Daniel Deronda, George Eliot [portable ebook reader .TXT] 📗

this wish of Gwendolen’s, and Rex proposed that they should wind up with a tableau in which the effect of her majesty would not be marred by anyone’s speech. This pleased her thoroughly, and the only question was the choice of the tableau.

“Something pleasant, children, I beseech you,” said Mrs. Davilow; “I can’t have any Greek wickedness.”

“It is no worse than Christian wickedness, mamma,” said Gwendolen, whose mention of Rachelesque heroines had called forth that remark.

“And less scandalous,” said Rex. “Besides, one thinks of it as all gone by and done with. What do you say to Briseis being led away? I would be Achilles, and you would be looking round at me⁠—after the print we have at the rectory.”

“That would be a good attitude for me,” said Gwendolen, in a tone of acceptance. But afterward she said with decision, “No. It will not do. There must be three men in proper costume, else it will be ridiculous.”

“I have it,” said Rex, after a little reflection. “Hermione as the statue in Winter’s Tale? I will be Leontes, and Miss Merry, Paulina, one on each side. Our dress won’t signify,” he went on laughingly; “it will be more Shakespearian and romantic if Leontes looks like Napoleon, and Paulina like a modern spinster.”

And Hermione was chosen; all agreeing that age was of no consequence, but Gwendolen urged that instead of the mere tableau there should be just enough acting of the scene to introduce the striking up of the music as a signal for her to step down and advance; when Leontes, instead of embracing her, was to kneel and kiss the hem of her garment, and so the curtain was to fall. The antechamber with folding doors lent itself admirably to the purpose of a stage, and the whole of the establishment, with the addition of Jarrett the village carpenter, was absorbed in the preparations for an entertainment, which, considering that it was an imitation of acting, was likely to be successful, since we know from ancient fable that an imitation may have more chance of success than the original.

Gwendolen was not without a special exultation in the prospect of this occasion, for she knew that Herr Klesmer was again at Quetcham, and she had taken care to include him among the invited.

Klesmer came. He was in one of his placid, silent moods, and sat in serene contemplation, replying to all appeals in benignant-sounding syllables more or less articulate⁠—as taking up his cross meekly in a world overgrown with amateurs, or as careful how he moved his lion paws lest he should crush a rampant and vociferous mouse.

Everything indeed went off smoothly and according to expectation⁠—all that was improvised and accidental being of a probable sort⁠—until the incident occurred which showed Gwendolen in an unforeseen phase of emotion. How it came about was at first a mystery.

The tableau of Hermione was doubly striking from its dissimilarity with what had gone before: it was answering perfectly, and a murmur of applause had been gradually suppressed while Leontes gave his permission that Paulina should exercise her utmost art and make the statue move.

Hermione, her arm resting on a pillar, was elevated by about six inches, which she counted on as a means of showing her pretty foot and instep, when at the given signal she should advance and descend.

“Music, awake her, strike!” said Paulina (Mrs. Davilow, who, by special entreaty, had consented to take the part in a white burnous and hood).

Herr Klesmer, who had been good-natured enough to seat himself at the piano, struck a thunderous chord⁠—but in the same instant, and before Hermione had put forth her foot, the movable panel, which was on a line with the piano, flew open on the right opposite the stage and disclosed the picture of the dead face and the fleeing figure, brought out in pale definiteness by the position of the wax-lights. Everyone was startled, but all eyes in the act of turning toward the open panel were recalled by a piercing cry from Gwendolen, who stood without change of attitude, but with a change of expression that was terrifying in its terror. She looked like a statue into which a soul of Fear had entered: her pallid lips were parted; her eyes, usually narrowed under their long lashes, were dilated and fixed. Her mother, less surprised than alarmed, rushed toward her, and Rex, too, could not help going to her side. But the touch of her mother’s arm had the effect of an electric charge; Gwendolen fell on her knees and put her hands before her face. She was still trembling, but mute, and it seemed that she had self-consciousness enough to aim at controlling her signs of terror, for she presently allowed herself to be raised from her kneeling posture and led away, while the company were relieving their minds by explanation.

“A magnificent bit of plastik that!” said Klesmer to Miss Arrowpoint. And a quick fire of undertoned question and answer went round.

“Was it part of the play?”

“Oh, no, surely not. Miss Harleth was too much affected. A sensitive creature!”

“Dear me! I was not aware that there was a painting behind that panel; were you?”

“No; how should I? Some eccentricity in one of the Earl’s family long ago, I suppose.”

“How very painful! Pray shut it up.”

“Was the door locked? It is very mysterious. It must be the spirits.”

“But there is no medium present.”

“How do you know that? We must conclude that there is, when such things happen.”

“Oh, the door was not locked; it was probably the sudden vibration from the piano that sent it open.”

This conclusion came from Mr. Gascoigne, who begged Miss Merry if possible to get the key. But this readiness to explain the mystery was thought by Mrs. Vulcany unbecoming in a clergyman, and she observed in an undertone that Mr. Gascoigne was always a little too worldly for her taste. However, the key was produced, and the rector turned it in the lock with an emphasis rather offensively rationalizing⁠—as