Herbert Wells - Ann Veronica

When the next holidays came Ann Veronica's mother was ill, and Gwen was in the sick-room when Ann Veronica returned home. She was in one of her old walking-dresses, her hair was done in an unfamiliar manner, she wore a wedding-ring, and she looked as if she had been crying.

"Hello, Gwen!" said Ann Veronica, trying to put every one at their ease. "Been and married?... What's the name of the happy man?"

Gwen owned to "Fortescue."

"Got a photograph of him or anything?" said Ann Veronica, after kissing her mother.

Gwen made an inquiry, and, directed by Mrs. Stanley, produced a portrait from its hiding-place in the jewel-drawer under the mirror. It presented a clean-shaven face with a large Corinthian nose, hair tremendously waving off the forehead and more chin and neck than is good for a man.

"LOOKS all right," said Ann Veronica, regarding him with her head first on one side and then on the other, and trying to be agreeable. "What's the objection?"

"I suppose she ought to know?" said Gwen to her mother, trying to alter the key of the conversation.

"You see, Vee," said Mrs. Stanley, "Mr. Fortescue is an actor, and your father does not approve of the profession."

"Oh!" said Ann Veronica. "I thought they made knights of actors?"

"They may of Hal some day," said Gwen. "But it's a long business."

"I suppose this makes you an actress?" said Ann Veronica.

"I don't know whether I shall go on," said Gwen, a novel note of languorous professionalism creeping into her voice. "The other women don't much like it if husband and wife work together, and I don't think Hal would like me to act away from him."

Ann Veronica regarded her sister with a new respect, but the traditions of family life are strong. "I don't suppose you'll be able to do it much," said Ann Veronica.

Later Gwen's trouble weighed so heavily on Mrs. Stanley in her illness that her husband consented to receive Mr. Fortescue in the drawing-room, and actually shake hands with him in an entirely hopeless manner and hope everything would turn out for the best.

The forgiveness and reconciliation was a cold and formal affair, and afterwards her father went off gloomily to his study, and Mr. Fortescue rambled round the garden with soft, propitiatory steps, the Corinthian nose upraised and his hands behind his back, pausing to look long and hard at the fruit-trees against the wall.

Ann Veronica watched him from the dining-room window, and after some moments of maidenly hesitation rambled out into the garden in a reverse direction to Mr. Fortescue's steps, and encountered him with an air of artless surprise.

"Hello!" said Ann Veronica, with arms akimbo and a careless, breathless manner. "You Mr. Fortescue?"

"At your service. You Ann Veronica?"

"Rather! I say—did you marry Gwen?"

"Yes."

"Why?"

Mr. Fortescue raised his eyebrows and assumed a light-comedy expression. "I suppose I fell in love with her, Ann Veronica."

"Rum," said Ann Veronica. "Have you got to keep her now?"

"To the best of my ability," said Mr. Fortescue, with a bow.

"Have you much ability?" asked Ann Veronica.

Mr. Fortescue tried to act embarrassment in order to conceal its reality, and Ann Veronica went on to ask a string of questions about acting, and whether her sister would act, and was she beautiful enough for it, and who would make her dresses, and so on.

As a matter of fact Mr. Fortescue had not much ability to keep her sister, and a little while after her mother's death Ann Veronica met Gwen suddenly on the staircase coming from her father's study, shockingly dingy in dusty mourning and tearful and resentful, and after that Gwen receded from the Morningside Park world, and not even the begging letters and distressful communications that her father and aunt received, but only a vague intimation of dreadfulness, a leakage of incidental comment, flashes of paternal anger at "that blackguard," came to Ann Veronica's ears.

These were Ann Veronica's leading cases in the question of marriage. They were the only real marriages she had seen clearly. For the rest, she derived her ideas of the married state from the observed behavior of married women, which impressed her in Morningside Park as being tied and dull and inelastic in comparison with the life of the young, and from a remarkably various reading among books. As a net result she had come to think of all married people much as one thinks of insects that have lost their wings, and of her sisters as new hatched creatures who had scarcely for a moment had wings. She evolved a dim image of herself cooped up in a house under the benevolent shadow of Mr. Manning. Who knows?—on the analogy of "Squiggles" she might come to call him "Mangles!"

"I don't think I can ever marry any one," she said, and fell suddenly into another set of considerations that perplexed her for a time. Had romance to be banished from life?...

It was hard to part with romance, but she had never thirsted so keenly to go on with her University work in her life as she did that day. She had never felt so acutely the desire for free initiative, for a life unhampered by others. At any cost! Her brothers had it practically—at least they had it far more than it seemed likely she would unless she exerted herself with quite exceptional vigor. Between her and the fair, far prospect of freedom and self-development manoeuvred Mr. Manning, her aunt and father, neighbors, customs, traditions, forces. They seemed to her that morning to be all armed with nets and prepared to throw them over her directly her movements became in any manner truly free.

She had a feeling as though something had dropped from her eyes, as though she had just discovered herself for the first time—discovered herself as a sleep-walker might do, abruptly among dangers, hindrances, and perplexities, on the verge of a cardinal crisis.

The life of a girl presented itself to her as something happy and heedless and unthinking, yet really guided and controlled by others, and going on amidst unsuspected screens and concealments.

And in its way it was very well. Then suddenly with a rush came reality, came "growing up"; a hasty imperative appeal for seriousness, for supreme seriousness. The Ralphs and Mannings and Fortescues came down upon the raw inexperience, upon the blinking ignorance of the newcomer; and before her eyes were fairly open, before she knew what had happened, a new set of guides and controls, a new set of obligations and responsibilities and limitations, had replaced the old. "I want to be a Person," said Ann Veronica to the downs and the open sky; "I will not have this happen to me, whatever else may happen in its place."

Ann Veronica had three things very definitely settled by the time when, a little after mid-day, she found herself perched up on a gate between a bridle-path and a field that commanded the whole wide stretch of country between Chalking and Waldersham. Firstly, she did not intend to marry at all, and particularly she did not mean to marry Mr. Manning; secondly, by some measure or other, she meant to go on with her studies, not at the Tredgold Schools but at the Imperial College; and, thirdly, she was, as an immediate and decisive act, a symbol of just exactly where she stood, a declaration of free and adult initiative, going that night to the Fadden Ball.

But the possible attitude of her father she had still to face. So far she had the utmost difficulty in getting on to that vitally important matter. The whole of that relationship persisted in remaining obscure. What would happen when next morning she returned to Morningside Park?

He couldn't turn her out of doors. But what he could do or might do she could not imagine. She was not afraid of violence, but she was afraid of something mean, some secondary kind of force. Suppose he stopped all her allowance, made it imperative that she should either stay ineffectually resentful at home or earn a living for herself at once.... It appeared highly probable to her that he would stop her allowance.