The Emancipated. George Gissing

he looked into her eyes. With difficulty he constrained himself to common social necessities, and made show of conversing with the elder ladies. He wished to gaze steadily at the girl's face, and connect past with present; to revive his memory of six years ago, and convince himself that such development was possible. At the same time he became aware of a reciprocal curiosity in Cecily. When he turned towards her she met his glance, and when he spoke she gave him a smile of pleased attentiveness. The consequence was that he soon began to speak freely, to pick his words, no balance his sentences and shun the commonplace.

      "I saw Florence and Rome in '76," he replied to a question from Mrs. Lessingham. "In Rome my travelling companion fell ill, and we returned without coming further south. It is wrong, however, to say that I saw anything; my mind was in far too crude a state to direct my eyes to any purpose. I stared about me a good deal, and got some notions of topography, and there the matter ended for the time."

      "The benefit came with subsequent reflection, no doubt," said Mrs. Lessingham, who found one of her greatest pleasures in listening to the talk of young men with brains. Whenever it was possible, she gathered such individuals about her and encouraged them to discourse of themselves, generally quite as much to their satisfaction as to her own. Already she had invited with some success the confidence of Mr. Clifford Marsh, who proved interesting, but not unfathomable; he belonged to a class with which she was tolerably familiar. Reuben Elgar, she perceived at once, was not without characteristics linking him to that same group of the new generation, but it seemed probable that its confines were too narrow for him. There was comparatively little affectation in his manner, and none in his aspect; his voice rang with a sincerity which claimed serious audience, and his eyes had something more than surface gleamings. Possibly he belonged to the unclassed and the unclassable, in which case the interest attaching to him was of the highest kind.

      "Subsequent reflection," returned Elgar, "has, at all events, enabled me to see myself as I then was; and I suppose self-knowledge is the best result of travel."

      "If one agrees that self-knowledge is ever a good at all," said the speculative lady, with her impartial smile.

      "To be sure." Elgar looked keenly at her, probing the significance of the remark. "The happy human being will make each stage of his journey a phase of more or less sensual enjoyment, delightful at the time and valuable in memory. The excursion will be his life in little. I envy him, but I can't imitate him."

      "Why envy him?" asked Eleanor.

      "Because he is happy; surely a sufficient ground."

      "Yet you give the preference to self-knowledge."

      "Yes, I do. Because in that direction my own nature tends to develop itself. But I envy every lower thing in creation. I won't pretend to say how it is with other people who are forced along an upward path; in my own case every step is made with a groan, and why shouldn't I confess it?"

      "To do so enhances the merit of progress," observed Mrs. Lessingham, mischievously.

      "Merit? I know nothing of merit. I spoke of myself being forced upwards. If ever I feel that I am slipping back, I shall state it with just as little admission of shame."

      Miriam heard this modern dialogue with grave features. At Bartles, such talk would have qualified the talker for social excommunication, and every other pain and penalty Bartles had in its power to inflict. She observed that Cecily's interest increased. The girl listened frankly; no sense of anything improper appeared in her visage. Nay, she was about to interpose a remark.

      "Isn't there a hope, Mr. Elgar, that this envy of which you speak will be one of the things that the upward path leaves behind?"

      "I should like to believe it, Miss Doran," he answered, his eyes kindling at hers. "It's true that I haven't yet gone very far."

      "I like so much to believe it that I do believe it," the girl continued impulsively.

      "Your progress in that direction exceeds mine."

      "Don't be troubled by the compliment," interjected Eleanor, before Cecily could speak. "There is no question of merit."

      Mrs. Lessingham laughed.

      The rain still fell, and the grey heavens showed no breaking. Shortly after this, Elgar would have risen to take his leave, but Mrs. Spence begged him to remain and lunch with them. The visitors from the Mergellina declined a similar invitation.

      Edward Spence was passing his morning at the Museum. On his return at luncheon-time, Eleanor met him with the intelligence that Reuben Elgar had presented himself, and was now in his sister's room.

      "In forma pauperis, presumably," said Spence, raising his eyebrows.

      "I can't say, but I fear it isn't impossible. Cecily and her aunt happened to call this morning, and he had some talk with them."

      "Is he very much of a blackguard?" inquired her husband, disinterestedly.

      "Indeed, no. That is to say, externally and in his conversation. It's a decided improvement on our old impressions of him."

      "I'm glad to hear it," was the dry response.

      "He has formed himself in some degree. Hints that he is going to produce literature."

      "Of course." Spence laughed merrily. "The last refuge of a scoundrel."

      "I don't like to judge him so harshly, Ned. He has a fine face."

      "And is Miriam killing the fatted calf?"

      "His arrival seems to embarrass rather than delight her."

      "Depend upon it, the fellow has come to propose a convenient division of her personal property."

      When he again appeared, Elgar was in excellent spirits. He met Spence with irresistible frankness and courtesy; his talk made the luncheon cheery, and dismissed thought of sirocco. It appeared that he had as yet no abode; his luggage was at the station. A suggestion that he should seek quarters under the same roof with Mallard recommended itself to him.

      "I feel like a giant refreshed," he declared, in privately taking leave of Miriam. "Coming to Naples was an inspiration."

      She raised her lips to his for the first time, but said nothing.

CHAPTER V

       Table of Contents

THE ARTIST ASTRAY

       Table of Contents

      From the Strada di Chiaia, the narrow street winding between immense houses, all day long congested with the merry tumult of Neapolitan traffic, where herds of goats and milch cows placidly make their way among vehicles of every possible and impossible description; where cocchieri crack their whips and belabour their hapless cattle, and yell their "Ah—h—h! Ah—h—h!"—where teams of horse, ox, and ass, the three abreast, drag piles of country produce, jingling their fantastic harness, and primitive carts laden with red-soaked wine-casks rattle recklessly along; where bare-footed, girdled, and tonsured monks plod on their no-business, and every third man one passes is a rotund ecclesiastic, who never in his life walked at more than a mile an hour; where, at evening, carriages returning from the Villa Nazionale cram the thoroughfare from side to side, and make one aware, if one did not previously know it, that parts of the street have no pedestrians' pavement;—from the Strada di Chiaia (now doomed, alas! by the exigencies of lo sventramento and il risanamento) turn into the public staircase and climb through the dusk, with all possible attention to where you set your foot, past the unmelodious beggars, to the Ponte di Chiaia bridge which spans the roadway and looks down upon its crowd and clamour as into a profound valley; thence proceed uphill on the lava paving, between fruit-shops and sausage-shops and wine-shops, always in an atmosphere