LITMIR.BIZ

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apparent alertness, but sighing inwardly, Guthrie followed his host to the room in the old part of the house which he called his office. Mr. Pennycuick carefully shut the door, opened a desk full of drawers and pigeon-holes, and brought forth a bit of cardboard with a shy air. He had never shown it to his family, and doubtless would not have shown it now if he had not been growing old and soft and sentimental. It was a prim and niggling little water-colour drawing of English Redford—a flat facade, with swallows as big as condors flying over the roofs, and dogs that could never have got through any doorway gambolling on the lawn in front. A tiny 'Mary Carey' in one corner was just, and only just, visible to the naked eye.

      "This was done for me, when we were both young, by her—your aunt," said Mr. Pennycuick, gloating upon his treasure over Guthrie's shoulder.

      "Not my aunt," explained Guthrie. "I don't know what relation, but a long way farther off than that. I am only a very small Carey, you know, sir."

      Mr. Pennycuick testily intimated, as before, that to be a Carey at all was enough for him. It was his excuse for these confidences, of which he was half ashamed.

      While Guthrie studied the poor picture, trying to look as interested as he was expected to be, his host turned and stared down into the drawer that had held it for so many years. Other things were there—the usual dead flowers, still holding together, still fusty to the nose; the usual yellowing ball glove, the usual dance and invitation cards, and faded letters, with their edges frayed; a book-marker with an embroidered 'Friendship', mixed up with forget-me-nots, in coloured silks upon perforated card, backed by a still gleaming red satin ribbon looped at one end and fringed out at the other; the book that it was tucked into ("The Language of Flowers"), a large valentine in a wrapper with many broken seals, some newspaper cuttings, half a sixpence, with a hole in it, and a daguerreotype in a leather case.

      This last he took up, opened and gazed at steadily, until his companion was compelled to interrupt him with an inquiring eye. Then he passed it over, and Guthrie turned it this way and that, until he caught the outlines of a long aquiline face between bunched ringlets, and a long bodice with a deep point, which he understood to have belonged to his distant relative at some period before he was born.

      "And this?" he murmured politely.

      "Yes," said Mr. Pennycuick; "that's her. And I've never shown it to a soul before—not even to my wife."

      "A—a sweet expression. Fair, was she?"

      "Fair as a lily, and as pure, and as beautiful. Gentle as a dove. With blue eyes."

      Guthrie did not care for this type just now. He liked them dark and flashing and spirited, like Miss Deborah. But he murmured "Hm-m-m" sympathetically.

      "The loveliest woman in England," the old man maundered on. "Surely you must have heard of her, in the family?"

      Guthrie had not only heard of her, as we know, he had seen her; but he shook a denying head, and dropped another hint of his own position in the family—outside the royal enclosure, as it were.

      "Well, now, I'll just tell you what happened," said Mr. Pennycuick, turning to the open drawer again. "Strictly between ourselves, of course—and only because you are a Carey, you understand—somehow you bring it all back—"

      He was fumbling with the big valentine, getting it out of its case.

      "Yes?" Guthrie encouraged him, while inwardly chafing to be gone.

      "You see this?" It was an exquisite structure of foamy paper lace, silver doves, gauzed-winged Cupids, transfixed hearts and wreaths of flowers, miraculously delicate. How it had kept its frail form intact for the many years of its age was a wonder to behold. "You see this?" said the old man. "Well, when I was a young fellow, the 14th of February was a time, I can tell you! You fellows nowadays, you don't know what fun is, nor how to go a-courting, nor anything. … I was at old Redford that year, and she was at Wellwood, and all through the sleet and snow I rode there after dark, tied my horse to a tree, crept up that nut-walk—you know it?—and round by the east terrace to the porch, and laid my valentine on the door-step, and clanged the bell, and hid behind the yew-fence till the man came out to get it. Then I went home. And last thing at night there was a clatter-clatter at the door at Redford, and I dashed out to catch whoever it was—her brother she sent—but wasn't quite smart enough. If only I'd seen him. I should have known—as I ought to have, without that; but I didn't. It never occurred to me that she'd send the answer so soon, and she had disguised her writing in the address, and there was another girl—name of Myrtle Vining—who used to have myrtle on her note-paper, and all over the place—and here these flowers looked to me as if they were meant for myrtle, and these two crossed arrows are like capital V—and how I came to be such an egregious dolt, Lord only knows! Well, I've paid for it—that I have—I've paid for it. Look here—don't touch! I'll show you what I found out when it was too late—after she'd played shy with me till I got angry and left her, and it was all over—my eyes aren't good enough to see it now, but I suppose it's there still—"

      With infinite care and the small blade of his pocket-knife, he lifted the tiny tip of a tiny Cupid's wing. With bent head and puckered eyelids, Guthrie peered under, and read: "Yours, M. C.," written on a space of paper hardly larger than a pin's head.

      "In my valentine that night," said Mr. Pennycuick, "I'd asked her to have me. I didn't hide it up in this way; I knew, while I wondered that she took no notice, that she must have seen it. This was her answer. And I never got it, sir, till she was married to another man—and then by the merest accident. Then I couldn't even have the satisfaction of telling her that I'd got it, and how it was I hadn't got it before. Of course, I wasn't going to upset her after she was married to another man. I've had to let her think what she liked of me."

      Guthrie was certainly interested now, but not as interested as he would have been the day before. The day before, this story would have moved him to pour out the tale of his own untimely and irreparable loss. He and old Mr. Pennycuick would—metaphorically speaking—have mingled their tears together.

      "You forget, off and on," said Mr. Pennycuick, as he wrapped up his treasure with shaking hands and excessive care—"perhaps for years at a time, while you are at work and full of affairs; but it comes back—especially when you are old and lonely, and you think how different your life might have been. You don't know anything about these things yet. Perhaps, when you are an old man like me, you will."

      Guthrie did know—no one better, he believed. But he did not say. Unknown to himself, he had reached that stage which Mr. Pennycuick came to when he began courting Sally Dimsdale, who had made him such a good and faithful (and uninteresting) wife.

      "It is better to have loved and lost than never to have loved at all," says the old proverb. True enough. But one might write it this way, with even more truth: "It is better to love and lose than to love and gain." One means by love, romantic love, of course.

      CHAPTER V.

       Table of Contents

      Dinner was over. They had all gone up to the big drawing-room, which was the feature of the 'new part'—the third house of the series which now made one. The new part was incongruously solid and modern, with a storey (comprising the drawing-room and its staircase only) which overtopped the adjacent roofs. Below it was a corresponding dining-room, and both apartments were furnished richly in the fashion of the time—tons of solid mahogany in the latter, and a pasture of grass-green carpet and brocade upholsterings in the former, lit up with gilded wall-paper and curtain-cornices as by rays of a pale sun. Curly rosewood sofas and arm-chairs, and marbled and mirrored chiffonniers, and the like, were in such profusion upstairs as to do away with the air of bleakness common to a right-angled chamber of large size and middle-class arrangement. A fine grand piano stood open in a prominent place. Four large shaded lamps and four piano candles pleasantly irradiated the whole; while three French windows, opening on a balcony, still stood wide to the summer night.

      By the great white marble mantelpiece, under the great gilt-framed pier-glass, filling

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