Summary

Portrait of Elinor Glyn Elinor Glyn High Noon: A New Sequel to 'Three Weeks'

This was the face that had burned its lineaments into the tablets of his memory—the face so sweetly known at Lake Lucerne.
The babble of the arriving guests—the strains of the orchestra—became as the faint murmurs of a far off sea.
For Paul, one fact, and only one, existed—it was she—his Lady of the Beauteous Countenance; no vision, but a be [162] witching creature of flesh and blood whose gloved hand rested for a moment in his own.
As in a dream Paul heard the lady's name—the same that he had learned at Lucerne—and he felt himself murmuring something—what the words were he scarcely knew.
Source: Gutenberg

Portrait of Elinor Glyn Elinor Glyn High Noon: A New Sequel to 'Three Weeks'

But to Paul, alone with his memories, the earth seemed bathed in a luminous pall—a mysterious golden shroud.
"Oh! God," he cried, out of the anguish of his soul, "what a hideous world! Beneath all this painted surface, this bedizened face of earth, lies naught but the yawning maw of the insatiable universe. [41] This very lake, with its countenance covered with rippling smiles, is only a cruel monster waiting to devour. Everything, even the most beautiful, typifies the inexorable laws of Fate and the futility of man's struggle with the forces he knows not."
Source: Gutenberg

Portrait of Elinor Glyn Elinor Glyn High Noon: A New Sequel to 'Three Weeks'

He rose and proceeded to his hôtel.
But to return for a moment to the source of Paul's unhappiness. He might not have been so wretched as he sat in the little café could he have seen her in her boudoir, now weeping with wild uncontrollable sobs, now smiling radiantly through her tears.
For Mademoiselle Natalie Vseslavitch was at once the happiest and the most miserable of women. She had taken advantage of the privilege of her sex when she feigned to doubt Paul's fervent declaration that afternoon. She did believe him.
Source: Gutenberg

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