第116章 KNOLLSEA - MELCHESTER(1)

The year was now moving on apace, but Ethelberta and Picotee chose to remain at Knollsea, in the brilliant variegated brick and stone villa to which they had removed in order to be in keeping with their ascending fortunes. Autumn had begun to make itself felt and seen in bolder and less subtle ways than at first. In the morning now, on coming downstairs, in place of a yellowish-green leaf or two lying in a corner of the lowest step, which had been the only previous symptoms around the house, she saw dozens of them playing at corkscrews in the wind, directly the door was opened. Beyond, towards the sea, the slopes and scarps that had been muffled with a thick robe of cliff herbage, were showing their chill grey substance through the withered verdure, like the background of velvet whence the pile has been fretted away. Unexpected breezes broomed and rasped the smooth bay in evanescent patches of stippled shade, and, besides the small boats, the ponderous lighters used in shipping stone were hauled up the beach in anticipation of the equinoctial attack.

A few days after Ethelberta's reception at Enckworth, an improved stanhope, driven by Lord Mountclere himself, climbed up the hill until it was opposite her door. A few notes from a piano softly played reached his ear as he descended from his place: on being shown in to his betrothed, he could perceive that she had just left the instrument. Moreover, a tear was visible in her eye when she came near him.

They discoursed for several minutes in the manner natural between a defenceless young widow and an old widower in Lord Mountclere's position to whom she was plighted--a great deal of formal considerateness making itself visible on her part, and of extreme tenderness on his. While thus occupied, he turned to the piano, and casually glanced at a piece of music lying open upon it. Some words of writing at the top expressed that it was the composer's original copy, presented by him, Christopher Julian, to the author of the song. Seeing that he noticed the sheet somewhat lengthily, Ethelberta remarked that it had been an offering made to her a long time ago--a melody written to one of her own poems.

'In the writing of the composer,' observed Lord Mountclere, with interest. 'An offering from the musician himself--very gratifying and touching. Mr. Christopher Julian is the name I see upon it, Ibelieve? I knew his father, Dr. Julian, a Sandbourne man, if Irecollect.'

'Yes,' said Ethelberta placidly. But it was really with an effort.

The song was the identical one which Christopher sent up to her from Sandbourne when the fire of her hope burnt high for less material ends; and the discovery of the sheet among her music that day had started eddies of emotion for some time checked.

'I am sorry you have been grieved,' said Lord Mountclere, with gloomy restlessness.

'Grieved?' said Ethelberta.

'Did I not see a tear there? or did my eyes deceive me?'

'You might have seen one.'

'Ah! a tear, and a song. I think--'

'You naturally think that a woman who cries over a man's gift must be in love with the giver?' Ethelberta looked him serenely in the face.

Lord Mountclere's jealous suspicions were considerably shaken.

'Not at all,' he said hastily, as if ashamed. 'One who cries over a song is much affected by its sentiment.'

'Do you expect authors to cry over their own words?' she inquired, merging defence in attack. 'I am afraid they don't often do that.'

'You would make me uneasy.'

'On the contrary, I would reassure you. Are you not still doubting?' she asked, with a pleasant smile.

'I cannot doubt you!'

'Swear, like a faithful knight.'

'I swear, my fairy, my flower!'

After this the old man appeared to be pondering; indeed, his thoughts could hardly be said to be present when he uttered the words. For though the tabernacle was getting shaky by reason of years and merry living, so that what was going on inside might often be guessed without by the movement of the hangings, as in a puppet-show with worn canvas, he could be quiet enough when scheming any plot of particular neatness, which had less emotion than impishness in it. Such an innocent amusement he was pondering now.

Before leaving her, he asked if she would accompany him to a morning instrumental concert at Melchester, which was to take place in the course of that week for the benefit of some local institution.

'Melchester,' she repeated faintly, and observed him as searchingly as it was possible to do without exposing herself to a raking fire in return. Could he know that Christopher was living there, and was this said in prolongation of his recent suspicion? But Lord Mountclere's face gave no sign.

'You forget one fatal objection,' said she; 'the secrecy in which it is imperative that the engagement between us should be kept.'

'I am not known in Melchester without my carriage; nor are you.'

'We may be known by somebody on the road.'

'Then let it be arranged in this way. I will not call here to take you up, but will meet you at the station at Anglebury; and we can go on together by train without notice. Surely there can be no objection to that? It would be mere prudishness to object, since we are to become one so shortly.' He spoke a little impatiently. It was plain that he particularly wanted her to go to Melchester.

'I merely meant that there was a chance of discovery in our going out together. And discovery means no marriage.' She was pale now, and sick at heart, for it seemed that the viscount must be aware that Christopher dwelt at that place, and was about to test her concerning him.

'Why does it mean no marriage?' said he.

'My father might, and almost certainly would, object to it.

Although he cannot control me, he might entreat me.'

'Why would he object?' said Lord Mountclere uneasily, and somewhat haughtily.

'I don't know.'

'But you will be my wife--say again that you will.'

'I will.'

He breathed. 'He will not object--hee-hee!' he said. 'O no--Ithink you will be mine now.'

'I have said so. But look to me all the same.'