He told everything now, kept no more back than she had kept at their previous meeting, while she repeated over and over ‘You - wonderful you?’ as if the knowledge made a deeper darkness of fate, as if the pain of his having come down at all almost quenched the joy of his having come so much nearer. When she learned that he hadn’t for three years sold a picture — ‘You beautiful you?’ — it seemed a new cold breath out of the dusk of her own outlook. Disappointment and despair were in such relations contagious, and there was clearly as much less again left to her as the little that was left to him. He showed her, laughing at the long queerness of it, how awfully little, as they called it, this was. He let it all come, but with more mirth than misery, and with a final abandonment of pride that was like changing at the end of a dreadful day from tight shoes to loose ones.
“
| — |
Henry James, “Broken Wings” (1900). Yes, I was piqued by the unexpected pathos of the title. Turns out it’s about a writer woman and an artist man who could have fallen in love, but then each got too tied up in the wrong idea of the other. Look how close here are “breath” and “dusk.” “Pain” that “almost quenched…joy,” “mirth” so close to “misery,” nourished by it even. I love Henry James. |
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