Summary

Portrait of Joseph Hatton Joseph Hatton The Tallants of Barton, vol. 2… (1867)

Arthur drew all sorts of imaginary word-pictures of their home in the future; and it was a paradise indeed, with such a studio, where Phœbe should have an easel, too,—such a home, the home of Love and Art!
If Arthur grew enthusiastically poetic in the contemplation of this future, who could feel surprised? Walking abroad with Phœbe Somerton hanging on his arm, betrothed to him, almost mated like the birds that were building their nests all round about them. Was it not a poetic time? Is there any period of the year more eloquent to lovers, more fairy-like, more hopeful than Spring?
Source: Gutenberg

Portrait of Joseph Hatton Joseph Hatton The Tallants of Barton, vol. 2… (1867)

And Amy rattled away and laughed at Phœbe’s sober face, and kissed her fair forehead, as joyously as if she were about to marry her first love; but when she was alone in her bedroom, she flung herself down and sobbed aloud.
Why had heaven given her all those warm passions, that deep capacity to love, and set the idol before her, and let all her love go for naught? This was the burden of the burning thoughts which Phœbe’s conversation had aroused.
“Alas! the love of woman! it is known
To be a lovely and a dangerous thing.”
Source: Gutenberg

Portrait of Joseph Hatton Joseph Hatton The Tallants of Barton, vol. 2… (1867)

Let Phœbe and Arthur be judged by this standard, and they are to be envied indeed. To sit hand in hand, to walk and talk with freedom of their love, of the little incidents of past days, to recall their moments of doubt, and look back to times of utter hopelessness, to trace their little acts of sympathy from the first days of their love, to recall that grand festival beneath the cathedral roof, to think of the days when each loved the other in secret and in fear and dread and in solitude! Was not this perfect happiness?
Source: Gutenberg

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