with electric speed, and Emilia fell from the clouds.
“I meant my singing; I thought of how I sang to you. Oh, happy time!” she exclaimed, to cut through the mist of vision in her mind.
“To me? down at the booth?” muttered Wilfrid, perplexed.
“Oh, no! I mean, just now—” and languid with the burden of so full a heart, she did not attempt to explain herself further, though he said, invitingly, “I thought I heard you humming?”
Then he was seized with a desire to have the force of her spirit upon him, for Brookfield was in view; and with the sight of Brookfield, the natural fascination waxed a shade fainter, and he feared it might be going. This (he was happily as ignorant as any other youth of the working of his machinery) prompted him to bid her sing before they parted. Emilia checked her steps at once to do as he desired. Her throat filled, but the voice quavered down again, like a fainting creature sick unto death. She made another effort and ended with a sorrowful look at his narrowly-watching eyes.
“I can't,” she said; and, in fear of his anger, took his hand to beg forgiveness, while her eyelids drooped.
Wilfrid locked her fingers in a strong pressure, and walked on, silent as a man who has faced one of the veiled mysteries of life. It struck a full human blow on his heart, dragging him out of his sentimental pastures precipitately. He felt her fainting voice to be the intensest love-cry that could be uttered. The sound of it coursed through his blood, striking a rare illumination of sparks in his not commonly brilliant brain. In truth, that little episode showed an image of nature weak with the burden of new love. I do not charge the young cavalry officer with the power of perceiving images. He saw no more than that she could not sing because of what was in her heart toward him; but such a physical revelation was a divine love-confession, coming involuntarily from one whose lips had not formed the name of love; and Wilfrid felt it so deeply, that the exquisite flattery was almost lost, in a certain awed sense of his being in the presence of an absolute fact: a thing real, though it was much talked about, and visible, though it did not wear a hat or a petticoat.
It searched him thoroughly enough to keep him from any further pledges in that direction, propitious as the moment was, while the moon slipped over banks of marble into fields of blue, and all the midnight promised silence. They passed quickly through the laurel shrubs, and round the lawn. Lights were in the sleepless ladies' bed-room windows.
“Do I love her?” thought Wilfrid, as he was about to pull at the bell, and the thought that he should feel pain at being separated from her for half-a-dozen hours, persuaded him that he did. The self-restraint which withheld him from protesting that he did, confirmed it.
“To-morrow morning,” he whispered.
“I shall be down by daylight,” answered Emilia.
“You are in the shade—I cannot see you,” said he.
The door opened as Emilia was moving out of the line of shadow.
CHAPTER XIII
On the morrow Wilfrid was gone. No one had seen him go. Emilia, while she touched the keys of a muted piano softly in the morning quiet of the house, had heard the front-door close. At that hour one attributes every noise to the servants. She played on and waited patiently, till the housemaid expelled her into the dewy air.
The report from his bedchamber, telling the ladies of his absence, added that he had taken linen for a lengthened journey.
This curious retreat of my hero belongs to the order of things that are done 'None know why;' a curtain which drops conveniently upon either the bewilderment of the showman or the infirmities of the puppet.
I must own (though I need not be told what odium frowns on such a pretension to excess of cleverness) that I do know why. I know why, and, unfortunately for me, I have to tell what I know. If I do not tell, this narrative is so constituted that there will be no moral to it.
One who studies man in puppets (in which purpose lies the chief value of this amusing species), must think that we are degenerating rapidly. The puppet hero, for instance, is a changed being. We know what he was; but now he takes shelter in his wits. His organs affect his destiny. Careless of the fact that the hero's achievement is to conquer nature, he seems rather to boast of his subservience to her.
Still, up to this day, the fixture of a nose upon the puppet-hero's frontispiece has not been attempted. Some one does it at last. When the alternative came: “No nose to the hero, no moral to the tale;” could there be hesitation?
And I would warn our sentimentalists to admit the nose among the features proper to heroes, otherwise the race will become extinct. There is already an amount of dropping of the curtain that is positively wearisome, even to extremely refined persons, in order to save him from apparent misconduct. He will have to go altogether, unless we boldly figure him as other men. Manifestly the moment his career as a fairy prince was at end, he was on the high road to a nose. The beneficent Power that discriminated for him having vanished utterly, he was, like a bankrupt gentleman, obliged to do all the work for himself. This is nothing more than the tendency of the generations downward from the ideal.
The springs that moved Wilfrid upon the present occasion were simple. We will strip him of his heroic trappings for one fleeting instant, and show them.
Jumping briskly from a restless bed, his first act was to address his features to the looking-glass: and he saw surely the most glorious sight for a hero of the knightly age that could possibly have been offered. The battle of the previous night was written there in one eloquent big lump, which would have passed him current as hero from end to end of the land in the great days of old. These are the tea-table days. His preference was for the visage of Wilfrid Pole, which he saw not. At the aspect of the fearful mask, this young man stared, and then cursed; and then, by an odd transition, he was reminded, as by the force of a sudden gust, that Emilia's hair was redolent of pipe-smoke.
His remark was, “I can't be seen in this state.” His thought (a dim reminiscence of poetical readings): “Ambrosial locks indeed!” A sad irony, which told that much gold-leaf had peeled away from her image in his heart.
Wilfrid was a gallant fellow, with good stuff in him. But, he was young. Ponder on that pregnant word, for you are about to see him grow. He was less a coxcomb than shamefaced and sentimental; and one may have these qualities, and be a coxcomb to boot, and yet be a gallant fellow. One may also be a gallant fellow, and harsh, exacting, double-dealing, and I know not what besides, in youth. The question asked by nature is, “Has he the heart to take and keep an impression?” For, if he has, circumstances will force him on and carve the figure of a brave man out of that mass of contradictions. In return for such benefits, he pays forfeit commonly of the dearest of the things prized by him in this terrestrial life. Whereat, albeit created man by her, he reproaches nature, and the sculptor, circumstance; forgetting that to make him man is their sole duty, and that what betrayed him was the difficulty thrown in their way by his quondam self—the pleasant boonfellow!
He forgets, in fact, that he was formerly led by his nose, and sacrificed his deeper feeling to a low disgust.
When the youth is called upon to look up, he can adore devoutly and ardently; but when it is his chance to look down on a fair head, he is, if not worse, a sentimental despot.
Wilfrid
