moon.
But by and by the atoll that circles it like a wedding-ring proves to be a bit narrow and interferes4 with the view of the big sea pounding at its outer edges. The calm
becomes monotonous5, and at the least puff6 of wind the boat is on the reefs. They are coral reefs, but they cut like knives and hurt the worse for being jewelry7.
To Bret and Sheila the newspaper storm over her departure from the theater, her elopement from success, was like the surf on the shut-out sea.
The Winfield influence had suppressed most of the newspaper comment in the home papers, but the people of Blithevale read the metropolitan8 journals, and Sheila’s name
When the news element had been exhausted10 there were crumbs11 enough left for several symposiums on the subject of “Stage Marriages,” “Actresses as Wives,”
“Actresses as Mothers,” “The Home vs. the Theater,” and all the twists an ingenious press can give to a whimsy12 of public interest.
Bret and Sheila suffered woefully from the appalling13 pandemonium14 their secret wedding had raised, and Winfield began to be convinced that the policy of the mailed
fist, the blow and the word, had not brought him dignity. But it had brought him his wife, and she was at home; and when they could not escape the articles on “Why
Actresses Go Back to the Stage,” she laughed at the prophecies that she would return, as so many others had done.
“They haven’t all gone back,” she smiled. “And I am one of those who never will, for I’ve found peace and bliss15 and contentment. I’ve found my home.”
They were relieved of all that had been unusual in their marriage, and they shared and inspired the usual raptures16, which were no less poignant17 for being immemorially
usual. This year’s June was the most beautiful June that ever was, while it was the newest June.
Their honeymoon was usual in being sublime18. It was also usual in running into frequent shoals and reefs.
The first reef was Bret’s mother. Bret had always been amazed at the professional jealousy19 of actors and their contests for the largest type and the center of the
stage. Suddenly he was himself the center of the stage and his attention was the large type. He was dismayed to behold20 with what immediate21 instinct his mother and his
wife proceeded to take mutual22 umbrage23 at each other’s interest in him, and to take astonishing pain from his efforts to divide his heart into equal portions.
Sheila recognized that poor Mrs. Winfield had a right to her son’s support in a time of such grief, but she felt that she herself had a right to some sort of
honeymoon. And being a stranger in the town and all, she had especial claim to consideration.
Sheila told Bret one day: “Of course, honey, your mother is a perfect dear and I don’t wonder you love her, but she’d like to poison me— Now wait, dearie. Of
course I don’t mean just that, but—well, she’s like an understudy. An understudy doesn’t exactly want the star to break her neck or anything, but if a train ran
over her she’d bear up bravely.”
Another reef was the factory. Of course Sheila expected her husband to pay the proper attention to his business and she wanted him to be ambitious, but she had not
anticipated how little time was left in a day after the necessary office hours, meal hours, and sleep hours were deducted24.
She wrote her mother:
Bret is an ideal husband and I’m ideally happy, of course, but women off the stage are terrible loafers. They just sit in the window and watch the procession go by.
When I chucked Reben I said, “Thank Heaven, I don’t have to go on playing that same old part for two or three years night after night, matinée after matinée.” But
that’s nothing to the record of the household drama. This is the scene plot of my daily performance:
Scene: Home of the Winfields. Time: Yesterday, to-day, and forever.
ACT I. Scene: Dining-room. Time: 8 a.m. Husband and wife at breakfast. Soliloquy by wife while hubby reads paper and eats eggs and says, “Yes, honey,” at intervals25.
Exit husband. Curtain.
Five hours elapse.
ACT II. Scene: Same as ACT I. Luncheon26 on table. Husband enters hurriedly, apologizes for coming home late and dashing away early. Tells of trouble at factory.
Exit hastily. Curtain.
Five hours elapse.
ACT III. Scene: Same as ACT II. Dinner on table. Husband discusses trouble at factory. Wife tells of troubles with servants. Neither understands the other. Curtain.
Two hours elapse.
ACT IV. Scene: Living-room. Husband reads evening papers; wife reads stupid magazines. Business of making love. Return to reading-matter. Husband falls asleep in
chair. Curtain.
Roger and Polly read the letter and shook their heads over it. Roger sighed.
“How long do you think it’s really booked for, Polly?”
“Knowing Sheila—” Polly began, then shook her head. “Well, really I don’t know. There are so many Sheilas, and I haven’t met the last three or four of them.”
For many months Sheila was royally entertained by what she called “the merry villagers.” She was the audience and they the spectacle. She took a childish delight in
mimicking28 odd types, to Bret’s amusement and his mother’s distress29. She took a daughter-in-law’s delight in shocking her mother-in-law by pretending to be shocked
Hitherto Sheila had gone to church regularly next Sunday, but seldom this. In Blithevale Mrs. Winfield compelled her to attend constantly. Sheila took revenge by
quoting all the preacher said about the wickedness of his parishioners.
When she heard of a divorce or a family wreck31 she would exclaim, “Why, I thought that only actors and actresses were tied loose!”
When she heard of one of those hideous32 scandals that all communities endure now and then as a sort of measles33 she would make a face of horror: “Why, I’ve always read
that village life was ninety-nine and forty-four one-hundredths pure.”
When Bret would fume34 at the petty practices of business rivals, the necessity for crushing down competition and infringement35, the importance of keeping the name at the
top of the list, Sheila would smile, “And do manufacturers have professional jealousy, too?”
She soon realized, however, that her comedy was not getting across the footlights as she meant it.
Seen through the eyes of one who had been used to hard work, far travel, and high salary, the business of being a wife as the average woman conducted it was a farce36 to
Sheila.
That the average wife was truly a helpmeet appeared to her merely a graceful37 gallantry of the husbands. As a matter of fact, as far as she could see, the only help
most of the men got from their wives was the help of the spur and the lash38. The women’s extravagances and discontent compelled the husbands to double energy and
increased achievement.
Thus, while the village was watching with impatient suspicion the behavior of this curious actress-creature who had settled there, the actress-creature was learning
the uglier truths about that most persistently39 flattered of institutions, the American village.
But after the failure of her first satires40 Sheila resolved to stop being “catty,” and to dwell upon the sweeter and more wholesome41 elements of life in Blithevale.
She said never a word, however, of any longing43 for a return to the stage. Now and then an exclamation44 of interest over a bit of theatrical45 news escaped her when she
read the New York paper that had been coming to the Winfield home for years. It arrived after Bret left for the office, and he usually glanced at it during his
luncheon. One noon Bret’s eye was caught by head-lines on an inner page devoted46 largely to dramatic news. The “triumph” of “The Woman Pays” was announced; it had
been produced in New York the night before. In spite of the handicap of its Chicago success it had conquered Broadway. As sometimes happens, it found the Manhattanites
even more enthusiastic than the Westerners.
Bret noted47 with a kind of resentment48 that Sheila was not mentioned as the creator of the leading r?le. He hated to see that Dulcie Ormerod was taken seriously by the
big critics. He winced49 to read that Floyd Eldon was a great find, a future star of the first magnitude.
Winfield had once been wretched for fear that his kidnapping of Sheila had ruined the chances of the play. Yet it was not entirely50 comfortable to see that the play
prospered51 so hugely without her. He had not been entirely glad that Reben had returned his “I O U”; and he was not entirely glad that Reben stood to make a greater
profit than he had estimated at first in spite of Sheila. It was a peculiarly galling52 humiliation53.
Bret would have concealed54 the paper from Sheila, but he knew that she had read it before he came home to luncheon. He had wondered what made her so distraught. Now
that he knew, he said nothing, but he could see the torment55 in the back of her smiling eyes, the labored56 effort to be casual and inconsequential. That Mona Lisa enigma
haunted him at his office, and he resolved to take her for a spin in the car. She would be having a hard day, for ambitious fevers have their crises and relapses, too.
Bret wanted to help his wife over this bitter hour.
When he came in unexpectedly he found her lying asleep on the big divan57 in the living-room. The crumpled58 newspaper lay on the floor at her side. She had been reading
it again. Her lashes59 were wet with recent tears, yet she was smiling in her sleep. As he bent60 to her lips moved. He paused, an eavesdropper61 on her very dreams. And he
“What can I say but, thank you—on behalf of the company—your applause—I thank you.”
She was taking a curtain call!
Bret tiptoed away, wounded by her and for her. He struggled for self-control a moment, telling himself that he was a fool to blame her for her dreams. He knocked
loudly on the door and called to her. She woke with a start, stared, realized where she was and who he was, and smiled upon him lovingly. She explained that she had
been asleep and “dreaming foolish dreams.”
Afterward64 Bret read that “The Woman Pays” had settled down for a long run on Broadway. Sheila settled down also and attended to her knitting. And knitting became a
more and more important office. She was more and more content to sit in an easy-chair and wait.
Bret paused one day to pick up some of the curious doll-clothes.
Bret, the business man, pondered the manufacturing cost.
“You could buy the whole lot for ten dollars,” he said. “And they’ve taken you a month to finish them. You’re not charging as much for your time as you did.”
“No,” she said, “I could buy ’em for less, and it would be still less trouble to adopt a child to wear ’em; but it wouldn’t be quite the same, would it?”
He agreed that it would not.
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1
honeymoon
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| n.蜜月（假期）；vi.度蜜月 | |
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lagoon
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| n.泻湖，咸水湖 | |
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mimicry
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| n.（生物）拟态，模仿 | |
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interferes
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| vi. 妨碍，冲突，干涉 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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puff
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| n.一口(气)；一阵(风)；v.喷气，喘气 | |
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jewelry
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| n.（jewllery）（总称）珠宝 | |
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8
metropolitan
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| adj.大城市的，大都会的 | |
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Flared
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| adj. 端部张开的, 爆发的, 加宽的, 漏斗式的 动词flare的过去式和过去分词 | |
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exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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crumbs
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| int. (表示惊讶)哎呀 n. 碎屑 名词crumb的复数形式 | |
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whimsy
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| n.古怪，异想天开 | |
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appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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14
pandemonium
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| n.喧嚣，大混乱 | |
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15
bliss
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| n.狂喜，福佑，天赐的福 | |
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16
raptures
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| 极度欢喜( rapture的名词复数 ) | |
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17
poignant
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| adj.令人痛苦的，辛酸的，惨痛的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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jealousy
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| n.妒忌，嫉妒，猜忌 | |
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20
behold
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| v.看，注视，看到 | |
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21
immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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umbrage
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| n.不快；树荫 | |
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24
deducted
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| v.扣除，减去( deduct的过去式和过去分词 ) | |
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25
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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26
luncheon
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| n.午宴，午餐，便宴 | |
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scenario
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| n.剧本，脚本；概要 | |
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28
mimicking
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| v.（尤指为了逗乐而）模仿( mimic的现在分词 )；酷似 | |
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29
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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30
vices
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| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
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31
wreck
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| n.失事，遇难；沉船；vt.(船等)失事，遇难 | |
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32
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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measles
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| n.麻疹，风疹，包虫病，痧子 | |
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34
fume
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| n.(usu pl.)(浓烈或难闻的)烟，气，汽 | |
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infringement
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| n.违反；侵权 | |
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farce
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| n.闹剧，笑剧，滑稽戏；胡闹 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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lash
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| v.系牢；鞭打；猛烈抨击；n.鞭打；眼睫毛 | |
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persistently
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| ad.坚持地；固执地 | |
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40
satires
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| 讽刺，讥讽( satire的名词复数 )； 讽刺作品 | |
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41
wholesome
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| adj.适合；卫生的；有益健康的；显示身心健康的 | |
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42
aspersing
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| v.毁坏（名誉），中伤，诽谤( asperse的现在分词 ) | |
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43
longing
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| n.（for）渴望 | |
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exclamation
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| n.感叹号，惊呼，惊叹词 | |
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45
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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46
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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noted
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| adj.著名的，知名的 | |
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resentment
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| n.怨愤，忿恨 | |
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49
winced
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| 赶紧避开，畏缩( wince的过去式和过去分词 ) | |
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50
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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prospered
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| 成功，兴旺( prosper的过去式和过去分词 ) | |
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galling
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| adj.难堪的,使烦恼的,使焦躁的 | |
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humiliation
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| n.羞辱 | |
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54
concealed
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| a.隐藏的，隐蔽的 | |
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55
torment
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| n.折磨；令人痛苦的东西(人)；vt.折磨；纠缠 | |
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56
labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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57
divan
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| n.长沙发；（波斯或其他东方诗人的）诗集 | |
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crumpled
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| adj. 弯扭的, 变皱的 动词crumple的过去式和过去分词形式 | |
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lashes
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| n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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eavesdropper
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| 偷听者 | |
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muffled
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| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
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63
shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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64
afterward
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| adv.后来；以后 | |
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boundless
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| adj.无限的；无边无际的；巨大的 | |
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