He never moved and he never looked at her.
God knows what was in Leonora's mind exactly.
I like to think that, uppermost in it was concern and horror at the thought of the poor girl's going back to a father whose voice made her shriek in the night.
And, indeed, that motive was very strong with Leonora.
But I think there was also present the thought that she wanted to go on torturing Edward with the girl's presence.
She was, at that time, capable of that.
Edward was sunk in his chair; there were in the room two candles, hidden by green glass shades.
The green shades were reflected in the glasses of the book-cases that contained not books but guns with gleaming brown barrels and fishing-rods in green baize over-covers.
There was dimly to be seen, above a mantelpiece encumbered with spurs, hooves and bronze models of horses, a dark-brown picture of a white horse.
"If you think," Leonora said, "that I do not know that you are in love with the girl..." She began spiritedly, but she could not find any ending for the sentence.
Edward did not stir; he never spoke.
And then Leonora said:
"If you want me to divorce you, I will.
You can marry her then.
She's in love with you."
He groaned at that, a little, Leonora said.
Then she went away.
Heaven knows what happened in Leonora after that.
She certainly does not herself know.
She probably said a good deal more to Edward than I have been able to report; but that is all that she has told me and I am not going to make up speeches.
To follow her psychological development of that moment I think we must allow that she upbraided him for a great deal of their past life, whilst Edward sat absolutely silent.
And, indeed, in speaking of it afterwards, she has said several times:
"I said a great deal more to him than I wanted to, just because he was so silent."
She talked, in fact, in the endeavour to sting him into speech.
She must have said so much that, with the expression of her grievance, her mood changed.
She went back to her own room in the gallery, and sat there for a long time thinking.
And she thought herself into a mood of absolute unselfishness, of absolute self-contempt, too.
She said to herself that she was no good; that she had failed in all her efforts—in her efforts to get Edward back as in her efforts to make him curb his expenditure.
She imagined herself to be exhausted; she imagined herself to be done.
Then a great fear came over her.
She thought that Edward, after what she had said to him, must have committed suicide.
She went out on to the gallery and listened; there was no sound in all the house except the regular beat of the great clock in the hall.
But, even in her debased condition, she was not the person to hang about.
She acted.
She went straight to Edward's room, opened the door, and looked in.
He was oiling the breech action of a gun.
It was an unusual thing for him to do, at that time of night, in his evening clothes.
It never occurred to her, nevertheless, that he was going to shoot himself with that implement.
She knew that he was doing it just for occupation—to keep himself from thinking.
He looked up when she opened the door, his face illuminated by the light cast upwards from the round orifices in the green candle shades.
She said:
"I didn't imagine that I should find Nancy here."
She thought that she owed that to him.
He answered then:
"I don't imagine that you did imagine it."
Those were the only words he spoke that night.
She went, like a lame duck, back through the long corridors; she stumbled over the familiar tiger skins in the dark hall.
She could hardly drag one limb after the other.
In the gallery she perceived that Nancy's door was half open and that there was a light in the girl's room.
A sudden madness possessed her, a desire for action, a thirst for self-explanation.