face: he turned back again, and read anew the subject that had arrested his eyes. He was a man whose countenance varied with his mood, though it kept somewhat in the rear of that mood. He looked sad when he felt almost serene, and only serene when he felt quite cheerful. It is a habit people acquire who have had repressing experiences.
A faint smile and flush now lightened his face, and jumping up he opened the door and exclaimed, ‘Faith! will you come here for a moment?’
A prompt step was heard on the stairs, and the young person addressed as Faith entered the room. She was small in figure, and bore less in the form of her features than in their shades when changing from expression to expression the evidence that she was his sister.
‘Faith – I want your opinion. But, stop, read this first.’ He laid his finger upon a page in the book, and placed it in her hand.
The girl drew from her pocket a little green-leather sheath, worn at the edges to whity-brown, and out of that a pair of spectacles, unconsciously looking round the room for a moment as she did so, as if to ensure that no stranger saw her in the act of using them. Here a weakness was uncovered at once; it was a small, pretty, and natural one; indeed, as weaknesses go in the great world, it might almost have been called a commendable trait. She then began to read, without sitting down.
These ‘Metres by E.’ composed a collection of soft and marvellously musical rhymes, of a nature known as the vers de société. The lines presented a series of playful defences of the supposed strategy of womankind in fascination, courtship, and marriage – the whole teeming with ideas bright as mirrors and just as unsubstantial, yet forming a brilliant argument to justify the ways of girls to men. The pervading characteristic of the mass was the means of forcing into notice, by strangeness of contrast, the single mournful poem that the book contained. It was placed at the very end, and under the title of ‘Cancelled Words,’ formed a whimsical and rather affecting love-lament, somewhat in the tone of many of Sir Thomas Wyatt’s poems. This was the piece which had arrested Christopher’s attention, and had been pointed out by him to his sister Faith.
‘It is very touching,’ she said, looking up.
‘What do you think I suspect about it – that the poem is addressed to me! Do you remember, when father was alive and we were at Solentsea that season, about a governess who came there with a Sir Ralph Petherwin and his wife, people with a sickly little daughter and a grown-up son?’
‘I never saw any of them. I think I remember your knowing something about a young man of that name.’
‘Yes, that was the family. Well, the governess there was a very attractive woman, and somehow or other I got more interested in her than I ought to have done (this is necessary to the history), and we used to meet in romantic places – and – and that kind of thing, you know. The end of it was, she jilted me and married the son.’
‘You were anxious to get away from Solentsea.’
‘Was I? Then that was chiefly the reason. Well, I decided to think no more of her, and I was helped to do it by the troubles that came upon us shortly afterwards; it is a blessed arrangement that one does not feel a sentimental grief at all when additional grief comes in the shape of practical misfortune. However, on the first afternoon of the little holiday I took for my walking tour last summer, I came to Anglebury, and stayed about the neighbourhood for a day or two to see what it was like, thinking we might settle there if this place failed us. The next evening I left, and walked across the heath to Flychett – that’s a village about five miles further on – so as to be that distance on my way for next morning; and while I was crossing the heath there I met this very woman. We talked a little, because we couldn’t help it – you may imagine the kind of talk it was – and parted as coolly as we had met. Now this strange book comes to me; and I have a strong conviction that she is the writer of it, for that poem sketches a similar scene – or rather suggests it; and the tone generally seems the kind of thing she would write – not that she was a sad woman, either.’
‘She seems to be a warm-hearted, impulsive woman, to judge from these tender verses.’
‘People who print very warm words have sometimes very cold manners. I wonder if it is really her writing, and if she has sent it to me!’
‘Would it not be a singular thing for a married woman to do? Though of course’ – (she removed her spectacles as if they hindered her from thinking, and hid them under the timepiece till she should go on reading) – ‘of course poets have morals and manners of their own, and custom is no argument with them. I am sure I would not have sent it to a man for the world!’
‘I do not see any absolute harm in her sending it. Perhaps she thinks that, since it is all over, we may as well die friends.’
‘If I were her husband I should have doubts about the dying. And “all over” may not be so plain to other people as it is to you.’
‘Perhaps not. And when a man checks all a woman’s finer sentiments towards him by marrying her, it is only natural that it should find a vent somewhere. However, she probably does not know of my downfall since father’s death. I hardly think she would have cared to do it had she known that. (I am assuming that it is Ethelberta – Mrs. Petherwin – who sends it: of course I am not sure.) We must remember that when I knew her I was a gentleman at ease, who had not the least notion that I should have to work for a living, and not only so, but should have first to invent a profession to work at out of my old tastes.’
‘Kit, you have made two mistakes in your thoughts of that lady. Even though I don’t know her, I can show you that. Now I’ll tell you! the first is in thinking that a married lady would send the book with that poem in it without at any rate a slight doubt as to its propriety: the second is in supposing that, had she wished to do it, she would have given the thing up because of our misfortunes. With a true woman the second reason would have had no effect had she once got over the first. I’m a woman, and that’s why I know.’
Christopher said nothing, and turned over the poems.
He lived by teaching music, and, in comparison with starving, thrived; though the wealthy might possibly have said that in comparison with thriving he starved. During this night he hummed airs in bed, thought he would do for the ballad of the fair poetess what other musicians had done for the ballads of other fair poetesses, and dreamed that she smiled on him as her prototype Sappho smiled on Phaon.
The next morning before starting on his rounds a new circumstance induced him to direct his steps to the bookseller’s, and ask a question. He had found on examining the wrapper of the volume that it was posted in his own town.
‘No copy of the book has been sold by me,’ the bookseller’s voice replied from far up the Alpine height of the shop-ladder, where he stood dusting stale volumes, as was his habit of a morning before customers came. ‘I have never heard of it – probably never shall;’ and he shook out the duster, so as to hit the delicate mean between stifling Christopher and not stifling him.
‘Surely you don’t live by your shop?’ said Christopher, drawing back.
The bookseller’s eyes rested on the speaker’s; his face changed; he came down and placed his hand on the lapel of Christopher’s coat. ‘Sir,’ he said, ‘country bookselling is a miserable, impoverishing, exasperating thing in these days. Can you understand the rest?’
‘I can; I forgive a starving man anything,’ said Christopher.
‘You go a long way very suddenly,’ said the book seller. ‘Half as much pity would have seemed better. However, wait a moment.’ He looked into a list of new books, and added: ‘The work you allude to was only published
