The Essential Henry James Collection. Генри Джеймс
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and the well-worn brick pavement. But she had no wish to look out, for this would have interfered with her theory that there was a strange, unseen place on the other side--a place which became to the child's imagination, according to its different moods, a region of delight or of terror.
It was in the "office" still that Isabel was sitting on that melancholy afternoon of early spring which I have just mentioned. At this time she might have had the whole house to choose from, and the room she had selected was the most depressed of its scenes. She had never opened the bolted door nor removed the green paper (renewed by other hands) from its sidelights; she had never assured herself that the vulgar street lay beyond. A crude, cold rain fell heavily; the spring-time was indeed an appeal-- and it seemed a cynical, insincere appeal--to patience. Isabel, however, gave as little heed as possible to cosmic treacheries; she kept her eyes on her book and tried to fix her mind. It had lately occurred to her that her mind was a good deal of a vagabond, and she had spent much ingenuity in training it to a military step and teaching it to advance, to halt, to retreat, to perform even more complicated manoeuvres, at the word of command. Just now she had given it marching orders and it had been trudging over the sandy plains of a history of German Thought. Suddenly she became aware of a step very different from her own intellectual pace; she listened a little and perceived that some one was moving in the library, which communicated with the office. It struck her first as the step of a person from whom she was looking for a visit, then almost immediately announced itself as the tread of a woman and a stranger--her possible visitor being neither. It had an inquisitive, experimental quality which suggested that it would not stop short of the threshold of the office; and in fact the doorway of this apartment was presently occupied by a lady who paused there and looked very hard at our heroine. She was a plain, elderly woman, dressed in a comprehensive waterproof mantle; she had a face with a good deal of rather violent point.
"Oh," she began, "is that where you usually sit?" She looked about at the heterogeneous chairs and tables.
"Not when I have visitors," said Isabel, getting up to receive the intruder.
She directed their course back to the library while the visitor continued to look about her. "You seem to have plenty of other rooms; they're in rather better condition. But everything's immensely worn."
"Have you come to look at the house?" Isabel asked. "The servant will show it to you."
"Send her away; I don't want to buy it. She has probably gone to look for you and is wandering about upstairs; she didn't seem at all intelligent. You had better tell her it's no matter." And then, since the girl stood there hesitating and wondering, this unexpected critic said to her abruptly: "I suppose you're one of the daughters?"
Isabel thought she had very strange manners. "It depends upon whose daughters you mean."
"The late Mr. Archer's--and my poor sister's."
"Ah," said Isabel slowly, "you must be our crazy Aunt Lydia!"
"Is that what your father told you to call me? I'm your Aunt Lydia, but I'm not at all crazy: I haven't a delusion! And which of the daughters are you?"
"I'm the youngest of the three, and my name's Isabel."
"Yes; the others are Lilian and Edith. And are you the prettiest?"
"I haven't the least idea," said the girl.
"I think you must be." And in this way the aunt and the niece made friends. The aunt had quarrelled years before with her brother-in-law, after the death of her sister, taking him to task for the manner in which he brought up his three girls. Being a high-tempered man he had requested her to mind her own business, and she had taken him at his word. For many years she held no communication with him and after his death had addressed not a word to his daughters, who had been bred in that disrespectful view of her which we have just seen Isabel betray. Mrs. Touchett's behaviour was, as usual, perfectly deliberate. She intended to go to America to look after her investments (with which her husband, in spite of his great financial position, had nothing to do) and would take advantage of this opportunity to enquire into the condition of her nieces. There was no need of writing, for she should attach no importance to any account of them she should elicit by letter; she believed, always, in seeing for one's self. Isabel found, however, that she knew a good deal about them, and knew about the marriage of the two elder girls; knew that their poor father had left very little money, but that the house in Albany, which had passed into his hands, was to be sold for their benefit; knew, finally, that Edmund Ludlow, Lilian's husband, had taken upon himself to attend to this matter, in consideration of which the young couple, who had come to Albany during Mr. Archer's illness, were remaining there for the present and, as well as Isabel herself, occupying the old place.
"How much money do you expect for it?" Mrs. Touchett asked of her companion, who had brought her to sit in the front parlour, which she had inspected without enthusiasm.
"I haven't the least idea," said the girl.
"That's the second time you have said that to me," her aunt rejoined. "And yet you don't look at all stupid."
"I'm not stupid; but I don't know anything about money."
"Yes, that's the way you were brought up--as if you were to inherit a million. What have you in point of fact inherited?"
"I really can't tell you. You must ask Edmund and Lilian; they'll be back in half an hour."
"In Florence we should call it a very bad house," said Mrs. Touchett; "but here, I dare say, it will bring a high price. It ought to make a considerable sum for each of you. In addition to that you must have something else; it's most extraordinary your not knowing. The position's of value, and they'll probably pull it down and make a row of shops. I wonder you don't do that yourself; you might let the shops to great advantage."
Isabel stared; the idea of letting shops was new to her. "I hope they won't pull it down," she said; "I'm extremely fond of it."
"I don't see what makes you fond of it; your father died here."
"Yes; but I don't dislike it for that," the girl rather strangely returned. "I like places in which things have happened--even if they're sad things. A great many people have died here; the place has been full of life."
"Is that what you call being full of life?"
"I mean full of experience--of people's feelings and sorrows. And not of their sorrows only, for I've been very happy here as a child."
"You should go to Florence if you like houses in which things have happened--especially deaths. I live in an old palace in which three people have been murdered; three that were known and I don't know how many more besides."
"In an old palace?" Isabel repeated.
"Yes, my dear; a very different affair from this. This is very bourgeois."
Isabel felt some emotion, for she had always thought highly of her grandmother's house. But the emotion was of a kind which led her to say: "I should like very much to go to Florence."
"Well, if you'll be very good, and do everything I tell you I'll take you there," Mrs. Touchett declared.
Our young woman's emotion deepened; she flushed a little and smiled at her aunt in silence. "Do everything you tell me? I don't think I can promise that."
"No, you don't look like a person of that sort. You're fond of your own way; but it's not for me to blame you."
"And yet, to go to Florence," the girl exclaimed in a moment, "I'd promise almost anything!"
Edmund and Lilian were slow to return, and Mrs. Touchett had an hour's uninterrupted talk with her niece, who found her a strange and interesting figure: a figure essentially--almost the first she had ever met. She was as eccentric as Isabel had always supposed; and hitherto, whenever the girl had heard people described as eccentric, she had thought of them as offensive or alarming. The term had always suggested to her something grotesque and even sinister. But her aunt made it a matter of high but easy irony, or comedy,