No Hero

Has no writer ever dealt with the dramatic aspect of the unopened envelope? I cannot recall such a passage in any of my authors, and yet to my mind there is much matter for philosophy in what is always the expressionless shell of a boundless possibility. Your friend may run after you in the street, and you know at a glance whether his news is to be good, bad, or indifferent; but in his handwriting on the breakfast-table there is never a hint as to the nature of his communication. Whether he has sustained a loss or an addition to his family, whether he wants you to dine with him at the club or to lend him ten pounds, his handwriting at least will be the same, unless, indeed, he be offended, when he will generally indite your name with a studious precision and a distant grace quite foreign to his ordinary caligraphy. 


These reflections, trite enough as I know, are nevertheless inevitable if one is to begin one's unheroic story in the modern manner, at the latest possible point. That is clearly the point at which a waiter brought me the fatal letter from Catherine Evers. Apart even from its immediate consequences, the letter had a prima facie interest, of no ordinary kind, as the first for years from a once constant correspondent. And so I sat studying the envelope with a curiosity too piquant not to be enjoyed. What in the world could so obsolete a friend find to say to one now?