If any one had asked him if he wanted to own her soul, the question would have seemed to him both ridiculous and sentimental.

But he did so want, and the writing said he never would.
She was ever silent, passive, gracefully averse; as though terrified lest by word, motion, or sign she might lead him to believe that she was fond of him; and he asked himself: Must I always go on like this?
Like most novel readers of his generation (and Soames was a great novel reader), literature coloured his view of life; and he had imbibed the belief that it was only a question of time.
In the end the husband always gained the affection of his wife.

Even in those cases--a class of book he was not very fond of--which ended in tragedy, the wife always died with poignant regrets on her lips, or if it were the husband who died--unpleasant thought--threw herself on his body in an agony of remorse.
He often took Irene to the theatre, instinctively choosing the modern Society Plays with the modern Society conjugal problem, so fortunately different from any conjugal problem in real life.

He found that they too always ended in the same way, even when there was a lover in the case.
While he was watching the play Soames often sympathized with the lover; but before he reached home again, driving with Irene in a hansom, he saw that this would not do, and he was glad the play had ended as it had.
There was one class of husband that had just then come into fashion, the strong, rather rough, but extremely sound man, who was peculiarly successful at the end of the play; with this person Soames was really not in sympathy, and had it not been for his own position, would have expressed his disgust with the fellow.

But he was so conscious of how vital to himself was the necessity for being a successful, even a 'strong,' husband, that he never spoke of a distaste born perhaps by the perverse processes of Nature out of a secret fund of brutality in himself.
But Irene's silence this evening was exceptional.