The Eustace Diamonds. Anthony Trollope
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load of ignorance, which became serious from the isolation of her position. She had learned to draw cheques, but she had no other correct notion as to business. She knew nothing as to spending money, saving it, or investing it. Though she was clever, sharp, and greedy, she had no idea what her money would do, and what it would not; and there was no one whom she would trust to tell her. She had a young cousin, a barrister—a son of the dean's, whom she perhaps liked better than any other of her relations—but she declined advice even from her friend the barrister. She would have no dealings on her own behalf with the old family solicitor of the Eustaces—the gentleman who had now applied very formally for the restitution of the diamonds; but had appointed other solicitors to act for her. Messrs. Mowbray and Mopus were of opinion that as the diamonds had been given into her hands by her husband without any terms as to their surrender, no one could claim them. Of the manner in which the diamonds had been placed in her hands, no one knew more than she chose to tell.
But when she started with her house in town—a modest little house in Mount Street, near the park—just two years after her husband's death, she had a large circle of acquaintances. The Eustace people, and the Greystock people, and even the Linlithgow people, did not entirely turn their backs on her. The countess, indeed, was very venomous, as she well might be; but then the countess was known for her venom. The dean and his family were still anxious that she should be encouraged to discreet living, and, though they feared many things, thought that they had no ground for open complaint. The Eustace people were forbearing, and hoped the best. "D–––– the necklace!" John Eustace had said, and the bishop unfortunately had heard him say it! "John," said the prelate, "whatever is to become of the bauble, you might express your opinion in more sensible language." "I beg your lordship's pardon," said John, "I only mean to say that I think we shouldn't trouble ourselves about a few stones." But the family lawyer, Mr. Camperdown, would by no means take this view of the matter. It was, however, generally thought that the young widow opened her campaign more prudently than had been expected.
And now as so much has been said of the character and fortune and special circumstances of Lizzie Greystock, who became Lady Eustace as a bride, and Lady Eustace as a widow and a mother, all within the space of twelve months, it may be as well to give some description of her person and habits, such as they were at the period in which our story is supposed to have its commencement. It must be understood in the first place that she was very lovely;—much more so, indeed, now than when she had fascinated Sir Florian. She was small, but taller than she looked to be—for her form was perfectly symmetrical. Her feet and hands might have been taken as models by a sculptor. Her figure was lithe, and soft, and slim, and slender. If it had a fault it was this—that it had in it too much of movement. There were some who said that she was almost snake-like in her rapid bendings and the almost too easy gestures of her body; for she was much given to action, and to the expression of her thought by the motion of her limbs. She might certainly have made her way as an actress, had fortune called upon her to earn her bread in that fashion. And her voice would have suited the stage. It was powerful when she called upon it for power; but, at the same time, flexible and capable of much pretence at feeling. She could bring it to a whisper that would almost melt your heart with tenderness—as she had melted Sir Florian's, when she sat near to him reading poetry; and then she could raise it to a pitch of indignant wrath befitting a Lady Macbeth when her husband ventured to rebuke her. And her ear was quite correct in modulating these tones. She knew—and it must have been by instinct, for her culture in such matters was small—how to use her voice so that neither its tenderness nor its wrath should be misapplied. There were pieces in verse that she could read—things not wondrously good in themselves—so that she would ravish you; and she would so look at you as she did it that you would hardly dare either to avert your eyes or to return her gaze. Sir Florian had not known whether to do the one thing or the other, and had therefore seized her in his arms. Her face was oval—somewhat longer than an oval—with little in it, perhaps nothing in it, of that brilliancy of colour which we call complexion. And yet the shades of her countenance were ever changing between the softest and most transparent white, and the richest, mellowest shades of brown. It was only when she simulated anger—she was almost incapable of real anger—that she would succeed in calling the thinnest streak of pink from her heart, to show that there was blood running in her veins. Her hair, which was nearly black—but in truth with more of softness and of lustre than ever belong to hair that is really black—she wore bound tight round her perfect forehead, with one long love-lock hanging over her shoulder. The form of her head was so good that she could dare to carry it without a chignon, or any adventitious adjuncts from an artiste's shop. Very bitter was she in consequence when speaking of the head-gear of other women. Her chin was perfect in its round, not over long—as is the case with so many such faces, utterly spoiling the symmetry of the countenance. But it lacked a dimple, and therefore lacked feminine tenderness. Her mouth was perhaps faulty in being too small, or, at least, her lips were too thin. There was wanting from the mouth that expression of eager-speaking truthfulness which full lips will often convey. Her teeth were without flaw or blemish, even, small, white, and delicate; but perhaps they were shown too often. Her nose was small, but struck many as the prettiest feature of her face, so exquisite was the moulding of it, and so eloquent and so graceful the slight inflations of the transparent nostrils. Her eyes, in which she herself thought that the lustre of her beauty lay, were blue and clear, bright as cerulean waters. They were long large eyes—but very dangerous. To those who knew how to read a face, there was danger plainly written in them. Poor Sir Florian had not known. But, in truth, the charm of her face did not lie in her eyes. This was felt by many even who could not read the book fluently. They were too expressive, too loud in their demands for attention, and they lacked tenderness. How few there are among women, few perhaps also among men, who know that the sweetest, softest, tenderest, truest eyes which a woman can carry in her head are green in colour! Lizzie's eyes were not tender—neither were they true. But they were surmounted by the most wonderfully pencilled eyebrows that ever nature unassisted planted on a woman's face.
We have said that she was clever. We must add that she had in truth studied much. She spoke French, understood Italian, and read German. She played well on the harp, and moderately well on the piano. She sang, at least in good taste and in tune. Of things to be learned by reading she knew much, having really taken diligent trouble with herself. She had learned much poetry by heart, and could apply it. She forgot nothing, listened to everything, understood quickly, and was desirous to show not only as a beauty but as a wit. There were men at this time who declared that she was simply the cleverest and the handsomest woman in England. As an independent young woman she was perhaps one of the richest.
CHAPTER III
Lucy Morris
Although the first two chapters of this new history have been devoted to the fortunes and personal attributes of Lady Eustace, the historian begs his readers not to believe that that opulent and aristocratic Becky Sharp is to assume the dignity of heroine in the forthcoming pages. That there shall be any heroine the historian will not take upon himself to assert; but if there be a heroine, that heroine shall not be Lady Eustace. Poor Lizzie Greystock!—as men double her own age, and who had known her as a forward, capricious, spoilt child in her father's lifetime, would still call her. She did so many things, made so many efforts, caused so much suffering to others, and suffered so much herself throughout the scenes with which we are about to deal, that the story can hardly be told without giving her that prominence of place which has been assigned to her in the last two chapters.
Nor does the chronicler dare to put forward Lucy Morris as a heroine. The real heroine, if it be found possible to arrange her drapery for her becomingly, and to put that part which she enacted into properly heroic words, shall stalk in among us at some considerably later period of the narrative, when the writer shall have accustomed himself to the flow of words, and have worked himself up to a state of mind fit for the reception of noble acting and noble speaking. In the meantime,