Last Friday I saw an amazing Lohengrin at San Francisco Opera, including a truly fabulous vocal and dramatic performance by Brandon Jovanovich in the title role. With its story of a heroine who must swear never to ask her husband’s name and then begins to wonder who the man who married really is, the plot gave me a lot to think about in terms of the struggles I’m dramatizing for Suzanne and Malcolm. A key scene in the opera is Elsa and Lohengrin’s wedding night. Though it begins with the now iconic wedding march and includes some ravishing music, it is ultimately a confrontation that marks the end of a marriage rather than the consummation of one.
Watching it I thought about other memorable wedding night scenes. Peter and Harriet’s in Busman’s Honeymoon is probably my favorite for emotional resonance, but I was also thinking about stories in which the wedding night veers off from the expected and, as in Lohengrin, takes the couple in a different direction. One that immediately came to mind is Nicholas and Gelis’s wedding night in Scales of Gold in Dorothy Dunnett’s House of Niccolo series. It contains what is known to Dunnett readers as The Wedding Night Surprise, a much analyzed and debated scene that changes the course of the marriage and the series. (As a side note, Saturday was Dorothy Dunnett Day, and I spent it at lunch with some wonderful Dunnett readers).
For my November teaser it seems appropriate to post a bit from Malcolm and Suzanne’s wedding night from His Spanish Bride (which will be released on November 23). What are some of your favorite wedding night scenes?
I just got some gorgeous coverflats for The Paris Affair, so I’ll give away a signed one to one of this week’s commenters. And check out this week’s Fraser Correspondence addition from Cordelia to Violet.
Malcolm drew a breath and rapped at the bedchamber door.
“Yes.” His wife’s—his wife’s—voice came from behind the polished panels. “That is, come in.”
He turned the handle. Never had he felt such trepidation at stepping into his own bedchamber.
Suzanne sat on the dressing table bench, wrapped in a dressing gown of seafoam silk. Her dark hair spilled loose over her shoulders, the cropped bits still curled round her face. Her bare feet peeped out from beneath the silk and muslin of her dressing gown and nightdress. He had seen her in dresses that exposed more skin, but something about the déshabille was at once more seductive and more vulnerable than any glimpse he’d had of her before. His throat closed. His mind clamped down on every impulse of his body.
“Do you have everything you need?” His voice sounded thin to his own ears.
“Yes.” Her own voice was like frayed silk. “Addison arranged things perfectly. Though I’m afraid I’ve quite taken over your dressing table.”
Enamel boxes and glass jars clustered on the dressing table top. He wasn’t sure what had become of his shaving kit until he saw it on the chest of drawers. He saw something else beside the chest of drawers. A silver cooler with a bottle of champagne.
“Addison left that for us,” Suzanne said. “A touch of romance I wouldn’t have expected.” She bit her lip as though she wasn’t sure about the word “romance.”
Two crystal glasses stood on the escritoire, sparkling in the light from the brace of candles. Malcolm wasn’t sure whether to thank his valet or groan. He picked up the champagne bottle and opened it, which at least gave him something to do with his hands. He splashed champagne on the dressing table but managed to hand Suzanne a glass without breaking it or spattering champagne on her. He picked up his own glass and touched it to hers. To say “to us” seemed presumptuous when there scarcely was an “us.” Instead he said, “To the future.”
She smiled and took a sip of champagne. He did as well, a rather deeper sip than he intended. “Suzanne—” He retreated to lean against the chest of drawers. “We needn’t— There needn’t be anything between us until after the baby’s born. Or even after that. Not until—not unless you’re ready.”
He more than half-expected her to look away. Instead she met his gaze. Her eyes looked very open. He realized it was because she’d removed the blacking she used to line them and darken her lashes. “You already made that very obliging offer. But we’re married, and I think we should begin as we mean to go on, as it were. “
He took another sip of champagne. His mouth was dry. “What I’m trying to say is you can define how we mean to go on.”
“And what I’m trying to say is that I’d welcome new memories to make the old go away.”