She's been, but she's coming back, he said. I expect her every minute. Ah! there she is. This was rather stupid of Stephen. He ought to have guessed that Lucia's second appearance was officially intended to be her first. He grasped that when she squeezed her way through the crowd and greeted him as if they had not met before that morning. And dearest Adele, she said. What a crush! Tell me quickly, where are the caricatures of Pepino and me? I'm dying to see them; and when I see them no doubt I shall wish I was dead. The light of Luciaphilism came into Adele's intelligent eyes...
The passage captures a vivid moment of social theatricality and gentle irony, revealing complex interpersonal dynamics among the characters. Stephen’s initial failure to anticipate Lucia’s deliberate re-introduction to the group reflects a nuanced social performance—Lucia carefully curating her reappearance and interactions to assert control over the narrative of her presence. This suggests themes of self-presentation and the performative aspects of social engagements, common in Benson’s exploration of Edwardian society. The casual tone and playful banter, such as Lucia's cheeky remark about the caricatures, adds levity while also hinting at insecurities and the human tendency toward self-awareness, particularly around image and reputation.
Moreover, the phrase "the light of Luciaphilism came into Adele’s intelligent eyes" intriguingly suggests a shared appreciation or perhaps admiration for Lucia’s spirited demeanor—"Luciaphilism" implying a form of devotion or enthusiasm for Lucia herself. The complex, layered interactions underscore both the charm and triviality of social rituals, showing how characters navigate social expectations with wit and subtle manipulation. The depiction of social life here is both affectionate and critical, gently exposing the rituals and artsifice behind seemingly simple acquaintances.
