Die," said the Vicar, "is generally considered worse than either pain or hunger. … It depends."
"You must explain all that to me later," said the Angel. "Unless I wake up. At present, please show me how to eat. If you will. I feel a kind of urgency. … "
"Pardon me," said the Vicar, and offered an elbow. "If I may have the pleasure of entertaining you. My house lies yonder—not a couple of miles from here."
"Your House!" said the Angel a little puzzled; but he took the Vicar's arm affectionately, and the two, conversing as they went, waded slowly through the luxuriant bracken, sun mottled under the trees, and on over the stile in the park palings, and so across the bee-swarming heather for a mile or more, down the hillside, home.
You would have been charmed at the couple could you have seen them. The Angel, slight of figure, scarcely five feet high, and with a beautiful, almost effeminate face, such as an Italian old Master might have painted. (Indeed, there is one in the National Gallery [Tobias and the Angel, by some artist unknown] not at all unlike him so far as face and spirit go.) He was robed simply in a purple-wrought saffron blouse, bare kneed and bare-footed, with his wings (broken now, and a leaden grey) folded behind him. The Vicar was a short, rather stout figure, rubicund, red-haired, clean-shaven, and with bright ruddy brown eyes. He wore a piebald straw hat with a black ribbon, a very neat white tie, and a fine gold watch-chain. He was so greatly interested in his companion that it only occurred to him when he was in sight of the Vicarage that he had left his gun lying just where he had dropped it amongst the bracken.
He was rejoiced to hear that the pain of the bandaged wing fell rapidly in intensity.
Parenthesis on Angels. IX.
Let us be plain. The Angel of this story is the Angel of Art, not the Angel that one must be irreverent to touch—neither the Angel of religious feeling nor the Angel of popular belief. The last we all know. She is alone among the angelic hosts in being distinctly feminine: she wears a robe of immaculate, unmitigated white with sleeves, is fair, with long golden tresses, and has eyes of the blue of Heaven. Just a pure woman she is, pure maiden or pure matron, in her robe de nuit, and with wings attached to her shoulder blades. Her callings are domestic and sympathetic, she watches over a cradle or assists a sister soul heavenward. Often she bears a palm leaf, but one would not be surprised if one met her carrying a warming-pan softly to some poor chilly sinner. She it was who came down in a bevy to Marguerite in prison, in the amended last scene in Faust at the Lyceum, and the interesting and improving little children that are to die young, have visions of such angels in the novels of Mrs. Henry Wood. This white womanliness with her indescribable charm of lavender-like holiness, her aroma of clean, methodical lives, is, it would seem after all, a purely Teutonic invention. Latin thought knows her not; the old masters have none of her. She is of a piece with that gentle innocent ladylike school of art whereof the greatest triumph is "a lump in one's throat," and where wit and passion, scorn and pomp, have no place. The white angel was made in Germany, in the land of blonde women and the domestic sentiments. She comes to us cool and worshipful, pure and tranquil, as silently soothing as the breadth and calmness of the starlit sky, which also is so unspeakably dear to the Teutonic soul. … We do her reverence. And to the angels of the Hebrews, those spirits of power and mystery, to Raphael, Zadkiel, and Michael, of whom only Watts has caught the shadow, of whom only Blake has seen the splendour, to them too, do we do reverence.
But this Angel the Vicar shot is, we say, no such angel at all, but the Angel of Italian art, polychromatic and gay. He comes from the land of beautiful dreams and not from any holier place. At best he is a popish creature. Bear patiently, therefore, with his scattered remiges, and be not hasty with your charge of irreverence before the story is read.
At the Vicarage. X.
The Curate's wife and her two daughters and Mrs. Jehoram were still playing at tennis on the lawn behind the Vicar's study, playing keenly and talking in gasps about paper patterns for blouses. But the Vicar forgot and came in that way.
They saw the Vicar's hat above the rhododendrons, and a bare curly head beside him. "I must ask him about Susan Wiggin," said the Curate's wife. She was about to serve, and stood with a racket in one hand and a ball between the fingers of the other. "He really ought to have gone to see her—being the Vicar. Not George. I——Ah!"
For the two figures suddenly turned the corner and were visible. The Vicar, arm in arm with——
You see, it came on the Curate's wife suddenly. The Angel's face being towards her she saw nothing of the wings. Only a face of unearthly beauty in a halo of chestnut hair, and a graceful figure clothed in a saffron garment that barely reached the knees. The thought of those knees flashed upon the Vicar at once. He too was horrorstruck. So were the two girls and Mrs. Jehoram. All horrorstruck. The Angel stared in astonishment at the horrorstruck group. You see, he had never seen anyone horrorstruck before.
"Mis—ter Hilyer!" said the Curate's wife. "This is too much!" She stood speechless for a moment. "Oh!"
She swept round upon the rigid girls. "Come!" The Vicar opened and shut his voiceless mouth. The world hummed and spun about him. There was a whirling of zephyr skirts, four impassioned faces sweeping towards the open door of the passage that ran through the vicarage. He felt his position went with them.
"Mrs. Mendham," said the Vicar, stepping forward. "Mrs. Mendham. You don't understand——"
"Oh!" they all said again.
One, two, three, four skirts vanished in the doorway. The Vicar staggered half way across the lawn and stopped, aghast. "This comes," he heard the Curate's wife say, out of the depth of the passage, "of having an unmarried vicar——." The umbrella stand wobbled. The front door of the vicarage slammed like a minute gun. There was silence for a space.
"I might have thought," he said. "She is always so hasty."
He put his hand to his chin—a habit with him. Then turned his face to his companion. The Angel was evidently well bred. He was holding up Mrs. Jehoram's sunshade—she had left it on one of the cane chairs—and examining it with extraordinary interest. He opened it. "What a curious little mechanism!" he said. "What can it be for?"
The Vicar did not answer. The angelic costume certainly was—the Vicar knew it was a case for a French phrase—but he could scarcely remember it. He so rarely used French. It was not de trop, he knew. Anything but de trop. The Angel was de trop, but certainly not his costume. Ah! Sans culotte!
The Vicar examined his visitor critically—for the first time. "He will be difficult to explain," he said to himself softly.
The Angel stuck the sunshade into the turf and went to smell the sweet briar. The sunshine fell upon his brown hair and gave it almost the appearance of a halo. He pricked his finger. "Odd!" he said. "Pain again."
"Yes," said the Vicar, thinking aloud. "He's very beautiful and curious as he is. I should like him best so. But I am afraid I must."
He approached the Angel with a nervous cough.
