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- Уильям Сомерсет Моэм
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- Стр. 244/246
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She
could
see
Michael
’
s
long
face
if
he
knew
what
she
was
doing
.
Poor
Michael
who
imagined
she
had
killed
Avice
’
s
scene
because
she
thought
he
was
too
attentive
to
that
foolish
little
blonde
.
Really
,
it
was
pitiful
how
stupid
men
were
.
They
said
women
were
vain
,
they
were
modest
violets
in
comparison
with
men
.
She
could
not
but
laugh
when
she
thought
of
Tom
.
He
had
wanted
her
that
afternoon
,
he
had
wanted
her
still
more
that
night
.
It
was
wonderful
to
think
that
he
meant
no
more
to
her
than
a
stage
-
hand
.
It
gave
one
a
grand
feeling
of
confidence
to
be
heart
-
whole
.
The
room
in
which
she
sat
was
connected
by
three
archways
with
the
big
dining
-
room
where
they
supped
and
danced
;
amid
the
crowd
doubtless
were
a
certain
number
who
had
been
to
the
play
.
How
surprised
they
would
be
if
they
knew
that
the
quiet
little
woman
in
the
corner
of
the
adjoining
room
,
her
face
half
hidden
by
a
felt
hat
,
was
Julia
Lambert
.
It
gave
her
a
pleasant
sense
of
independence
to
sit
there
unknown
and
unnoticed
.
They
were
acting
a
play
for
her
and
she
was
the
audience
.
She
caught
brief
glimpses
of
them
as
they
passed
the
archway
,
young
men
and
young
women
,
young
men
and
women
not
so
young
,
men
with
bald
heads
and
men
with
fat
bellies
,
old
harridans
*
clinging
desperately
to
their
painted
semblance
of
youth
.
Some
were
in
love
,
and
some
were
jealous
,
and
some
were
indifferent
.
Her
steak
arrived
.
It
was
cooked
exactly
as
she
liked
it
,
and
the
onions
were
crisp
and
brown
.
She
ate
the
fried
potatoes
delicately
,
with
her
fingers
,
savouring
each
one
as
though
it
were
the
passing
moment
that
she
would
bid
delay
.
"
What
is
love
beside
steak
and
onions
?
"
she
asked
.
It
was
enchanting
to
be
alone
and
allow
her
mind
to
wander
.
She
thought
once
more
of
Tom
and
spiritually
shrugged
a
humorous
shoulder
.
"
It
was
an
amusing
experience
.
"
It
would
certainly
be
useful
to
her
one
of
these
days
.
The
sight
of
the
dancers
seen
through
the
archway
was
so
much
like
a
scene
in
a
play
that
she
was
reminded
of
a
notion
that
she
had
first
had
in
St
.
Malo
.
The
agony
that
she
had
suffered
when
Tom
deserted
her
recalled
to
her
memory
Racine
’
s
Phedre
which
she
had
studied
as
a
girl
with
old
Jane
Taitbout
.
She
read
the
play
again
.
The
torments
that
afflicted
Theseus
’
queen
were
the
torments
that
afflicted
her
,
and
she
could
not
but
think
that
there
was
a
striking
similarity
in
their
situations
.
That
was
a
part
she
could
act
;
she
knew
what
it
felt
like
to
be
turned
down
by
a
young
man
one
had
a
fancy
for
.
Gosh
,
what
a
performance
she
could
give
!
She
knew
why
in
the
spring
she
had
acted
so
badly
that
Michael
had
preferred
to
close
down
;
it
was
because
she
was
feeling
the
emotions
she
portrayed
.
That
was
no
good
.
You
had
to
have
had
the
emotions
,
but
you
could
only
play
them
when
you
had
got
over
them
.
She
remembered
that
Charles
had
once
said
to
her
that
the
origin
of
poetry
was
emotion
recollected
in
tranquillity
.
She
didn
’
t
know
anything
about
poetry
,
but
it
was
certainly
true
about
acting
.
"
Clever
of
poor
old
Charles
to
get
hold
of
an
original
idea
like
that
.
It
shows
how
wrong
it
is
to
judge
people
hastily
.
One
thinks
the
aristocracy
are
a
bunch
of
nitwits
,
and
then
one
of
them
suddenly
comes
out
with
something
like
that
that
’
s
so
damned
good
it
takes
your
breath
away
.
"
But
Julia
had
always
felt
that
Racine
had
made
a
great
mistake
in
not
bringing
on
his
heroine
till
the
third
act
.
"
Of
course
I
wouldn
’
t
have
any
nonsense
like
that
if
I
played
it
.
Half
an
act
to
prepare
my
entrance
if
you
like
,
but
that
’
s
ample
.
"
