Summary

Portrait of Edith Wharton Edith Wharton Tales of Men and Ghosts — The Daunt Diana (1914)

That's my idea of heaven—to have a great collection drop into one's hand, as success, or love, or any of the big shining things, suddenly drop on some men. And I've had to worry along for nearly fifty years, saving and paring, and haggling and managing, to get here a bit and there a bit—and not one perfection in the lot! It's enough to poison a man's life.”
The outbreak was so unlike Neave that I remember every word of it: remember, too, saying in answer: “But, look here, Neave, you wouldn't take Daunt's hands for yours, I imagine?”
Source: Wikisource

Portrait of Edith Wharton Edith Wharton Tales of Men and Ghosts — The Daunt Diana (1914)

I could see that by the way his hands trembled when he turned away and began to examine the other things. You remember Neave's hands—thin, sallow, dry, with long inquisitive fingers thrown out like antennæ? Whatever they hold—bronze or lace, enamel or glass—they seem to acquire the very texture of the thing, and to draw out of it, by every finger-tip, the essence it has secreted. Well, that day, as he moved about among Daunt's treasures, the Diana followed him everywhere.
Source: Wikisource

Portrait of Edith Wharton Edith Wharton Tales of Men and Ghosts — The Daunt Diana (1914)

THE DAUNT DIANA I “WHAT'S become of the Daunt Diana? You mean to say you never heard the sequel?”
Ringham Finney threw himself back into his chair with the smile of the collector who has a good thing to show. He knew he had a good listener, at any rate. I don't think much of Ringham's snuff-boxes, but his anecdotes are usually worth while. He's a psychologist astray among bibelots, and the best bits he brings back from his raids on Christie's and the Hôtel Drouot are the fragments of human nature he picks up on those historic battle-fields.
Source: Wikisource

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