Alice Blatchley, when her lover was not by, gave herself many a headache trying to think the thing out logically. Was it not foolish of her to rush into this marriage with dear Nat? At forty she would wish she had married somebody else. But most women at forty—she judged from conversation round about her—wished they had married somebody else. If every girl at twenty listened to herself at forty there would be no more marriage. At forty she would be a different person altogether. That other elderly person did not interest her. To ask a young girl to spoil her life purely in the interests of this middle-aged party—it did not seem right. Besides, whom else was she to marry? Camelford would not have her; he did not want her then; he was not going to want her at forty. For practical purposes Camelford was out of the question. She might marry somebody else altogether—and fare worse. She might remain a spinster: she hated the mere name of spinster. The inky-fingered woman journalist that, if all went well, she might become: it was not her idea. Was she acting selfishly? Ought she, in his own interests, to refuse to marry dear Nat? Nellie—the little cat—who would suit him at forty, would not have him. If he was going to marry anyone but Nellie he might as well marry her, Alice. A bachelor clergyman! it sounded almost improper. Nor was dear Nat the type. If she threw him over it would be into the arms of some designing minx. What was she to do?

Camelford at forty, under the influence of favourable criticism, would have persuaded himself he was a heaven-sent prophet, his whole life to be beautifully spent in the saving of mankind. At twenty he felt he wanted to live. Weird-looking Jessica, with her magnificent eyes veiling mysteries, was of more importance to him than the rest of the species combined. Knowledge of the future in his ease only spurred desire. The muddy complexion would grow pink and white, the thin limbs round and shapely; the now scornful eyes would one day light with love at his coming. It was what he had once hoped: it was what he now knew. At forty the artist is stronger than the man; at twenty the man is stronger than the artist.

An uncanny creature, so most folks would have described Jessica Dearwood. Few would have imagined her developing into the good-natured, easy-going Mrs. Camelford of middle age. The animal, so strong within her at twenty, at thirty had burnt itself out. At eighteen, madly, blindly in love with red-bearded, deep-voiced Dick Everett she would, had he whistled to her, have flung herself gratefully at his feet, and this in spite of the knowledge forewarning her of the miserable life he would certainly lead her, at all events until her slowly developing beauty should give her the whip hand of him—by which time she would have come to despise him. Fortunately, as she told herself, there was no fear of his doing so, the future notwithstanding. Nellie Fanshawe's beauty held him as with chains of steel, and Nellie had no intention of allowing her rich prize to escape her. Her own lover, it was true, irritated her more than any man she had ever met, but at least he would afford her refuge from the bread of charity. Jessica Dearwood, an orphan, had been brought up by a distant relative. She had not been the child to win affection. Of silent, brooding nature, every thoughtless incivility had been to her an insult, a wrong. Acceptance of young Camelford seemed her only escape from a life that had become to her a martyrdom. At forty-one he would wish he had remained a bachelor; but at thirty-eight that would not trouble her. She would know herself he was much better off as he was. Meanwhile, she would have come to like him, to respect him. He would be famous, she would be proud of him. Crying into her pillow—she could not help it—for love of handsome Dick, it was still a comfort to reflect that Nellie Fanshawe, as it were, was watching over her, protecting her from herself.

Dick, as he muttered to himself a dozen times a day, ought to marry Jessica. At thirty-eight she would be his ideal. He looked at her as she was at eighteen, and shuddered. Nellie at thirty would be plain and uninteresting. But when did consideration of the future ever cry halt to passion: when did a lover ever pause thinking of the morrow? If her beauty was to quickly pass, was not that one reason the more urging him to possess it while it lasted?

Nellie Fanshawe at forty would be a saint. The prospect did not please her: she hated saints. She would love the tiresome, solemn Nathaniel: of what use was that to her now? He did not desire her; he was in love with Alice, and Alice was in love with him. What would be the sense—even if they all agreed—in the three of them making themselves miserable for all their youth that they might be contented in their old age? Let age fend for itself and leave youth to its own instincts. Let elderly saints suffer—it was their metier—and youth drink the cup of life. It was a pity Dick was the only “catch” available, but he was young and handsome. Other girls had to put up with sixty and the gout.

Another point, a very serious point, had been overlooked. All that had arrived to them in that dim future of the past had happened to them as the results of their making the marriages they had made. To what fate other roads would lead their knowledge could not tell them. Nellie Fanshawe had become at forty a lovely character. Might not the hard life she had led with her husband—a life calling for continual sacrifice, for daily self-control—have helped towards this end? As the wife of a poor curate of high moral principles, would the same result have been secured? The fever that had robbed her of her beauty and turned her thoughts inward had been the result of sitting out on the balcony of the Paris Opera House with an Italian Count on the occasion of a fancy dress ball. As the wife of an East End clergyman the chances are she would have escaped that fever and its purifying effects. Was there not danger in the position: a supremely beautiful young woman, worldly-minded, hungry for pleasure, condemned to a life of poverty with a man she did not care for? The influence of Alice upon Nathaniel Armitage, during those first years when his character was forming, had been all for good. Could he be sure that, married to Nellie, he might not have deteriorated?

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