"That's all very well when one isn't the material experimented upon," Ann Veronica had remarked.
"Women would—they DO have far more power than they think, as influences, as inspirations."
Ann Veronica said nothing in answer to that.
"You say you want a vote," said Mr. Manning, abruptly.
"I think I ought to have one."
"Well, I have two," said Mr. Manning—"one in Oxford University and one in Kensington." He caught up and went on with a sort of clumsiness: "Let me present you with them and be your voter."
There followed an instant's pause, and then Ann Veronica had decided to misunderstand.
"I want a vote for myself," she said. "I don't see why I should take it second-hand. Though it's very kind of you. And rather unscrupulous. Have you ever voted, Mr. Manning? I suppose there's a sort of place like a ticket-office. And a ballot-box—" Her face assumed an expression of intellectual conflict. "What is a ballot-box like, exactly?" she asked, as though it was very important to her.
Mr. Manning regarded her thoughtfully for a moment and stroked his mustache. "A ballot-box, you know," he said, "is very largely just a box." He made quite a long pause, and went on, with a sigh: "You have a voting paper given you—"
They emerged into the publicity of the lawn.
"Yes," said Ann Veronica, "yes," to his explanation, and saw across the lawn Lady Palsworthy talking to her aunt, and both of them staring frankly across at her and Mr. Manning as they talked.
CHAPTER THE THIRD
THE MORNING OF THE CRISIS
Part 1
Two days after came the day of the Crisis, the day of the Fadden Dance. It would have been a crisis anyhow, but it was complicated in Ann Veronica's mind by the fact that a letter lay on the breakfast-table from Mr. Manning, and that her aunt focussed a brightly tactful disregard upon this throughout the meal. Ann Veronica had come down thinking of nothing in the world but her inflexible resolution to go to the dance in the teeth of all opposition. She did not know Mr. Manning's handwriting, and opened his letter and read some lines before its import appeared. Then for a time she forgot the Fadden affair altogether. With a well-simulated unconcern and a heightened color she finished her breakfast.
She was not obliged to go to the Tredgold College, because as yet the College had not settled down for the session. She was supposed to be reading at home, and after breakfast she strolled into the vegetable garden, and having taken up a position upon the staging of a disused greenhouse that had the double advantage of being hidden from the windows of the house and secure from the sudden appearance of any one, she resumed the reading of Mr. Manning's letter.
Mr. Manning's handwriting had an air of being clear without being easily legible; it was large and rather roundish, with a lack of definition about the letters and a disposition to treat the large ones as liberal-minded people nowadays treat opinions, as all amounting to the same thing really—a years-smoothed boyish rather than an adult hand. And it filled seven sheets of notepaper, each written only on one side.
"MY DEAR MISS STANLEY," it began,—"I hope you will forgive my bothering you with a letter, but I have been thinking very much over our conversation at Lady Palsworthy's, and I feel there are things I want to say to you so much that I cannot wait until we meet again. It is the worst of talk under such social circumstances that it is always getting cut off so soon as it is beginning; and I went home that afternoon feeling I had said nothing—literally nothing—of the things I had meant to say to you and that were coursing through my head. They were things I had meant very much to talk to you about, so that I went home vexed and disappointed, and only relieved myself a little by writing a few verses. I wonder if you will mind very much when I tell you they were suggested by you. You must forgive the poet's license I take. Here is one verse. The metrical irregularity is intentional, because I want, as it were, to put you apart: to change the lilt and the mood altogether when I speak of you.
"'A SONG OF LADIES AND MY LADY
"Crude, I admit. But let that verse tell my secret. All bad verse—originally the epigram was Lang's, I believe—is written in a state of emotion.
"My dear Miss Stanley, when I talked to you the other afternoon of work and politics and such-like things, my mind was all the time resenting it beyond measure. There we were discussing whether you should have a vote, and I remembered the last occasion we met it was about your prospects of success in the medical profession or as a Government official such as a number of women now are, and all the time my heart was crying out within me, 'Here is the Queen of your career.' I wanted, as I have never wanted before, to take you up, to make you mine, to carry you off and set you apart from all the strain and turmoil of life. For nothing will ever convince me that it is not the man's share in life to shield, to protect, to lead and toil and watch and battle with the world at large. I want to be your knight, your servant, your protector, your—I dare scarcely write the word—your husband. So I come suppliant. I am five-and-thirty, and I have knocked about in the world and tasted the quality of life. I had a hard fight to begin with to win my way into the Upper Division—I was third on a list of forty-seven—and since then I have found myself promoted almost yearly in a widening sphere of social service. Before I met you I never met any one whom I felt I could love, but you have discovered depths in my own nature I had scarcely suspected. Except for a few early ebullitions of passion, natural to a warm and romantic disposition, and leaving no harmful after-effects—ebullitions that by the standards of the higher truth I feel no one can justly cast a stone at, and of which I for one am by no means ashamed—I come to you a pure and unencumbered man. I love you. In addition to my public salary I have a certain private property and further expectations through my aunt, so that I can offer you a life of wide and generous refinement, travel, books, discussion, and easy relations with a circle of clever and brilliant and thoughtful people with whom my literary work has brought me into contact, and of which, seeing me only as you have done alone in Morningside Park, you can have no idea. I have a certain standing not only as a singer but as a critic, and I belong to one of the most brilliant causerie dinner clubs of the day, in which successful Bohemianism, politicians, men of affairs, artists, sculptors, and cultivated noblemen generally, mingle together in the easiest and most delightful intercourse. That is my real milieu, and one that I am convinced you would not only adorn but delight in.
"I find it very hard to write this letter. There are so many things I want to tell you, and they stand on such different levels, that the effect is necessarily confusing and discordant, and I find myself doubting if I am really giving you the thread of emotion that should run through all this letter. For although I must confess it reads very much like an application or a testimonial or some such thing as that, I can assure you I am writing this in fear and trembling with a sinking heart. My mind is full of ideas and images that I have been cherishing and accumulating—dreams of travelling side by side, of lunching quietly together in some jolly restaurant, of moonlight and music and all that side of life, of seeing you dressed like a queen and shining in some brilliant throng—mine; of your looking at flowers in some old-world garden, our garden—there are splendid places to be got down in Surrey, and a little runabout motor is quite within my means. You know they say, as, indeed, I have just quoted already, that all bad poetry is written in a state of emotion, but I have no doubt that this is true of bad offers of marriage. I have often felt before that it is only when one has nothing to say that one can write easy poetry. Witness Browning. And how can I get into one brief letter the complex accumulated desires of what is now, I find on reference to my diary, nearly sixteen months of letting my mind run on you—ever since that jolly party at Surbiton, where we raced and beat the other boat. You steered and I rowed stroke. My very sentences stumble and give way. But I do not even care if I am absurd. I am a resolute man, and hitherto when I have wanted a thing I have got it; but I have never yet wanted anything in my life as I have wanted you. It isn't the same thing. I am afraid because I love you, so that the mere thought of failure hurts. If I did not love you so much I believe I could win you by sheer force of character, for people tell me I am naturally of the dominating type. Most of my successes in life have been made with a sort of reckless vigor.