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we were⁠—he with the child he loved, you and I and Harriet safe out of the place⁠—and that I might never see him or speak to him again. I could have pulled through then⁠—the thing was only coming near, like a wreath of smoke; it hadn’t wrapped me round.”

“But through my fault,” said Philip solemnly, “he is parted from the child he loves. And because my life was in danger you came and saw him and spoke to him again.” For the thing was even greater than she imagined. Nobody but himself would ever see round it now. And to see round it he was standing at an immense distance. He could even be glad that she had once held the beloved in her arms.

“Don’t talk of ‘faults.’ You’re my friend forever, Mr. Herriton, I think. Only don’t be charitable and shift or take the blame. Get over supposing I’m refined. That’s what puzzles you. Get over that.”

As he spoke she seemed to be transfigured, and to have indeed no part with refinement or unrefinement any longer. Out of this wreck there was revealed to him something indestructible⁠—something which she, who had given it, could never take away.

“I say again, don’t be charitable. If he had asked me, I might have given myself body and soul. That would have been the end of my rescue party. But all through he took me for a superior being⁠—a goddess. I who was worshipping every inch of him, and every word he spoke. And that saved me.”

Philip’s eyes were fixed on the Campanile of Airolo. But he saw instead the fair myth of Endymion. This woman was a goddess to the end. For her no love could be degrading: she stood outside all degradation. This episode, which she thought so sordid, and which was so tragic for him, remained supremely beautiful. To such a height was he lifted, that without regret he could now have told her that he was her worshipper too. But what was the use of telling her? For all the wonderful things had happened.

“Thank you,” was all that he permitted himself. “Thank you for everything.”

She looked at him with great friendliness, for he had made her life endurable. At that moment the train entered the San Gothard tunnel. They hurried back to the carriage to close the windows lest the smuts should get into Harriet’s eyes.

Colophon The Standard Ebooks logo.

Where Angels Fear to Tread
was published in 1905 by
E. M. Forster.

This ebook was produced for
Standard Ebooks
by
John Rambow,
and is based on a transcription produced in 2001 by
Richard Fane and David Widger
for
Project Gutenberg
and on digital scans available at the
HathiTrust Digital Library.

The cover page is adapted from
A Tuscan Farm,
a painting completed circa 1926⁠–⁠31 by
Edward Bruce.
The cover and title pages feature the
League Spartan and Sorts Mill Goudy
typefaces created in 2014 and 2009 by
The League of Moveable Type.

The first edition of this ebook was released on
February 28, 2022, 10:15 p.m.
You can check for updates to this ebook, view its revision history, or download it for different ereading systems at
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