LITMIR.BIZ

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at all events, I am very glad that she is not."

      Jim turns upon him with something of the expression of face worn by Mrs. Sarah Gamp on hearing Mrs. Prig express her belief that it was not by Mrs. Harris that her services would be required. "Why should you be glad of that, Betsy? She is unbeknown to you except by hearing. Why should you be glad?"

      As Byng's case is a more aggravated one than Mrs. Prig's, seeing that Elizabeth Le Marchant is 'unbeknown' to him even by hearing, so is the warmth, or rather coldness, with which his friend receives his remark not inferior to that of "Sairey."

      "I do not quite see how it affects you. Why are you glad?"

      "Why am I glad?" replies the younger man, with a lightening eye. "For the same reason that I am glad that Vandyke painted that picture" – pointing to it – "or that Shakespeare wrote As You Like It. The world is the richer by them all three."

      But to this poetic and flattering analogy, Jim's only answer is a surly "Humph!"

      CHAPTER V

      "There are no more by-path meadows where you may innocently linger, but the road lies long and straight and dusty to the grave. You may think you had a conscience and believed in God; but what is conscience to a wife?.. To marry is to domesticate the Recording Angel. Once you are married, there is nothing left for you – not even suicide – but to be good."

      There is no particular reason why Burgoyne should not impart to his companion what he knows – after all it is not very much – about their two countrywomen. Upon reflection he had told himself this, and conquered a reluctance, that he cannot account for, to mentioning their name; and to relating the story of those shadowy idyllic two months of his life, which form all of it that has ever come into contact with theirs. So that by the time – some thirty-six hours later – when they reach Florence, the younger man is in possession of as much information about the objects of their common interest as it is in the power of the elder one to impart.

      To neither of them, meanwhile, is any second glimpse vouchsafed of those objects, eagerly – though with different degrees of overtness in that eagerness – as they both look out for them among the luggage-piles and the tweed-clad English ladies at the station. It had been the intention of Burgoyne that he and his friend should put up at the same hotel as that inhabited by his betrothed and her family; hut, finding that it is full, he orders rooms at the Minerva, and in the fallen dusk of a rather chill spring night, finds himself traversing the short distance from the railway to that hotel.

      As he and Byng sit over their coffee after dinner in the salle à manger, almost its only tenants at that late hour, the younger man remarks matter-of-factly, as if stating a proposition almost too obvious to be worth uttering —

      "I suppose you are off to the Anglo-Américain now."

      "I think not," replies Jim slowly; "it is past ten, you see, and they are early people." He adds a moment later, as if suspecting his own excuse of insufficiency, "Mr. Wilson is rather an invalid, and there is also an invalid or semi-invalid sister; I think that I had better not disturb them to-night."

      Byng has never been engaged to be married, except in theory, and it is certainly no business of his to blow his friend's flagging ardour into flame, so he contents himself with an acquiescent observation to the effect that the train must have been late. But at all events the next morning finds Burgoyne paying his fiacre at the door of the Anglo-Américain, with the confidence of a person who is certain of finding those he seeks, a confidence justified by the result; for, having followed a waiter across a courtyard, and heard him knock at a door on the ground-floor, that door opens with an instantaneousness which gives the idea of an ear having been pricked to catch the expected rap, and the next moment, the intervening garçon having withdrawn, Jim stands face to face with his Amelia. Her features are all alight with pleasure, but her first words are not particularly amorous.

      "Would you mind coming into the dining-room? Sybilla is in the drawing-room already this morning. She said she was afraid it was going to be one of her bad days, so I thought" (rather regretfully) "that possibly she would be a little later than usual in coming down; but, on the contrary, she is much earlier."

      It is possible that an extremely ardent love may be independent of surroundings; may burn with as fierce a flame, when its owner or victim is seated on a hard horsehair chair beside a dining-room table, in a little dull hotel back room, as when the senses are courted by softly-cushioned lounges, penetrating flower-scents, and cunningly arranged bric-à-brac; but perhaps Jim's passion is not of this intense and Spartan quality. At all events a chill steals over him as Amelia leads the way into that small and uncheerful chamber where the Wilson family daily banquet. He is not so lost to all sense of what England and Amelia expect of him as not to take her in his arms and kiss her very kindly and warmly, before they sit down on two hard chairs side by side; and even when they have done so, he still holds her hand, and kisses it now and then. He has a great many things to say to her, but "out of the abundance of the heart the mouth speaketh" is not invariably true. Sometimes that very abundance clogs the utterance, and, after a ten months' separation, the hinges of even lovers' tongues are apt at first to be somewhat rusty.

      "And are you really glad to see me again?" asks the woman – she is scarcely a girl, having the doubtful advantage of being her betrothed's senior by two years. The horsehair chairs are obviously powerless to take the edge off her bliss; and she can scarcely command her voice as she asks the question.

      "I decline to answer all such futile inquiries," replies he, smiling not unkindly; but there is no tremor in his voice. "Even if I did not discourage them on principle, I should have no time to answer them to-day; I have so much to say to you that I do not know where to begin."

      "After ten months that is not very surprising," rejoins she, with a stifled sigh. There is no sentimental reproach in her words or tone; but in both lurks a note of wistfulness which gives his conscience a prick.

      "Of course not! of course not!" he rejoins hastily; "but it is not really ten months – no, surely – "

      "Ten months, one week, two days, four hours and a half!"

      Against such exactitude of memory what appeal has he? He attempts none, and only thinks with a faint unjust irritation that she might have spared him the odd hours.

      "And how are things going? How are you all getting on?" he asks, precipitating himself upon a fresh subject, since he feels prevented by circumstances from saying anything likely to bring him much distinction upon the old one. "Your father?"

      "His throat is better" – with an accent of hesitating filial piety, as if there were something else about him that was not better.

      "And Sybilla?"

      "Oh, poor Sybilla! she has her bad days now and then."

      "And, like the early Christians, she resolves to have all things in common. I expect that her family have their bad days too," says Jim dryly.

      "Well, we do sometimes," replies Amelia with reluctant admission; "but she really does try to control herself, poor thing; she is hardly ever unbearable now."

      "And Cecilia?"

      "She is rather in trouble just now; I fear there is no doubt that the man she was engaged to has thrown her over. You never saw him? Oh no! Of course, the affair came on after you left England."

      Burgoyne's eyebrows have gone up, and his face has assumed an expression less of surprise than admiration at this piece of news.

      "How many does that make? Four? Well, courage! There is luck in odd numbers; perhaps she will land the fifth."

      "She will tell you about it herself," says Amelia; "she tells everybody; she likes talking about it – it is very odd, but she does. When you throw me over" – rubbing his hand which she holds, with shy and deprecating caressingness, against her own cheek – "I shall tell nobody; I shall keep my misfortune very dark."

      "When I do!" repeats he with laughing emphasis; but to his own ear both the emphasis and the laughter sound flat. This is perhaps the cause why he, a second time, runs away from his subject; or, more probably, he is really in haste to get to the

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