Wings of the Dove (Barnes & Noble Classi - Henry James [259]
—IV—
The difference was thus that the dusk of afternoon—dusk thick from an early hour—had gathered when he knocked at Mrs. Condrip’s door. He had gone from the church to his club, wishing not to present himself in Chelsea at luncheon-time and also remembering that he must attempt independently to make a meal. This, in the event, he but imperfectly achieved: he dropped into a chair in the great dim void of the club library, with nobody, up or down, to be seen, and there after a while, closing his eyes, recovered an hour of the sleep he had lost during the night. Before doing this indeed he had written—it was the first thing he did—a short note, which, in the Christmas desolation of the place, he had managed only with difficulty and doubt to commit to a messenger. He wished it carried by hand, and he was obliged, rather blindly, to trust the hand, as the messenger, for some reason, was unable to return with a gage of delivery. When at four o’clock he was face to face with Kate in Mrs. Condrip’s small drawing-room he found to his relief that his notification had reached her. She was expectant and to that extent prepared; which simplified a little—if a little, at the present pass, counted. Her conditions were vaguely vivid to him from the moment of his coming in, and vivid partly by their difference, a difference sharp and suggestive, from those in which he had hitherto constantly seen her. He had seen her but in places comparatively great; in her aunt’s pompous house, under the high trees of Kensington and the storied ceilings of Venice. He had seen her, in Venice, on a great occasion, as the centre itself of the splendid Piazza: he had seen her there, on a still greater one, in his own poor rooms, which yet had consorted with her, having state and ancientry even in their poorness; but Mrs. Condrip’s interior, even by this best view of it and though not flagrantly mean, showed itself as a setting almost grotesquely inapt. Pale, grave and charming, she affected him at once as a distinguished stranger—stranger to the little Chelsea street—who was making the best of a queer episode and a place of exile. The extraordinary thing was that at the end of three minutes he felt himself less appointedly a stranger in it than she.
A part of the queerness—this was to come to him in glimpses—sprang from the air as of a general large misfit imposed on the narrow room by the scale and mass of its furniture. The objects, the ornaments were,