Anne Douglas Sedgwick

Anne Douglas Sedgwick

Summary

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick Madeline Tristram (1905)

That was Maverley's conclusive thought, as he lay trying to sleep, on the night of the day that had crashed revelation after revelation upon him. Madeline's happiness, her sorrow, his love for her, her hideous fear of him, and his own more hideous fear that had answered it. For how could help—and a help weighted by such fear—reach her? All that she asked of life was to be left alone, and her martyrdom was the facing of a world of eyes that dared not show their shrinking.
Source: Wikisource

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick Madeline Tristram (1905)

It was ridiculous to feel an involuntary chill, to look at a young lady who was beautiful enough for any simile and feel afraid of her. Maverley was unaware of having nerves, and justifiably confident of being difficult to frighten.
She had smooth black hair, a narrow white face, and eyes oddly pale and oddly radiant. And now, after this confronting moment that seemed long, she turned away, and stepping from the window, disappeared into the dazzling day outside. Maverley almost laughed at himself; he needed the reassurance of a laugh, for he had certainly and absurdly felt a pang of terror.
Source: Wikisource

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick Madeline Tristram (1905)

The children, now, merely find her queer, though Gladys recognizes that other people find her more than that, and resents it for Madeline; with people in general it is only, as a rule, shrinking and dislike. For myself, I am used to her now; I simply don't mind. And I am terribly sorry."
"But what is it?" Maverley almost groaned.
"It is just what you see and feel: that she inspires dislike, and sometimes dread. She is like a ghost."
Source: Wikisource

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