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

Deronda. He was under that stress of pity that propels us on sacrifices.

“No, not possible,” she answered, lifting up her head again and withdrawing her hand as if she wished him to move away. “I have a husband and five children. None of them know of your existence.”

Deronda felt painfully silenced. He rose and stood at a little distance.

“You wonder why I married,” she went on presently, under the influence of a newly-recurring thought. “I meant never to marry again. I meant to be free and to live for my art. I had parted with you. I had no bonds. For nine years I was a queen. I enjoyed the life I had longed for. But something befell me. It was like a fit of forgetfulness. I began to sing out of tune. They told me of it. Another woman was thrusting herself in my place. I could not endure the prospect of failure and decline. It was horrible to me.” She started up again, with a shudder, and lifted screening hands like one who dreads missiles. “It drove me to marry. I made believe that I preferred being the wife of a Russian noble to being the greatest lyric actress of Europe; I made believe⁠—I acted that part. It was because I felt my greatness sinking away from me, as I feel my life sinking now. I would not wait till men said, ‘She had better go.’ ”

She sank into her seat again, and looked at the evening sky as she went on: “I repented. It was a resolve taken in desperation. That singing out of tune was only like a fit of illness; it went away. I repented; but it was too late. I could not go back. All things hindered, me⁠—all things.”

A new haggardness had come in her face, but her son refrained from again urging her to leave further speech till the morrow: there was evidently some mental relief for her in an outpouring such as she could never have allowed herself before. He stood still while she maintained silence longer than she knew, and the light was perceptibly fading. At last she turned to him and said,

“I can bear no more now.” She put out her hand, but then quickly withdrew it saying, “Stay. How do I know that I can see you again? I cannot bear to be seen when I am in pain.”

She drew forth a pocketbook, and taking out a letter said, “This is addressed to the banking-house in Mainz, where you are to go for your grandfather’s chest. It is a letter written by Joseph Kalonymos: if he is not there himself, this order of his will be obeyed.”

When Deronda had taken the letter, she said, with effort but more gently than before, “Kneel again, and let me kiss you.”

He obeyed, and holding his head between her hands, she kissed him solemnly on the brow. “You see, I had no life left to love you with,” she said, in a low murmur. “But there is more fortune for you. Sir Hugo was to keep it in reserve. I gave you all your father’s fortune. They can never accuse me of robbery there.”

“If you had needed anything I would have worked for you,” said Deronda, conscious of disappointed yearning⁠—a shutting out forever from long early vistas of affectionate imagination.

“I need nothing that the skill of man can give me,” said his mother, still holding his head, and perusing his features. “But perhaps now I have satisfied my father’s will, your face will come instead of his⁠—your young, loving face.”

“But you will see me again?” said Deronda, anxiously.

“Yes⁠—perhaps. Wait, wait. Leave me now.”

LII

La même fermeté qui sert à résister à l’amour sert aussi à le rendre violent et durable; et les personnes faibles qui sont toujours agitées des passions n’en sont presque jamais véritablement remplies.

—⁠La Rochefoucauld.

Among Deronda’s letters the next morning was one from Hans Meyrick of four quarto pages, in the small, beautiful handwriting which ran in the Meyrick family.

My Dear Deronda⁠—In return for your sketch of Italian movements and your view of the world’s affairs generally, I may say that here at home the most judicious opinion going as to the effects of present causes is that “time will show.” As to the present causes of past effects, it is now seen that the late swindling telegrams account for the last year’s cattle plague⁠—which is a refutation of philosophy falsely so called, and justifies the compensation to the farmers. My own idea that a murrain will shortly break out in the commercial class, and that the cause will subsequently disclose itself in the ready sale of all rejected pictures, has been called an unsound use of analogy; but there are minds that will not hesitate to rob even the neglected painter of his solace. To my feeling there is great beauty in the conception that some bad judge might give a high price for my Berenice series, and that the men in the city would have already been punished for my ill-merited luck.

Meanwhile I am consoling myself for your absence by finding my advantage in it⁠—shining like Hesperus when Hyperion has departed; sitting with our Hebrew prophet, and making a study of his head, in the hours when he used to be occupied with you⁠—getting credit with him as a learned young Gentile, who would have been a Jew if he could⁠—and agreeing with him in the general principle, that whatever is best is for that reason Jewish. I never held it my forte to be a severe reasoner, but I can see that if whatever is best is A, and B happens to be best, B must be A, however little you might have expected it beforehand. On that principle I could see the force of a pamphlet I once read to prove that all good art was Protestant. However, our prophet is an uncommonly interesting sitter⁠—a better model than Rembrandt