Summary

Portrait of Anna Alice Chapin Anna Alice Chapin The Woman With a Past — VI.—The Scotch Embassy (1912–14)

It is true, England is not what it was two hundred years ago, but it is still the sovereign power—the symbol for which men should be as willing to live as to die. Do you not know that every time an Englishman forgets to be honorable, forgets to be just, forgets to be courteous, forgets to be a gentleman—do you not know, young sir, that the whole shield of England takes on a touch of tarnish? If you do not know, take heed now, for it is I, Charles Stuart, who tell you!”
“And why on earth should you tell me?” said Fulham, with an ugly look.
Source: Wikisource

Portrait of Anna Alice Chapin Anna Alice Chapin The Woman With a Past — VI.—The Scotch Embassy (1912–14)

These obsessions of the spirit—is it not paradoxical and strange that it is given to such women as Pippa, and to such alone, to understand them? It seems that to comprehend truly the passionless in its most exquisite depths, one must have plumbed and exhausted the abysses of passion.
It is certain that Philippa Carpenter understood to the last breath and pulse Charles Stuart's sentiment for her, and that she found a tender rest in the poetry of it—an ineffable relief from the throb of that violent emotion which, is, in its very essence, without end or solace.
Source: Wikisource

Portrait of Anna Alice Chapin Anna Alice Chapin The Woman With a Past — VI.—The Scotch Embassy (1912–14)

Fantasies and dreams, they spun themselves into a silken and silver web about the Scotch Embassy; and Pippa loved the dreams and wept over them, because they seemed vaguely suggestive of a requiem—a requiem in which Charles Stuart figured, yet not as one who had died.
In all of us is the need for play acting—for the irresponsible engrossment of games. One may take it out in social fencing, or in those little masquerades one acts with oneself, or one may starve it and grow old betimes—but it is there hidden in us all.
Source: Wikisource

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