I DARESAY, if one were a woman, one would like to marry a man who was capable of doing this, but not quite one who had done so. It is just a little bit abject, and somehow just a little bit gross; and marriages in which one of the parties has been thus battered into consent scarcely form agreeable subjects for meditation.*
Love should run out to meet love with open arms. Indeed, the ideal story is that of two people who go into love step for step, with a fluttered consciousness, like a pair of children venturing together into a dark room. From the first moment when they see each other, with a pang of curiosity, through stage after stage of growing pleasure and embarrassment, they can read the expression of their own trouble in each other’s eyes. There is here no declaration, properly so called; the feeling is so plainly shared, that as soon as the man knows what it is in his own heart, he is sure of what it is in the woman’s.
abridged
If any English author has achieved this alchemy, and made dogged suitors into sympathetic characters, it is P. G. Wodehouse. “I am a married man,” says a Whisky-and-Splash to Mr Mulliner in A Few Quick Ones (1959), “and it took me two years and more boxes of chocolates than I care to think of to persuade the lady who is now my wife to sign on the dotted line.” One of Wodehouse’s own favourites from among his novels was Sam the Sudden (1925), in which Sam Shotter pursues Kay Derrick with a particularly unwavering determination. Eve Halliday, in Leave it to Psmith (1923), has to put up with two such suitors at once.