It did not occur to Miss Walshingham at the time to ask why his progress in art depended upon his presence in Folkestone. There was some more questions and answers—they continued to talk to him for a little time, even when Mr. Chester Coote had come into the room—and when at last the conversation had died out it dawned upon Kipps just how much his cut wrist had done for him. …
He went to sleep that night revising that conversation for the twentieth time, treasuring this and expanding that, and inserting things he might have said to Miss Walshingham, things he might still say about himself—in relation more or less explicit to her. He wasn't quite sure if he wouldn't like his arm to mortify a bit, which would make him interesting, or to heal up absolutely, which would show the exceptional purity of his blood.
§4
The affair of the broken window happened late in April, and the class came to an end in May. In that interval there were several small incidents and great developments of emotion. I have done Kipps no justice if I have made it seem that his face was unsightly. It was, as the freckled girl pointed out to Helen Walshingham, an "interesting" face, and that aspect of him which presented chiefly erratic hair and glowing ears ceased to prevail.
They talked him over, and the freckled girl discovered there was something "wistful" in his manner. They detected a "natural delicacy," and the freckled girl set herself to draw him out from that time forth. The freckled girl was nineteen, and very wise and motherly and benevolent, and really she greatly preferred drawing out Kipps to wood-carving. It was quite evident to her that Kipps was in love with Helen Walshingham, and it struck her as a queer and romantic and pathetic and extremely interesting phenomenon. And as at that time she regarded Helen as "simply lovely," it seemed only right and proper that she should assist Kipps in his modest efforts to place himself in a state of absolute abandon upon her altar.
Under her sympathetic management the position of Kipps was presently defined quite clearly. He was unhappy in his position—misunderstood. He told her he "didn't seem to get on like" with customers, and she translated this for him as "too sensitive." The discontent with his fate in life, the dreadful feeling that education was slipping by him, troubles that time and usage were glazing over a little, revived to their old acuteness but not to their old hopelessness. As a basis for sympathy indeed they were even a source of pleasure.
And one day at dinner it happened that Carshot and Buggins fell talking of "these here writers," and how Dickens had been a labeller of blacking and Thackeray "an artist who couldn't sell a drawing," and how Samuel Johnson had walked to London without any boots, having thrown away his only pair "out of pride." "It's luck," said Buggins, "to a very large extent. They just happen to hit on something that catches on, and there you are!"
"Nice easy life they have of it, too," said Miss Mergle. "Write just an hour or so, and done for the day! Almost like gentlefolks."
"There's more work in it than you'd think," said Carshot, stooping to a mouthful.
"I wouldn't mind changing, for all that," said Buggins. "I'd like to see one of these here authors marking off with Jimmy."
"I think they copy from each other a good deal," said Miss Mergle.
"Even then (chup, chup, chup)," said Carshot, "there's writing it out in their own hands."
They proceeded to enlarge upon the literary life, on its ease and dignity, on the social recognition accorded to those who led it, and on the ample gratifications their vanity achieved. "Pictures everywhere—never get a new suit without being photographed—almost like Royalty," said Miss Mergle.
And all this talk impressed the imagination of Kipps very greatly. Here was a class that seemed to bridge the gulf. On the one hand essentially Low, but by factitious circumstances capable of entering upon those levels of social superiority to which all true Englishmen aspire, those levels from which one may tip a butler, scorn a tailor, and even commune with those who lead "men" into battle. "Almost like gentlefolks"—that was it! He brooded over these things in the afternoon, until they blossomed into daydreams. Suppose, for example, he had chanced to write a book, a well-known book, under an assumed name, and yet kept on being a draper all the time. … Impossible, of course, but suppose—it made quite a long dream.
And at the next wood-carving class he let it be drawn from him that his real choice in life was to be a Nawther—"only one doesn't get a chance."
After that there were times when Kipps had that pleasant sense that comes of attracting interest. He was a mute, inglorious Dickens, or at any rate something of that sort, and they were all taking him at that. The discovery of this indefinable "something in" him, the development of which was now painfully restricted and impossible, did much to bridge the gulf between himself and Miss Walshingham. He was unfortunate, he was futile, but he was not "common." Even now with help … ? The two girls, and the freckled girl in particular, tried to "stir him up" to some effort to do his imputed potentialities justice. They were still young enough to believe that to nice and niceish members of the male sex—more especially when under the stimulus of feminine encouragement—nothing is finally impossible.
The freckled girl was, I say, the stage manager of this affair, but Miss Walshingham was the presiding divinity. A touch of proprietorship came in her eyes at times when she looked at him. He was hers—unconditionally—and she knew it.
To her directly Kipps scarcely ever made a speech. The enterprising things that he was continually devising to say to her, he usually did not say, or he said them in a suitably modified form to the girl with the freckles. And one day the girl with the freckles smote him to the heart. She said to him, with the faintest indication of her head across the class-room to where her friend reached a cast from the shelf, "I do think Helen Walshingham is sometimes the most lovely person in the world. Look at her now!"
Kipps gasped for a moment. The moment lengthened, and she regarded him as an intelligent young surgeon might regard an operation without anæsthetics.
"You're right," he said, and then looked at her with an entire abandonment of visage.
She coloured under his glare of silent avowal, and he blushed brightly.
"I think so, too," he said hoarsely, cleared his throat, and after a meditative moment proceeded sacramentally with his wood-carving.
"You are wonderful," said the freckled girl to Miss Walshingham, apropos of nothing, as they went on their way home together. "He simply adores you."
"But, my dear, what have I done?" said Helen.
"That's just it," said the freckled girl. "What have you done?"
And then with a terrible swiftness came the last class of the course, to terminate this relationship altogether. Kipps was careless of dates, and the thing came upon him with an effect of abrupt surprise. Just as his petals were expanding so hopefully, "Finis," and the thing was at an end. But Kipps did not fully appreciate that the end was indeed and really and truly the end, until he was back in the Emporium after the end was over.
The end began practically in the middle of the last class, when the freckled girl broached the topic of terminations. She developed the question of just how he was going on after the class ended. She hoped he would stick to certain resolutions of self-improvement he had breathed. She said quite honestly that he owed it to himself to develop his possibilities. He expressed firm resolve, but dwelt on difficulties. He had no books. She instructed him how to get books from the public library. He was to get a form of application for a ticket signed by a ratepayer; and he said "of course," when she said Mr. Shalford would do that, though all the time he knew perfectly well it would
