Up to this she had put no real thought into what marriage meant. It was, she had vaguely thought, a contract, or even a sacrament. It was what happened. It was part of the way things were ordered. Sometimes now, however, when she saw the Blunts socially, or when she read a poem by him or heard someone mention his name, the fact that it was not known and publicly understood that she was with him hurt her profoundly, made her experience what existed between them as a kind of emptiness or absence. She knew that if her secret were known or told, it would destroy her life. But as time went by, its not being known by anyone at all made her imagine with relish and energy what it would be like to be married to Wilfrid Scawen Blunt, to enter a room with him, to leave in a carriage with him, to have her name openly linked with his. It would mean everything. Instead, the time she spent alone with him often came to seem like nothing when it was over. Memory, which was once so sharp and precious for her, was now a dark room in which she wandered longing for the light to be switched on or the curtains pulled back. She longed for the light of publicity, for her secret life to become common knowledge. It was something, she was well aware, that would not happen as long as she lived if she could help it. She would take her pleasure in darkness.
When the affair ended, she felt at times as if it had not happened. There was nothing solid or sure about it. Most women, she thought, had a close, discreet friend to whom such things could be whispered. She did not. In France, she understood, they had a way of making such things subtly known. Now she understood why. She was lonely without Blunt, but she was lonelier at the idea that the world went on as though she had not loved him. Time would pass and their actions and feelings would seem like a shadow of actions and feelings, but less than a shadow in fact, because cast by something that now had no real substance.
Thus she wrote the sonnets, using the time she now had to work on rhyme schemes and poetic forms. She wrote in secret about her secret love for him and then kept the paper on which she had written it down:
Bowing my head to kiss the very ground
On which the feet of him I love have trod,
Controlled and guided by that voice whose sound
Is dearer to me than the voice of God.
She put on paper her fear of disclosure and the shame that might come with it; she hid the pages away and found them when the house was quiet and she could read of what she had done and what it meant:
Should e'er that drear day come in which the world
Shall know the secret which so close I hold,
Should taunts and jeers at my bowed head be hurled,
And all my love and all my shame be told,
I could not, as some women used to do,
Fling jests and gold and live the scandal down.
When she asked, some months after their separation, to meet him one more time, his tone in reply was brusque, almost cold. She wondered if he thought that she was going to appeal to him to resume their affair, or remonstrate with him in some way. She enjoyed how surprised he seemed that she was merely handing him a sheaf of sonnets, making clear as soon as she gave him the pages that she had written them herself. She watched him reading them.
"What shall we do with them?" he asked when he had finished.
"You shall publish them in your next book as though they were written by you," she said.
"But it is clear from the style that they are not."
"Let the world believe that you changed your style for the purposes of writing them. Let your readers believe that you were writing in another voice. That will explain the awkwardness."
"There is no awkwardness. They are very good."
"Then publish them. They are yours."
He agreed then to publish them under his own name in his next book, having made some minor alterations to them. They came out six weeks before Sir William died. Lady Gregory did her husband the favour in those weeks of not keeping the book by her bed but in her study; she managed also to keep these poems out of her mind as she watched over him.
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