The Hand of Ethelberta: A Comedy in Chapters. Thomas Hardy
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thought you had been running all the way; you look so warm.’
‘It is a warm evening… Yes, and I have been thinking of old times as I walked along,’ she said, ‘and how people’s positions in life alter. Have I not heard you say that while I was at Bonn, at school, some family that we had known had their household broken up when the father died, and that the children went away you didn’t know where?’
‘Do you mean the Julians?’
‘Yes, that was the name.’
‘Why, of course you know it was the Julians. Young Julian had a day or two’s fancy for you one summer, had he not? – just after you came to us, at the same time, or just before it, that my poor boy and you were so desperately attached to each other.’
‘O yes, I recollect,’ said Ethelberta. ‘And he had a sister, I think. I wonder where they went to live after the family collapse.’
‘I do not know,’ said Lady Petherwin, taking up another sheet of paper. ‘I have a dim notion that the son, who had been brought up to no profession, became a teacher of music in some country town – music having always been his hobby. But the facts are not very distinct in my memory.’ And she dipped her pen for another letter.
Ethelberta, with a rather fallen countenance, then left her mother-in-law, and went where all ladies are supposed to go when they want to torment their minds in comfort – to her own room. Here she thoughtfully sat down awhile, and some time later she rang for her maid.
‘Menlove,’ she said, without looking towards a rustle and half a footstep that had just come in at the door, but leaning back in her chair and speaking towards the corner of the looking-glass, ‘will you go down and find out if any gentleman named Julian has been staying in this house? Get to know it, I mean, Menlove, not by directly inquiring; you have ways of getting to know things, have you not? If the devoted George were here now, he would help – ’
‘George was nothing to me, ma’am.’
‘James, then.’
‘And I only had James for a week or ten days: when I found he was a married man, I encouraged his addresses very little indeed.’
‘If you had encouraged him heart and soul, you couldn’t have fumed more at the loss of him. But please to go and make that inquiry, will you, Menlove?’
In a few minutes Ethelberta’s woman was back again. ‘A gentleman of that name stayed here last night, and left this afternoon.’
‘Will you find out his address?’
Now the lady’s-maid had already been quick-witted enough to find out that, and indeed all about him; but it chanced that a fashionable illustrated weekly paper had just been sent from the bookseller’s, and being in want of a little time to look it over before it reached her mistress’s hands, Mrs. Menlove retired, as if to go and ask the question – to stand meanwhile under the gas-lamp in the passage, inspecting the fascinating engravings. But as time will not wait for tire-women, a natural length of absence soon elapsed, and she returned again and said,
‘His address is, Upper Street, Sandbourne.’
‘Thank you, that will do,’ replied her mistress.
The hour grew later, and that dreamy period came round when ladies’ fancies, that have lain shut up close as their fans during the day, begin to assert themselves anew. At this time a good guess at Ethelberta’s thoughts might have been made from her manner of passing the minutes away. Instead of reading, entering notes in her diary, or doing any ordinary thing, she walked to and fro, curled her pretty nether lip within her pretty upper one a great many times, made a cradle of her locked fingers, and paused with fixed eyes where the walls of the room set limits upon her walk to look at nothing but a picture within her mind.
2. CHRISTOPHER’S HOUSE – SANDBOURNE TOWN – SANDBOURNE MOOR
During the wet autumn of the same year, the postman passed one morning as usual into a plain street that ran through the less fashionable portion of Sandbourne, a modern coast town and watering-place not many miles from the ancient Anglebury. He knocked at the door of a flat-faced brick house, and it was opened by a slight, thoughtful young man, with his hat on, just then coming out. The postman put into his hands a book packet, addressed, ‘Christopher Julian, Esq.’
Christopher took the package upstairs, opened it with curiosity, and discovered within a green volume of poems, by an anonymous writer, the title-page bearing the inscription, ‘Metres by E.’ The book was new, though it was cut, and it appeared to have been looked into. The young man, after turning it over and wondering where it came from, laid it on the table and went his way, being in haste to fulfil his engagements for the day.
In the evening, on returning home from his occupations, he sat himself down cosily to read the newly-arrived volume. The winds of this uncertain season were snarling in the chimneys, and drops of rain spat themselves into the fire, revealing plainly that the young man’s room was not far enough from the top of the house to admit of a twist in the flue, and revealing darkly a little more, if that social rule-of-three inverse, the higher in lodgings the lower in pocket, were applicable here. However, the aspect of the room, though homely, was cheerful, a somewhat contradictory group of furniture suggesting that the collection consisted of waifs and strays from a former home, the grimy faces of the old articles exercising a curious and subduing effect on the bright faces of the new. An oval mirror of rococo workmanship, and a heavy cabinet-piano with a cornice like that of an Egyptian temple, adjoined a harmonium of yesterday, and a harp that was almost as new. Printed music of the last century, and manuscript music of the previous evening, lay there in such quantity as to endanger the tidiness of a retreat which was indeed only saved from a chronic state of litter by a pair of hands that sometimes played, with the lightness of breezes, about the sewing-machine standing in a remote corner – if any corner could be called remote in a room so small.
Fire lights and shades from the shaking flames struck in a butterfly flutter on the underparts of the mantelshelf, and upon the reader’s cheek as he sat. Presently, and all at once, a much greater intentness pervaded his face: he turned back again, and read anew the subject that had arrested his eyes. He was a man whose countenance varied with his mood, though it kept somewhat in the rear of that mood. He looked sad when he felt almost serene, and only serene when he felt quite cheerful. It is a habit people acquire who have had repressing experiences.
A faint smile and flush now lightened his face, and jumping up he opened the door and exclaimed, ‘Faith! will you come here for a moment?’
A prompt step was heard on the stairs, and the young person addressed as Faith entered the room. She was small in figure, and bore less in the form of her features than in their shades when changing from expression to expression the evidence that she was his sister.
‘Faith – I want your opinion. But, stop, read this first.’ He laid his finger upon a page in the book, and placed it in her hand.
The girl drew from her pocket a little green-leather sheath, worn at the edges to whity-brown, and out of that a pair of spectacles, unconsciously looking round the room for a moment as she did so, as if to ensure that no stranger saw her in the act of using them. Here a weakness was uncovered at once; it was a small, pretty, and natural one; indeed, as weaknesses go in the great world, it might almost have been called a commendable trait. She then began to read, without sitting down.
These ‘Metres by E.’ composed a collection of soft and marvellously musical rhymes, of a nature known as the vers de société. The lines presented a series of playful defences of the supposed strategy of womankind in fascination, courtship, and marriage – the whole teeming with ideas bright as mirrors and just as unsubstantial, yet forming a brilliant argument to justify the ways of girls to men. The pervading characteristic of the mass was the means of forcing into notice, by strangeness of contrast, the single mournful poem that the book contained. It was placed at the very end, and under the title of ‘Cancelled Words,’ formed a whimsical and rather affecting love-lament, somewhat in the tone of many of Sir Thomas Wyatt’s poems. This was the piece which had arrested Christopher’s attention, and had been pointed