The Lamp of Fate | Page 4

the window of his study, staring out with unseeing eyes at the smooth, shaven lawns and well-kept paths with their background of leafless trees. It seemed to him that he had been standing thus for hours, waiting--waiting for someone to come and tell him that a son and heir was born to him.
He never doubted that it would be a son. By some freak of chance the first-born of the Vallincourts of Coverdale had been, for eight successive generations, a boy. Indeed, by this time, the thing had become so much a habit that no doubts or apprehensions concerning the sex of the eldest child were ever entertained. It was accepted as a foregone conclusion, and in the eyes of the family there was a certain gratifying propriety about such regularity. It was like a hall-mark of heavenly approval.
Hugh Vallincourt, therefore, was conscious at this critical moment of no questionings on that particular score. He was merely a prey to the normal tremors and agitations of a husband and prospective father.
For an ageless period, it seemed to him, his thoughts had clung about that upstairs room where his wife lay battling for her own life and another's. Suddenly they swung back to the time, a year ago, when he had first met her--an elusive feminine thing still reckoning her age in teens--beneath the glorious blue and gold canopy of the skies of Italy.
Their meeting and brief courtship had been pure romance--romance such as is bred in that land of mellow warmth and colour, where the flower of passion sometimes buds and blooms within the span of a single day.
In like manner had sprung to life the love between Hugh Vallincourt and Diane Wielitzska, and rarely has the web of love enmeshed two more dissimilar and ill-matched people--Hugh, a man of seven-and-thirty, the strict and somewhat self-conscious head of a conspicuously devout old English family, and Diane, a beautiful dancer of mixed origin, the illegitimate offspring of a Russian grand-duke and of a French artist's model of the Latin Quarter.
The three dread Sisters who determine the fate of men must have laughed amongst themselves at such an obvious mismating, knowing well how inevitably it would tangle the threads of many other lives than the two immediately concerned.
Vallincourt had been brought up on severely conventional lines, reared in the narrow tenets of a family whose salient characteristics were an overweening pride of race and a religious zeal amounting almost to fanaticism, while Diane had had no up-bringing worth speaking of. As for religious views, she hadn't any.
Yet neither the one nor the other had counted in the scale when the crucial moment came.
Perhaps it was by way of an ironical set-off against his environment that Fate had dowered Hugh with his crop of ruddy hair--and with the ardent temperament which usually accompanies the type. Be that as it may, he was swept completely off his feet by the dancer's magic beauty. The habits and training of a lifetime went by the board, and nothing was allowed to impede the swift (not to say violent) course of his love-making. Within a month from the day of their first meeting, he and Diane were man and wife.
The consequences were almost inevitable, and Hugh found that his married life speedily resolved itself into an endless struggle between the dictates of inclination and conscience. Everything that was man in him responded passionately to the appeal and charm of Diane's personality, whilst everything that was narrow and censorious disapproved her total inability to conform to the ingrained prejudices of the Vallincourts.
Not that Diane was in any sense of the word a bad woman. She was merely beautiful and irresponsible--a typical /cigale/ of the stage-- lovable and kind-hearted and pagan, and possessing but the haziest notions of self-control and self-discipline. Even so, left to themselves, husband and wife might ultimately have found the road to happiness across the bridge of their great love for one another.
But such freedom was denied them. Always at Hugh's elbow stood his sister, Catherine, a rigidly austere woman, in herself an epitome of all that Vallincourts had ever stood for.
Since the death of their parents, twenty years previously, Catherine had shared her brother's home, managing his house--and, on the strength of her four years' seniority in age, himself as well--with an iron hand. Nor had she seen fit to relinquish the reins of government when he married.
Privately, Hugh had hoped she might consider the propriety of withdrawing to the dower house attached to the Coverdale estates, but if the idea had occurred to her, she had never given it utterance, and Hugh himself had lacked the courage to propose such an innovation.
So it followed that Catherine was ever at hand to criticise and condemn. She disapproved of her brother's marriage wholly and consistently.