LITMIR.BIZ

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pleaded successfully. But the silence following the verdict was heavy; the silence contained an unheard thunder. It was the sound, as when out of Court the public is dissatisfied with a verdict. Are we expected to commit a social outrage in exposing our whole case to the public?—Imagine it for a moment as done. Men are ours at a word—or at least a word of invitation. Women we woo; fluent smooth versions of our tortures, mixed with permissible courtship, win the individual woman. And that unreasoning collective woman, icy, deadly, condemns the poor racked wretch who so much as remembers them! She is the enemy of Nature.—Tell us how? She is the slave of existing conventions.– And from what cause? She is the artificial production of a state that exalts her so long as she sacrifices daily and hourly to the artificial.

      Therefore she sides with Mrs. Burman—the foe of Nature: who, with her arts and gold lures, has now possession of the Law (the brass idol worshipped by the collective) to drive Nature into desolation.

      He placed himself to the right of Mrs. Burman, for the world to behold the couple: and he lent the world a sigh of disgust.

      What he could not do, as in other matters he did, was to rise above the situation, in a splendid survey and rapid view of the means of reversing it. He was too social to be a captain of the socially insurgent; imagination expired.

      But having a courageous Nataly to second him!—how then? It was the succour needed. Then he would have been ready to teach the world that Nature—honest Nature—is more to be prized than Convention: a new Era might begin.

      The thought was tonic for an instant and illuminated him springingly. It sank, excused for the flaccidity by Nataly's want of common adventurous daring. She had not taken to Lakelands; she was purchasing furniture from a flowing purse with a heavy heart—unfeminine, one might say; she preferred to live obscurely; she did not, one had to think—but it was unjust: and yet the accusation, that she did not cheerfully make a strain and spurt on behalf of her child, pressed to be repeated.

      These short glimpses at reflection in Victor were like the verberant twang of a musical instrument that has had a smart blow, and wails away independent of the player's cunning hand. He would have said, that he was more his natural self when the cunning hand played on him, to make him praise and uplift his beloved: mightily would it have astonished him to contemplate with assured perception in his own person the Nature he invoked. But men invoking Nature, do not find in her the Holy Mother she in such case becomes to her daughters, whom she so persecutes. Men call on her for their defence, as a favourable witness: she is a note of their rhetoric. They are not bettered by her sustainment; they have not, as women may have, her enaemic aid at a trying hour. It is not an effort at epigram to say, that whom she scourges most she most supports.

      An Opera-placard drew his next remark to Fenellan.

      'How Wagner seems to have stricken the Italians! Well, now, the Germans have their Emperor to head their armies, and I say that the German emperor has done less for their lasting fame and influence than Wagner has done. He has affected the French too; I trace him in Gounod's Romeo et Juliette—and we don't gain by it; we have a poor remuneration for the melody gone; think of the little shepherd's pipeing in Mireille; and there's another in Sapho-delicious. I held out against Wagner as long as I could. The Italians don't much more than Wagnerize in exchange for the loss of melody. They would be wiser in going back to Pergolese, Campagnole. The Mefistofole was good—of the school of the foreign master. Aida and Otello, no. I confess to a weakness for the old barleysugar of Bellini or a Donizetti-Serenade. Aren't you seduced by cadences? Never mind Wagner's tap of his paedagogue's baton—a cadence catches me still. Early taste for barley-sugar, perhaps! There's a march in Verdi's Attila and I Lombardi, I declare I'm in military step when I hear them, as in the old days, after leaving the Opera. Fredi takes little Mab Mountney to her first Opera to-night. Enough to make us old ones envious! You remember your first Opera, Fenellan? Sonnambula, with me. I tell you, it would task the highest poetry—say, require, if you like—showing all that's noblest, splendidest, in a young man, to describe its effect on me. I was dreaming of my box at the Opera for a year after. The Huguenots to-night. Not the best suited for little Mabsy; but she'll catch at the Rataplan. Capital Opera; we used to think it the best, before we had Tannhauser and Lohengrin and the Meistersinger.'

      Victor hinted notes of the Conspiration Scene closing the Third Act of the Huguenots. That sombre Chorus brought Mrs. Burman before him. He drummed the Rataplan, which sent her flying. The return of a lively disposition for dinner and music completed his emancipation from the yoke of the baleful creature sitting half her days in the chemist's shop; save that a thought of drugs brought the smell, and the smell the picture; she threatened to be an apparition at any moment pervading him through his nostrils. He spoke to Fenellan of hunger for dinner, a need for it; singular in one whose appetite ran to the stroke of the hour abreast with Armandine's kitchen-clock. Fenellan proposed a glass of sherry and bitters at his Club over the way. He had forgotten a shower of black- balls (attributable to the conjurations of old Ate) on a certain past day. Without word of refusal, Victor entered a wine-merchant's office, where he was unknown, and stating his wish for bitters and dry sherry, presently received the glass, drank, nodded to the administering clerk, named the person whom he had obliged and refreshed, and passed out, remarking to Fenellan: 'Colney on Clubs! he's right; they're the mediaeval in modern times, our Baron's castles, minus the Baron; dead against public life and social duties. Business excuses my City Clubs; but I shall take my name off my Club up West.'

      'More like monasteries, with a Committee for Abbot, and Whist for the services,' Fenellan said. 'Or tabernacles for the Chosen, and Grangousier playing Divinity behind the veil. Well, they're social.'

      'Sectionally social, means anything but social, my friend. However—and the monastery had a bell for the wanderer! Say, I'm penniless or poundless, up and down this walled desert of a street, I feel, I must feel, these palaces—if we're Christian, not Jews: not that the Jews are uncharitable; they set an: example, in fact . . . . '

      He rambled, amusingly to the complacent hearing of Fenellan, who thought of his pursuit of wealth and grand expenditure.

      Victor talked as a man having his mind at leaps beyond the subject.

      He was nearing to the Idea he had seized and lost on London Bridge.

      The desire for some good news wherewith to inspirit Nataly, withdrew him from his ineffectual chase. He had nought to deliver; on the contrary, a meditation concerning her comfort pledged him to concealment which was the no step, or passive state, most abhorrent to him.

      He snatched at the name of Themison.

      With Dr. Themison fast in his grasp, there was a report of progress to be made to Nataly; and not at all an empty report.

      Themison, then: he leaned on Themison. The woman's doctor should have an influence approaching to authority with her.

      Land-values in the developing Colonies, formed his theme of discourse to Fenellan: let Banks beware.

      Fenellan saw him shudder and rub the back of his head. 'Feel the wind?' he said.

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