The Ordeal of Richard Feverel. Volume 4. George Meredith

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      The Ordeal of Richard Feverel – Volume 4

      CHAPTER XXVIII

      Beauty, of course, is for the hero. Nevertheless, it is not always he on whom beauty works its most conquering influence. It is the dull commonplace man into whose slow brain she drops like a celestial light, and burns lastingly. The poet, for instance, is a connoisseur of beauty: to the artist she is a model. These gentlemen by much contemplation of her charms wax critical. The days when they had hearts being gone, they are haply divided between the blonde and the brunette; the aquiline nose and the Proserpine; this shaped eye and that. But go about among simple unprofessional fellows, boors, dunderheads, and here and there you shall find some barbarous intelligence which has had just strength enough to conceive, and has taken Beauty as its Goddess, and knows but one form to worship, in its poor stupid fashion, and would perish for her. Nay, more: the man would devote all his days to her, though he is dumb as a dog. And, indeed, he is Beauty's Dog. Almost every Beauty has her Dog. The hero possesses her; the poet proclaims her; the painter puts her upon canvas; and the faithful Old Dog follows her: and the end of it all is that the faithful Old Dog is her single attendant. Sir Hero is revelling in the wars, or in Armida's bowers; Mr. Poet has spied a wrinkle; the brush is for the rose in its season. She turns to her Old Dog then. She hugs him; and he, who has subsisted on a bone and a pat till there he squats decrepit, he turns his grateful old eyes up to her, and has not a notion that she is hugging sad memories in him: Hero, Poet, Painter, in one scrubby one! Then is she buried, and the village hears languid howls, and there is a paragraph in the newspapers concerning the extraordinary fidelity of an Old Dog.

      Excited by suggestive recollections of Nooredeen and the Fair Persian, and the change in the obscure monotony of his life by his having quarters in a crack hotel, and living familiarly with West-End people—living on the fat of the land (which forms a stout portion of an honest youth's romance), Ripton Thompson breakfasted next morning with his chief at half-past eight. The meal had been fixed overnight for seven, but Ripton slept a great deal more than the nightingale, and (to chronicle his exact state) even half-past eight rather afflicted his new aristocratic senses and reminded him too keenly of law and bondage. He had preferred to breakfast at Algernon's hour, who had left word for eleven. Him, however, it was Richard's object to avoid, so they fell to, and Ripton no longer envied Hippias in bed. Breakfast done, they bequeathed the consoling information for Algernon that they were off to hear a popular preacher, and departed.

      "How happy everybody looks!" said Richard, in the quiet Sunday streets.

      "Yes—jolly!" said Ripton.

      "When I'm—when this is over, I'll see that they are, too—as many as I can make happy," said the hero; adding softly: "Her blind was down at a quarter to six. I think she slept well!"

      "You've been there this morning?" Ripton exclaimed; and an idea of what love was dawned upon his dull brain.

      "Will she see me, Ricky?"

      "Yes. She'll see you to-day. She was tired last night."

      "Positively?"

      Richard assured him that the privilege would be his.

      "Here," he said, coming under some trees in the park, "here's where I talked to you last night. What a time it seems! How I hate the night!"

      On the way, that Richard might have an exalted opinion of him, Ripton hinted decorously at a somewhat intimate and mysterious acquaintance with the sex. Headings of certain random adventures he gave.

      "Well!" said his chief, "why not marry her?"

      Then was Ripton shocked, and cried, "Oh!" and had a taste of the feeling of superiority, destined that day to be crushed utterly.

      He was again deposited in Mrs. Berry's charge for a term that caused him dismal fears that the Fair Persian still refused to show her face, but Richard called out to him, and up Ripton went, unaware of the transformation he was to undergo. Hero and Beauty stood together to receive him. From the bottom of the stairs he had his vivaciously agreeable smile ready for them, and by the time he entered the room his cheeks were painfully stiff, and his eyes had strained beyond their exact meaning. Lucy, with one hand anchored to her lover, welcomed him kindly. He relieved her shyness by looking so extremely silly. They sat down, and tried to commence a conversation, but Ripton was as little master of his tongue as he was of his eyes. After an interval, the Fair Persian having done duty by showing herself, was glad to quit the room. Her lord and possessor then turned inquiringly to Ripton.

      "You don't wonder now, Rip?" he said.

      "No, Richard!" Ripton waited to reply with sufficient solemnity, "indeed

      I don't!"

      He spoke differently; he looked differently. He had the Old Dog's eyes in his head. They watched the door she had passed through; they listened for her, as dogs' eyes do. When she came in, bonneted for a walk, his agitation was dog-like. When she hung on her lover timidly, and went forth, he followed without an idea of envy, or anything save the secret raptures the sight of her gave him, which are the Old Dog's own. For beneficent Nature requites him: His sensations cannot be heroic, but they have a fulness and a wagging delight as good in their way. And this capacity for humble unaspiring worship has its peculiar guerdon. When Ripton comes to think of Miss Random now, what will he think of himself? Let no one despise the Old Dog. Through him doth Beauty vindicate her sex.

      It did not please Ripton that others should have the bliss of beholding her, and as, to his perceptions, everybody did, and observed her offensively, and stared, and turned their heads back, and interchanged comments on her, and became in a minute madly in love with her, he had to smother low growls. They strolled about the pleasant gardens of Kensington all the morning, under the young chestnut buds, and round the windless waters, talking, and soothing the wild excitement of their hearts. If Lucy spoke, Ripton pricked up his ears. She, too, made the remark that everybody seemed to look happy, and he heard it with thrills of joy. "So everybody is, where you are!" he would have wished to say, if he dared, but was restrained by fears that his burning eloquence would commit him. Ripton knew the people he met twice. It would have been difficult to persuade him they were the creatures of accident.

      From the Gardens, in contempt of Ripton's frowned protest, Richard boldly struck into the park, where solitary carriages were beginning to perform the circuit. Here Ripton had some justification for his jealous pangs. The young girl's golden locks of hair; her sweet, now dreamily sad, face; her gentle graceful figure in the black straight dress she wore; a sort of half-conventual air she had—a mark of something not of class, that was partly beauty's, partly maiden innocence growing conscious, partly remorse at her weakness and dim fear of the future it was sowing—did attract the eye-glasses. Ripton had to learn that eyes are bearable, but eye-glasses an abomination. They fixed a spell upon his courage; for somehow the youth had always ranked them as emblems of our nobility, and hearing two exquisite eye-glasses, who had been to front and rear several times, drawl in gibberish generally imputed to lords, that his heroine was a charming little creature, just the size, but had no style,—he was abashed; he did not fly at them and tear them. He became dejected. Beauty's dog is affected by the eye-glass in a manner not unlike the common animal's terror of the human eye.

      Richard appeared to hear nothing, or it was homage that he heard. He repeated to Lucy Diaper Sandoe's verses—

      and projected hiring a horse for her to ride every day in the park, and shine among the highest.

      They had turned to the West, against the sky glittering through the bare trees across the water, and the bright-edged rack. The lover, СКАЧАТЬ