hieroglyphs, inscriptions of fine feeling, that there is no room to write suspicions of other men’s villany?”
“A clean heart keeps a clean face. A guilty heart will announce itself at eyes and lips and cheeks, and by a thousand tremors of the nerves. I have no prejudices against the family Larrap. But when Larrap’s mate spoke the name, he looked at me as if he had been committing a murder, and had by an irresistible impulse proclaimed the fact. Look at him now! how he starts and half turns whenever one of our horses makes a clatter. He dares not quite look back. He knows there is something after him.”
“The dread of a vengeance, you think. That’s a blacker follower than ‘Atra cura post equitem.’”
I tire of these unwholesome characters I am describing. But I did not put them into the story. They took their places themselves. I find that brutality interferes in most dramas and most lives. Brutality the male sin, disloyalty the female sin, — these two are always doing their best to baffle and blight heroism and purity. Often they succeed. Oftener they fail. And so the world exists, and is not annulled; its history is the history of the struggle and the victory. This episode of my life is a brief of the world’s complete experience.
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