Volume VII - Modernist Magazines Project

78 A Few Notes upon Mr. Jamesfamiliarity. She took children too hard both for good and evil,and had an oppressive air of expecting subtle things of them, sothat going to see her was a good deal like being taken to churchand made to sit in a front pew."But Mrs. Penniman was as romantic as she was inaccurate (" itmust be delightful," she said, "to think of those who love usamong the ruins of the Pantheon"), and it^ needed but theattentions of an heiress-hunting young man to convert the poorlittle heroine of the story, weak at every point save her affections,unattractive, ungifted, into a heroine of romance in her aunt's eyes,the father's opposition only making the situation more dramatic,and—" Mrs. Penniman's real hope was that the girl would makea secret marriage, at which she should officiate as brideswoman orduenna. She had a vision of this ceremony being performed insome subterranean chapel—subterranean chapels in New Yorkwere not frequent, but Mrs. Penniman's imagination was notchilled by trifles—and of the guilty couple—she liked to think ofpoor Catherine and her suitor as the guilty couple—being shuffledaway in a fast whirling vehicle to some obscure lodging in thesuburbs, where she would pay them (in a thick veil) clandestinevisits, where they would endure a period of romantic privation,and where ultimately, after she should have been their earthlyprovidence, their intercessor, their advocate, and their medium ofcommunication with the world, they should be reconciled to herbrother in an artistic tableau, in which she herself should be, somehow,the central figure."But apart from the context, deprived of the contrast affordedher by the matter-of-fact sincerity of her niece, the dry perspicuityof her brother, Aunt Penniman's figure cannot be made to standas firmly as in the novel. Indeed, humour is so volatile a thing,the perception of it requires so delicate a sensibility, that the moodcannot