P G Wodehouse – Something New

From his fourteenth year onward Ashe had been in love many times. His sensations in the case of Joan were neither the terrific upheaval that had caused him, in his fifteenth year, to collect twenty-eight photographs of the heroine of the road company of a musical comedy which had visited the Hayling Opera House, nor the milder flame that had caused him, when at college, to give up smoking for a week and try to read the complete works of Ella Wheeler Wilcox.

His love was something that lay between these two poles.

He did not wish the station platform of Market Blandings to become suddenly congested with red Indians so that he might save Joan’s life; and he did not wish to give up anything at all. But he was conscious–to the very depths of his being–that a future in which Joan did not figure would be so insupportable as not to bear considering; and in the immediate present he very strongly favored the idea of clasping Joan in his arms and kissing her until further notice.

Mingled with these feelings was an excited gratitude to her for coming to him like this, with that electric smile on her face; a stunned realization that she was a thousand times prettier than he had ever imagined; and a humility that threatened to make him loose his clutch on the steamer trunk and roll about at her feet, yapping like a dog.

Gratitude, so far as he could dissect his tangled emotion was the predominating ingredient of his mood. Only once in his life had he felt so passionately grateful to any human being. On that occasion, too, the object of his gratitude had been feminine.

Years before, when a boy in his father’s home in distant Hayling, Massachusetts, those in authority had commanded that he–in his eleventh year and as shy as one can be only at that interesting age–should rise in the presence of a roomful of strangers, adult guests, and recite “The Wreck of the Hesperus.”

He had risen. He had blushed. He had stammered. He had contrived to whisper: “It was the Schooner Hesperus.” And then, in a corner of the room, a little girl, for no properly explained reason, had burst out crying. She had yelled, she had bellowed, and would not be comforted; and in the ensuing confusion Ashe had escaped to the woodpile at the bottom of the garden, saved by a miracle.

All his life he had remembered the gratitude he had felt for that little timely girl, and never until now had he experienced any other similar spasm. But as he looked at Joan he found himself renewing that emotion of fifteen years ago.

She was about to speak. In a sort of trance he watched her lips part. He waited almost reverently for the first words she should speak to him in her new role of the only authentic goddess.

“Isn’t it a shame?” she said. “I’ve just put a penny in the chocolate slot machine–and it’s empty! I’ve a good mind to write to the company.”

Ashe felt as though he were listening to the strains of some grand sweet anthem.

The small but sturdy porter, weary of his work among the milk cans, or perhaps–let us not do him an injustice even in thought–having finished it, approached them.

“The cart from the castle’s here.”

In the gloom beyond him there gleamed a light which had not been there before. The meditative snort of a horse supported his statement. He began to deal as authoritatively with Mr. Peters’ steamer trunk as he had dealt with the milk cans.

“At last!” said Joan. “I hope it’s a covered cart. I’m frozen. Let’s go and see.”

Ashe followed her with the gait of an automaton.

…

Cold is the ogre that drives all beautiful things into hiding. Below the surface of a frost-bound garden there lurk hidden bulbs, which are only biding their time to burst forth in a riot of laughing color; but shivering Nature dare not put forth her flowers until the ogre has gone. Not otherwise does cold suppress love. A man in an open cart on an English Spring night may continue to be in love; but love is not the emotion uppermost in his bosom. It shrinks within him and waits for better times.