howard, it is such a dear house. I had no idea that so much could be done with so narrow a front. It's all French, with mirrors and big white panels and satin chairs and sofas, and a carved gilt piano that she got for nothing from a dealer she knows; and church candlesticks. The mirrors give it the effect of being larger than it really is. I've only two criticisms to make: it's too far from Fifth Avenue, and one can scarcely turn around in it without knocking something down—a photograph frame or a flower vase or one of her spindle-legged chairs. It was only a hideous, old-fashioned stone front when she bought it. I suppose nobody but Reggie Farwell could have made anything out of it.”