On the way to Countess Olenska’s house, Newland sees Beaufort’s carriage leaving for some dark assignation. He considers, as he walks, the many differences between his mother’s world of the leisure class and the world occupied by artists and creative people. But when he reaches Countess Olenska’s house, he finds Beaufort there. Angry, Newland feels once again like her protector. The Countess dismisses Beaufort, leaving Newland triumphant.
Newland tells Madame Olenska that he is there to discuss business with her. He stresses that New Yorkers have “old fashioned ideas,” and while it might be legal to divorce, it is not accepted socially. Further, the Count might bring up scandalous accusations and, true or not, she will be ruined. Here he pauses, but the Countess is silent, leading Newland to believe there might be some truth in the Count’s allegations. He explains that she is financially provided for and free, so why divorce simply to have what she already has? She asks if he agrees with the family and when he does, she decides to drop the divorce request.
Ten days later, Newland is in Wallack’s theatre and he feels an unexplainable sadness after watching a sad scene of lovers parting in “The Shaughraun.” May, in Florida with her family, has asked him to “be kind to Ellen.” Ellen, too, is at the theatre. Newland joins her and the Countess asks him if the character in the play will send his lover yellow roses. Newland blushes; he is becoming entranced with Ellen Olenska as a person “to whom things were bound to happen.”
