Indicates a Soul Prepared for Desperation

The month was August, four days before the closing of Parliament, and Diana fancied it good for Arthur Rhodes to run down with her to Copsley. He came to her invitation joyfully, reminding her of Lady Dunstane’s wish to hear some chapters of THE CANTATRICE, and the MS. was packed. They started, taking rail and fly, and winding up the distance on foot. August is the month of sober maturity and majestic foliage, songless, but a crowned and royal-robed queenly month; and the youngster’s appreciation of the homely scenery refreshed Diana; his delight in being with her was also pleasant. She had no wish to exchange him for another; and that was a strengthening thought.

At Copsley the arrival of their luggage had prepared the welcome. Warm though it was, Diana perceived a change in Emma, an unwonted reserve, a doubtfulness of her eyes, in spite of tenderness; and thus thrown back on herself, thinking that if she had followed her own counsel (as she called her impulse) in old days, there would have been no such present misery, she at once, and unconsciously, assumed a guarded look. Based on her knowledge of her honest footing, it was a little defiant. Secretly in her bosom it was sharpened to a slight hostility by the knowledge that her mind had been straying. The guilt and the innocence combined to clothe her in mail, the innocence being positive, the guilt so vapoury. But she was armed only if necessary, and there was no requirement for armour. Emma did not question at all. She saw the alteration in her Tony: she was too full of the tragic apprehensiveness, overmastering her to speak of trifles. She had never confided to Tony the exact nature and the growth of her malady, thinking it mortal, and fearing to alarm her dearest.

A portion of the manuscript was read out by Arthur Rhodes in the evening; the remainder next morning. Redworth perceptibly was the model of the English hero; and as to his person, no friend could complain of the sketch; his clear-eyed heartiness, manliness, wholesomeness—a word of Lady Dunstane’s regarding him,—and his handsome braced figure, were well painted. Emma forgave the insistance on a certain bluntness of the nose, in consideration of the fond limning of his honest and expressive eyes, and the ‘light on his temples,’ which they had noticed together. She could not so easily forgive the realistic picture of the man: an exaggeration, she thought, of small foibles, that even if they existed, should not have been stressed. The turn for ‘calculating’ was shown up ridiculously; Mr. Cuthbert Dering was calculating in his impassioned moods as well as in his cold. His head was a long division of ciphers. He had statistics for spectacles, and beheld the world through them, and the mistress he worshipped.

‘I see,’ said Emma, during a pause; ‘he is a Saxon. You still affect to have the race en grippe, Tony.’

‘I give him every credit for what he is,’ Diana replied. ‘I admire the finer qualities of the race as much as any one. You want to have them presented to you in enamel, Emmy.’

But the worst was an indication that the mania for calculating in and out of season would lead to the catastrophe destructive of his happiness. Emma could not bear that. Without asking herself whether it could be possible that Tony knew the secret, or whether she would have laid it bare, her sympathy for Redworth revolted at the exposure. She was chilled. She let it pass; she merely said: ‘I like the writing.’

Diana understood that her story was condemned.

She put on her robes of philosophy to cloak discouragement. ‘I am glad the writing pleases you.’

‘The characters are as true as life!’ cried Arthur Rhodes. ‘The Cantatrice drinking porter from the pewter at the slips after harrowing the hearts of her audience, is dearer to me than if she had tottered to a sofa declining sustenance; and because her creatrix has infused such blood of life into her that you accept naturally whatever she does. She was exhausted, and required the porter, like a labourer in the cornfield.’

Emma looked at him, and perceived the poet swamped by the admirer. Taken in conjunction with Mr. Cuthbert Dering’s frenzy for calculating, she disliked the incident of the porter and the pewter.

‘While the Cantatrice swallowed her draught, I suppose Mr. Dering counted the cost?’ she said.

‘It really might be hinted,’ said Diana.

The discussion closed with the accustomed pro and con upon the wart of Cromwell’s nose, Realism rejoicing in it, Idealism objecting.

Arthur Rhodes was bidden to stretch his legs on a walk along the heights in the afternoon, and Emma was further vexed by hearing Tony complain of Redworth’s treatment of the lad, whom he would not assist to any of the snug little posts he was notoriously able to dispense.

‘He has talked of Mr. Rhodes to me,’ said Emma. ‘He thinks the profession of literature a delusion, and doubts the wisdom of having poets for clerks.’

‘John–Bullish!’ Diana exclaimed. ‘He speaks contemptuously of the poor boy.’

‘Only inasmuch as the foolishness of the young man in throwing up the Law provokes his practical mind to speak.’

‘He might take my word for the “young man’s” ability. I want him to have the means of living, that he may write. He has genius.’

‘He may have it. I like him, and have said so. If he were to go back to his law-stool, I have no doubt that Redworth would manage to help him.’

‘And make a worthy ancient Braddock of a youth of splendid promise! Have I sketched him too Saxon?’

‘It is the lens, and hot the tribe, Tony.’

THE CANTATRICE was not alluded to any more; but Emma’s disapproval blocked the current of composition, already subject to chokings in the brain of the author. Diana stayed three days at Copsley, one longer than she had intended, so that Arthur Rhodes might have his fill of country air.

‘I would keep him, but I should be no compani............