Daniel Deronda

Book V - Mordecai. Chapters XXXVII-XXXVIII.


_Aspern._ Pardon, my lord--I speak for Sigismund.

_Fronsberg._ For him? Oh, ay--for him I always hold

A pardon safe in bank, sure he will draw

Sooner or later on me. What his need?

Mad project broken? fine mechanic wings

That would not fly? durance, assault on watch,

Bill for Epernay, not a crust to eat?

_Aspern._ Oh, none of these, my lord; he has escaped

From Circe's herd, and seeks to win the love

Of your fair ward Cecilia: but would win

First your consent. You frown.

_Fronsberg._ Distinguish words.

I said I held a pardon, not consent.

In spite of Deronda's reasons for wishing to be in town again--reasons in which his anxiety for Mirah was blent with curiosity to know more of the enigmatic Mordecai--he did not manage to go up before Sir Hugo, who preceded his family that he might be ready for the opening of Parliament on the sixth of February. Deronda took up his quarters in Park Lane, aware that his chambers were sufficiently tenanted by Hans Meyrick. This was what he expected; but he found other things not altogether according to his expectations.

Most of us remember Retzsch's drawing of destiny in the shape of Mephistopheles playing at chess with man for his soul, a game in which we may imagine the clever adversary making a feint of unintended moves so as to set the beguiled mortal on carrying his defensive pieces away from the true point of attack. The fiend makes preparation his favorite object of mockery, that he may fatally persuade us against our taking out waterproofs when he is well aware the sky is going to clear, foreseeing that the imbecile will turn this delusion into a prejudice against waterproofs instead of giving a closer study to the weather-signs. It is a peculiar test of a man's metal when, after he has painfully adjusted himself to what seems a wise provision, he finds all his mental precaution a little beside the mark, and his excellent intentions no better than miscalculated dovetails, accurately cut from a wrong starting-point. His magnanimity has got itself ready to meet misbehavior, and finds quite a different call upon it. Something of this kind happened to Deronda.

His first impression was one of pure pleasure and amusement at finding his sitting-room transformed into an _atelier_ strewed with miscellaneous drawings and with the contents of two chests from Rome, the lower half of the windows darkened with baize, and the blonde Hans in his weird youth as the presiding genius of the littered place--his hair longer than of old, his face more whimsically creased, and his high voice as usual getting higher under the excitement of rapid talk. The friendship of the two had been kept up warmly since the memorable Cambridge time, not only by correspondence but by little episodes of companionship abroad and in England, and the original relation of confidence on one side and indulgence on the other had been developed in practice, as is wont to be the case where such spiritual borrowing and lending has been well begun.

"I knew you would like to see my casts and antiquities," said Hans, after the first hearty greetings and inquiries, "so I didn't scruple to unlade my chests here. But I've found two rooms at Chelsea not many hundred yards from my mother and sisters, and I shall soon be ready to hang out there-- when they've scraped the walls and put in some new lights. That's all I'm waiting for. But you see I don't wait to begin work: you can't conceive what a great fellow I'm going to be. The seed of immortality has sprouted within me."

"Only a fungoid growth, I dare say--a growing disease in the lungs," said Deronda, accustomed to treat Hans in brotherly fashion. He was walking toward some drawings propped on the ledge of his bookcases; five rapidly- sketched heads--different aspects of the same face. He stood at a convenient distance from them, without making any remark. Hans, too, was silent for a minute, took up his palette and began touching the picture on his easel.

"What do you think of them?" he said at last.

"The full face looks too massive; otherwise the likenesses are good," said Deronda, more coldly than was usual with him.

"No, it is not too massive," said Hans, decisively. "I have noted that. There is always a little surprise when one passes from the profile to the full face. But I shall enlarge her scale for Berenice. I am making a Berenice series--look at the sketches along there--and now I think of it, you are just the model I want for the Agrippa." Hans, still with pencil and palette in hand, had moved to Deronda's side while he said this, but he added hastily, as if conscious of a mistake, "No, no, I forgot; you don't like sitting for your portrait, confound you! However, I've picked up a capital Titus. There are to be five in the series. The first is Berenice clasping the knees of Gessius Florus and beseeching him to spare her people; I've got that on the easel. Then, this, where she is standing on the Xystus with Agrippa, entreating the people not to injure themselves by resistance."

"Agrippa's legs will never do," said Deronda.

"The legs are good realistically," said Hans, his face creasing drolly; "public men are often shaky about the legs--' Their legs, the emblem of their various thought,' as somebody says in the 'Rehearsal.'"

"But these are as impossible as the legs of Raphael's Alcibiades," said Deronda.

"Then they are good ideally," said Hans. "Agrippa's legs were possibly bad; I idealize that and make them impossibly bad. Art, my Eugenius, must intensify. But never mind the legs now: the third sketch in the series is Berenice exulting in the prospects of being Empress of Rome, when the news has come that Vespasian is declared Emperor and her lover Titus his successor."

"You must put a scroll in her mouth, else people will not understand that. You can't tell that in a picture."

"It will make them feel their ignorance then--an excellent aesthetic effect. The fourth is, Titus sending Berenice away from Rome after she has shared his palace for ten years--both reluctant, both sad--_invitus invitam_, as Suetonius hath it. I've found a model for the Roman brute."

"Shall you make Berenice look fifty? She must have been that."

"No, no; a few mature touches to show the lapse of time. Dark-eyed beauty wears well, hers particularly. But now, here is the fifth: Berenice seated lonely on the ruins of Jerusalem. That is pure imagination. That is what ought to have been--perhaps was. Now, see how I tell a pathetic negative. Nobody knows what became of her--that is finely indicated by the series coming to a close. There is no sixth picture." Here Hans pretended to speak with a gasping sense of sublimity, and drew back his head with a frown, as if looking for a like impression on Deronda. "I break off in the Homeric style. The story is chipped off, so to speak, and passes with a ragged edge into nothing--_le neant_; can anything be more sublime, especially in French? The vulgar would desire to see her corpse and burial--perhaps her will read and her linen distributed. But now come and look at this on the easel. I have made some way there."

"That beseeching attitude is really good," said Deronda, after a moment's contemplation. "You have been very industrious in the Christmas holidays; for I suppose you have taken up the subject since you came to London." Neither of them had yet mentioned Mirah.

"No," said Hans, putting touches to his picture, "I made up my mind to the subject before. I take that lucky chance for an augury that I am going to burst on the world as a great painter. I saw a splendid woman in the Trastevere--the grandest women there are half Jewesses--and she set me hunting for a fine situation of a Jewess at Rome. Like other men of vast learning, I ended by taking what lay on the surface. I'll show you a sketch of the Trasteverina's head when I can lay my hands on it."

"I should think she would be a more suitable model for Berenice," said Deronda, not knowing exactly how to express his discontent.

"Not a bit of it. The model ought to be the most beautiful Jewess in the world, and I have found her."

"Have you made yourself sure that she would like to figure in that character? I should think no woman would be more abhorrent to her. Does she quite know what you are doing?"

"Certainly. I got her to throw herself precisely into this attitude. Little mother sat for Gessius Florus, and Mirah clasped her knees." Here Hans went a little way off and looked at the effect of his touches.

"I dare say she knows nothing about Berenice's history," said Deronda, feeling more indignation than he would have been able to justify.

"Oh, yes, she does--ladies' edition. Berenice was a fervid patriot, but was beguiled by love and ambition into attaching herself to the arch-enemy of her people. Whence the Nemesis. Mirah takes it as a tragic parable, and cries to think what the penitent Berenice suffered as she wandered back to Jerusalem and sat desolate amidst desolation. That was her own phrase. I couldn't find it in my heart to tell her I invented that part of the story."

"Show me your Trasteverina," said Deronda, chiefly in order to hinder himself from saying something else.

"Shall you mind turning over that folio?" said Hans. "My studies of heads are all there. But they are in confusion. You will perhaps find her next to a crop-eared undergraduate."

After Deronda had been turning over the drawings a minute or two, he said--

"These seem to be all Cambridge heads and bits of country. Perhaps I had better begin at the other end."

"No; you'll find her about the middle. I emptied one folio into another."

"Is this one of your undergraduates?" said Deronda, holding up a drawing. "It's an unusually agreeable face."

"That! Oh, that's a man named Gascoigne--Rex Gascoigne. An uncommonly good fellow; his upper lip, too, is good. I coached him before he got his scholarship. He ought to have taken honors last Easter. But he was ill, and has had to stay up another year. I must look him up. I want to know how he's going on."

"Here she is, I suppose," said Deronda, holding up a sketch of the Trasteverina.

"Ah," said Hans, looking at it rather contemptuously, "too coarse. I was unregenerate then."

Deronda was silent while he closed the folio, leaving the Trasteverina outside. Then clasping his coat-collar, and turning toward Hans, he said, "I dare say my scruples are excessive, Meyrick, but I must ask you to oblige me by giving up this notion."

Hans threw himself into a tragic attitude, and screamed, "What! my series --my immortal Berenice series? Think of what you are saying, man-- destroying, as Milton says, not a life but an immortality. Wait before you, answer, that I may deposit the implements of my art and be ready to uproot my hair."

Here Hans laid down his pencil and palette, threw himself backward into a great chair, and hanging limply over the side, shook his long hair over his face, lifted his hooked fingers on each side his head, and looked up with comic terror at Deronda, who was obliged to smile, as he said--

"Paint as many Berenices as you like, but I wish you could feel with me-- perhaps you will, on reflection--that you should choose another model."

"Why?" said Hans, standing up, and looking serious again.

"Because she may get into such a position that her face is likely to be recognized. Mrs. Meyrick and I are anxious for her that she should be known as an admirable singer. It is right, and she wishes it, that she should make herself independent. And she has excellent chances. One good introduction is secured already, and I am going to speak to Klesmer. Her face may come to be very well known, and--well, it is useless to attempt to explain, unless you feel as I do. I believe that if Mirah saw the circumstances clearly, she would strongly object to being exhibited in this way--to allowing herself to be used as a model for a heroine of this sort."

As Hans stood with his thumbs in the belt of his blouse, listening to this speech, his face showed a growing surprise melting into amusement, that at last would have its way in an explosive laugh: but seeing that Deronda looked gravely offended, he checked himself to say, "Excuse my laughing, Deronda. You never gave me an advantage over you before. If it had been about anything but my own pictures, I should have swallowed every word because you said it. And so you actually believe that I should get my five pictures hung on the line in a conspicuous position, and carefully studied by the public? Zounds, man! cider-cup and conceit never gave me half such a beautiful dream. My pictures are likely to remain as private as the utmost hypersensitiveness could desire."

Hans turned to paint again as a way of filling up awkward pauses. Deronda stood perfectly still, recognizing his mistake as to publicity, but also conscious that his repugnance was not much diminished. He was the reverse of satisfied either with himself or with Hans; but the power of being quiet carries a man well through moments of embarrassment. Hans had a reverence for his friend which made him feel a sort of shyness at Deronda's being in the wrong; but it were not in his nature to give up anything readily, though it were only a whim--or rather, especially if it were a whim, and he presently went on, painting the while--

"But even supposing I had a public rushing after my pictures as if they were a railway series including nurses, babies and bonnet-boxes, I can't see any justice in your objection. Every painter worth remembering has painted the face he admired most, as often as he could. It is a part of his soul that goes out into his pictures. He diffuses its influence in that way. He puts what he hates into a caricature. He puts what he adores into some sacred, heroic form. If a man could paint the woman he loves a thousand times as the Stella Marts to put courage into the sailors on board a thousand ships, so much the more honor to her. Isn't that better than painting a piece of staring immodesty and calling it by a worshipful name?"

"Every objection can be answered if you take broad ground enough, Hans: no special question of conduct can be properly settled in that way," said Deronda, with a touch of peremptoriness. "I might admit all your generalities, and yet be right in saying you ought not to publish Mirah's face as a model for Berenice. But I give up the question of publicity. I was unreasonable there." Deronda hesitated a moment. "Still, even as a private affair, there might be good reasons for your not indulging yourself too much in painting her from the point of view you mention. You must feel that her situation at present is a very delicate one; and until she is in more independence, she should be kept as carefully as a bit of Venetian glass, for fear of shaking her out of the safe place she is lodged in. Are you quite sure of your own discretion? Excuse me, Hans. My having found her binds me to watch over her. Do you understand me?"

"Perfectly," said Hans, turning his face into a good-humored smile. "You have the very justifiable opinion of me that I am likely to shatter all the glass in my way, and break my own skull into the bargain. Quite fair. Since I got into the scrape of being born, everything I have liked best has been a scrape either for myself or somebody else. Everything I have taken to heartily has somehow turned into a scrape. My painting is the last scrape; and I shall be all my life getting out of it. You think now I shall get into a scrape at home. No; I am regenerate. You think I must be over head and ears in love with Mirah. Quite right; so I am. But you think I shall scream and plunge and spoil everything. There you are mistaken-- excusably, but transcendently mistaken. I have undergone baptism by immersion. Awe takes care of me. Ask the little mother."

"You don't reckon a hopeless love among your scrapes, then," said Deronda, whose voice seemed to get deeper as Hans's went higher.

"I don't mean to call mine hopeless," said Hans, with provoking coolness, laying down his tools, thrusting his thumbs into his belt, and moving away a little, as if to contemplate his picture more deliberately.

"My dear fellow, you are only preparing misery for yourself," said Deronda, decisively. "She would not marry a Christian, even if she loved him. Have you heard her--of course you have--heard her speak of her people and her religion?"

"That can't last," said Hans. "She will see no Jew who is tolerable. Every male of that race is insupportable,--'insupportably advancing'--his nose."

"She may rejoin her family. That is what she longs for. Her mother and brother are probably strict Jews."

"I'll turn proselyte, if she wishes it," said Hans, with a shrug and a laugh.

"Don't talk nonsense, Hans. I thought you professed a serious love for her," said Deronda, getting heated.

"So I do. You think it desperate, but I don't."

"I know nothing; I can't tell what has happened. We must be prepared for surprises. But I can hardly imagine a greater surprise to me than that there should have seemed to be anything in Mirah's sentiments for you to found a romantic hope on." Deronda felt that he was too contemptuous.

"I don't found my romantic hopes on a woman's sentiments," said Hans, perversely inclined to be the merrier when he was addressed with gravity. "I go to science and philosophy for my romance. Nature designed Mirah to fall in love with me. The amalgamation of races demands it--the mitigation of human ugliness demands it--the affinity of contrasts assures it. I am the utmost contrast to Mirah--a bleached Christian, who can't sing two notes in tune. Who has a chance against me?"

"I see now; it was all _persiflage_. You don't mean a word you say, Meyrick," said Deronda, laying his hand on Meyrick's shoulder, and speaking in a tone of cordial relief. "I was a wiseacre to answer you seriously."

"Upon my honor I do mean it, though," said Hans, facing round and laying his left hand on Deronda's shoulder, so that their eyes fronted each other closely. "I am at the confessional. I meant to tell you as soon as you came. My mother says you are Mirah's guardian, and she thinks herself responsible to you for every breath that falls on Mirah in her house. Well, I love her--I worship her--I won't despair--I mean to deserve her."

"My dear fellow, you can't do it," said Deronda, quickly.

"I should have said, I mean to try."

"You can't keep your resolve, Hans. You used to resolve what you would do for your mother and sisters."

"You have a right to reproach me, old fellow," said Hans, gently.

"Perhaps I am ungenerous," said Deronda, not apologetically, however. "Yet it can't be ungenerous to warn you that you are indulging mad, Quixotic expectations."

"Who will be hurt but myself, then?" said Hans, putting out his lip. "I am not going to say anything to her unless I felt sure of the answer. I dare not ask the oracles: I prefer a cheerful caliginosity, as Sir Thomas Browne might say. I would rather run my chance there and lose, than be sure of winning anywhere else. And I don't mean to swallow the poison of despair, though you are disposed to thrust it on me. I am giving up wine, so let me get a little drunk on hope and vanity."

"With all my heart, if it will do you any good," said Deronda, loosing Hans's shoulder, with a little push. He made his tone kindly, but his words were from the lip only. As to his real feeling he was silenced.

He was conscious of that peculiar irritation which will sometimes befall the man whom others are inclined to trust as a mentor--the irritation of perceiving that he is supposed to be entirely off the same plane of desire and temptation as those who confess to him. Our guides, we pretend, must be sinless: as if those were not often the best teachers who only yesterday got corrected for their mistakes. Throughout their friendship Deronda had been used to Hans's egotism, but he had never before felt intolerant of it: when Hans, habitually pouring out his own feelings and affairs, had never cared for any detail in return, and, if he chanced to know any, and soon forgotten it. Deronda had been inwardly as well as outwardly indulgent--nay, satisfied. But now he had noted with some indignation, all the stronger because it must not be betrayed, Hans's evident assumption that for any danger of rivalry or jealousy in relation to Mirah, Deronda was not as much out of the question as the angel Gabriel. It is one thing to be resolute in placing one's self out of the question, and another to endure that others should perform that exclusion for us. He had expected that Hans would give him trouble: what he had not expected was that the trouble would have a strong element of personal feeling. And he was rather ashamed that Hans's hopes caused him uneasiness in spite of his well-warranted conviction that they would never be fulfilled. They had raised an image of Mirah changing; and however he might protest that the change would not happen, the protest kept up the unpleasant image. Altogether poor Hans seemed to be entering into Deronda's experience in a disproportionate manner--going beyond his part of rescued prodigal, and rousing a feeling quite distinct from compassionate affection.

When Deronda went to Chelsea he was not made as comfortable as he ought to have been by Mrs. Meyrick's evident release from anxiety about the beloved but incalculable son. Mirah seemed livelier than before, and for the first time he' saw her laugh. It was when they were talking of Hans, he being naturally the mother's first topic. Mirah wished to know if Deronda had seen Mr. Hans going through a sort of character piece without changing his dress.

"He passes from one figure to another as if he were a bit of flame where you fancied the figures without seeing them," said Mirah, full of her subject; "he is so wonderfully quick. I used never to like comic things on the stage--they were dwelt on too long; but all in one minute Mr. Hans makes himself a blind bard, and then Rienzi addressing the Romans, and then an opera-dancer, and then a desponding young gentleman--I am sorry for them all, and yet I laugh, all in one"--here Mirah gave a little laugh that might have entered into a song.

"We hardly thought that Mirah could laugh till Hans came," said Mrs. Meyrick, seeing that Deronda, like herself, was observing the pretty picture.

"Hans seems in great force just now," said Deronda in a tone of congratulation. "I don't wonder at his enlivening you."

"He's been just perfect ever since he came back," said Mrs. Meyrick, keeping to herself the next clause--"if it will but last."

"It is a great happiness," said Mirah, "to see the son and brother come into this dear home. And I hear them all talk about what they did together when they were little. That seems like heaven, and to have a mother and brother who talk in that way. I have never had it."

"Nor I," said Deronda, involuntarily.

"No?" said Mirah, regretfully. "I wish you had. I wish you had had every good." The last words were uttered with a serious ardor as if they had been part of a litany, while her eyes were fixed on Deronda, who with his elbow on the back of his chair was contemplating her by the new light of the impression she had made on Hans, and the possibility of her being attracted by that extraordinary contrast. It was no more than what had happened on each former visit of his, that Mirah appeared to enjoy speaking of what she felt very much as a little girl fresh from school pours forth spontaneously all the long-repressed chat for which she has found willing ears. For the first time in her life Mirah was among those whom she entirely trusted, and her original visionary impression that Deronda was a divinely-sent messenger hung about his image still, stirring always anew the disposition to reliance and openness. It was in this way she took what might have been the injurious flattery of admiring attention into which her helpless dependence had been suddenly transformed. Every one around her watched for her looks and words, and the effect on her was simply that of having passed from a trifling imprisonment into an exhilarating air which made speech and action a delight. To her mind it was all a gift from others' goodness. But that word of Deronda's implying that there had been some lack in his life which might be compared with anything she had known in hers, was an entirely new inlet of thought about him. After her first expression of sorrowful surprise she went on--

"But Mr. Hans said yesterday that you thought so much of others you hardly wanted anything for yourself. He told us a wonderful story of Buddha giving himself to the famished tigress to save her and her little ones from starving. And he said you were like Buddha. That is what we all imagine of you."

"Pray don't imagine that," said Deronda, who had lately been finding such suppositions rather exasperating. "Even if it were true that I thought so much of others, it would not follow that I had no wants for myself. When Buddha let the tigress eat him he might have been very hungry himself."

"Perhaps if he was starved he would not mind so much about being eaten," said Mab, shyly.

"Please don't think that, Mab; it takes away the beauty of the action," said Mirah.

"But if it were true, Mirah?" said the rational Amy, having a half-holiday from her teaching; "you always take what is beautiful as if it were true."

"So it is," said Mirah, gently. "If people have thought what is the most beautiful and the best thing, it must be true. It is always there."

"Now, Mirah, what do you mean?" said Amy.

"I understand her," said Deronda, coming to the rescue.

"It is a truth in thought though it may never have been carried out in action. It lives as an idea. Is that it?" He turned to Mirah, who was listening with a blind look in her lovely eyes.

"It must be that, because you understand me, but I cannot quite explain," said Mirah, rather abstractedly--still searching for some expression.

"But _was_ it beautiful for Buddha to let the tiger eat him?" said Amy, changing her ground. "It would be a bad pattern."

"The world would get full of fat tigers," said Mab.

Deronda laughed, but defended the myth. "It is like a passionate word," he said; "the exaggeration is a flash of fervor. It is an extreme image of what is happening every day-the transmutation of self."

"I think I can say what I mean, now," said Mirah, who had not heard the intermediate talk. "When the best thing comes into our thoughts, it is like what my mother has been to me. She has been just as really with me as all the other people about me--often more really with me."

Deronda, inwardly wincing under this illustration, which brought other possible realities about that mother vividly before him, presently turned the conversation by saying, "But we must not get too far away from practical matters. I came, for one thing, to tell of an interview I had yesterday, which I hope Mirah will find to have been useful to her. It was with Klesmer, the great pianist."

"Ah?" said Mrs. Meyrick, with satisfaction. "You think he will help her?"

"I hope so. He is very much occupied, but has promised to fix a time for receiving and hearing Miss Lapidoth, as we must learn to call her"--here Deronda smiled at Mirah--"If she consents to go to him."

"I shall be very grateful," said Mirah. "He wants to hear me sing, before he can judge whether I ought to be helped."

Deronda was struck with her plain sense about these matters of practical concern.

"It will not be at all trying to you, I hope, if Mrs. Meyrick will kindly go with you to Klesmer's house."

"Oh, no, not at all trying. I have been doing that all my life--I mean, told to do things that others may judge of me. And I have gone through a bad trial of that sort. I am prepared to bear it, and do some very small thing. Is Klesmer a severe man?"

"He is peculiar, but I have not had experience enough of him to know whether he would be what you would call severe."

"I know he is kind-hearted--kind in action, if not in speech."

"I have been used to be frowned at and not praised," said Mirah.

"By the by, Klesmer frowns a good deal," said Deronda, "but there is often a sort of smile in his eyes all the while. Unhappily he wears spectacles, so you must catch him in the right light to see the smile."

"I shall not be frightened," said Mirah. "If he were like a roaring lion, he only wants me to sing. I shall do what I can."

"Then I feel sure you will not mind being invited to sing in Lady Mallinger's drawing-room," said Deronda. "She intends to ask you next month, and will invite many ladies to hear you, who are likely to want lessons from you for their daughters."

"How fast we are mounting!" said Mrs. Meyrick, with delight. "You never thought of getting grand so quickly, Mirah."

"I am a little frightened at being called Miss Lapidoth," said Mirah, coloring with a new uneasiness. "Might I be called Cohen?"

"I understand you," said Deronda, promptly. "But I assure you, you must not be called Cohen. The name is inadmissible for a singer. This is one of the trifles in which we must conform to vulgar prejudice. We could choose some other name, however--such as singers ordinarily choose--an Italian or Spanish name, which would suit your _physique_." To Deronda just now the name Cohen was equivalent to the ugliest of yellow badges.

Mirah reflected a little, anxiously, then said, "No. If Cohen will not do, I will keep the name I have been called by. I will not hide myself. I have friends to protect me. And now--if my father were very miserable and wanted help--no," she said, looking at Mrs. Meyrick, "I should think, then, that he was perhaps crying as I used to see him, and had nobody to pity him, and I had hidden myself from him. He had none belonging to him but me. Others that made friends with him always left him."

"Keep to what you feel right, my dear child," said Mrs. Meyrick. "_I_ would not persuade you to the contrary." For her own part she had no patience or pity for that father, and would have left him to his crying.

Deronda was saying to himself, "I am rather base to be angry with Hans. How can he help being in love with her? But it is too absurdly presumptuous for him even to frame the idea of appropriating her, and a sort of blasphemy to suppose that she could possibly give herself to him."

What would it be for Daniel Deronda to entertain such thoughts? He was not one who could quite naively introduce himself where he had just excluded his friend, yet it was undeniable that what had just happened made a new stage in his feeling toward Mirah. But apart from other grounds for self- repression, reasons both definite and vague made him shut away that question as he might have shut up a half-opened writing that would have carried his imagination too far, and given too much shape to presentiments. Might there not come a disclosure which would hold the missing determination of his course? What did he really know about his origin? Strangely in these latter months when it seemed right that he should exert his will in the choice of a destination, the passion of his nature had got more and more locked by this uncertainty. The disclosure might bring its pain, indeed the likelihood seemed to him to be all on that side; but if it helped him to make his life a sequence which would take the form of duty--if it saved him from having to make an arbitrary selection where he felt no preponderance of desire? Still more, he wanted to escape standing as a critic outside the activities of men, stiffened into the ridiculous attitude of self-assigned superiority. His chief tether was his early inwrought affection for Sir Hugo, making him gratefully deferential to wishes with which he had little agreement: but gratitude had been sometimes disturbed by doubts which were near reducing it to a fear of being ungrateful. Many of us complain that half our birthright is sharp duty: Deronda was more inclined to complain that he was robbed of this half; yet he accused himself, as he would have accused another, of being weakly self-conscious and wanting in resolve. He was the reverse of that type painted for us in Faulconbridge and Edmund of Gloster, whose coarse ambition for personal success is inflamed by a defiance of accidental disadvantages. To Daniel the words Father and Mother had the altar-fire in them; and the thought of all closest relations of our nature held still something of the mystic power which had made his neck and ears burn in boyhood. The average man may regard this sensibility on the question of birth as preposterous and hardly credible; but with the utmost respect for his knowledge as the rock from which all other knowledge is hewn, it must be admitted that many well-proved facts are dark to the average man, even concerning the action of his own heart and the structure of his own retina. A century ago he and all his forefathers had not had the slightest notion of that electric discharge by means of which they had all wagged their tongues mistakenly; any more than they were awake to the secluded anguish of exceptional sensitiveness into which many a carelessly-begotten child of man is born.

Perhaps the ferment was all the stronger in Deronda's mind because he had never had a confidant to whom he could open himself on these delicate subjects. He had always been leaned on instead of being invited to lean. Sometimes he had longed for the sort of friend to whom he might possibly unfold his experience: a young man like himself who sustained a private grief and was not too confident about his own career; speculative enough to understand every moral difficulty, yet socially susceptible, as he himself was, and having every outward sign of equality either in bodily or spiritual wrestling;--for he had found it impossible to reciprocate confidences with one who looked up to him. But he had no expectation of meeting the friend he imagined. Deronda's was not one of those quiveringly-poised natures that lend themselves to second-sight.


There be who hold that the deeper tragedy were a Prometheus Bound not

_after_ but _before_ he had well got the celestial fire into

the _narthex_ whereby it might be conveyed to mortals: thrust by

the Kratos and Bia of instituted methods into a solitude of despised

ideas, fastened in throbbing helplessness by the fatal pressure of

poverty and disease--a solitude where many pass by, but none regard.

"Second-sight" is a flag over disputed ground. But it is matter of knowledge that there are persons whose yearnings, conceptions--nay, traveled conclusions--continually take the form of images which have a foreshadowing power; the deed they would do starts up before them in complete shape, making a coercive type; the event they hunger for or dread rises into vision with a seed-like growth, feeding itself fast on unnumbered impressions. They are not always the less capable of the argumentative process, nor less sane than the commonplace calculators of the market: sometimes it may be that their natures have manifold openings, like the hundred-gated Thebes, where there may naturally be a greater and more miscellaneous inrush than through a narrow beadle-watched portal. No doubt there are abject specimens of the visionary, as there is a minim mammal which you might imprison in the finger of your glove. That small relative of the elephant has no harm in him; but what great mental or social type is free from specimens whose insignificance is both ugly and noxious? One is afraid to think of all that the genus "patriot" embraces; or of the elbowing there might be at the day of judgment for those who ranked as authors, and brought volumes either in their hands or on trucks.

This apology for inevitable kinship is meant to usher in some facts about Mordecai, whose figure had bitten itself into Deronda's mind as a new question which he felt an interest in getting answered. But the interest was no more than a vaguely-expectant suspense: the consumptive-looking Jew, apparently a fervid student of some kind, getting his crust by a quiet handicraft, like Spinoza, fitted into none of Deronda's anticipations.

It was otherwise with the effect of their meeting on Mordecai. For many winters, while he had been conscious of an ebbing physical life, and as widening spiritual loneliness, all his passionate desire had concentrated itself in the yearning for some young ear into which he could pour his mind as a testament, some soul kindred enough to accept the spiritual product of his own brief, painful life, as a mission to be executed. It was remarkable that the hopefulness which is often the beneficent illusion of consumptive patients, was in Mordecai wholly diverted from the prospect of bodily recovery and carried into the current of this yearning for transmission. The yearning, which had panted upward from out of over- whelming discouragements, had grown into a hope--the hope into a confident belief, which, instead of being checked by the clear conception he had of his hastening decline, took rather the intensity of expectant faith in a prophecy which has only brief space to get fulfilled in.

Some years had now gone since he had first begun to measure men with a keen glance, searching for a possibility which became more and more a distinct conception. Such distinctness as it had at first was reached chiefly by a method of contrast: he wanted to find a man who differed from himself. Tracing reasons in that self for the rebuffs he had met with and the hindrances that beset him, he imagined a man who would have all the elements necessary for sympathy with him, but in an embodiment unlike his own: he must be a Jew, intellectually cultured, morally fervid--in all this a nature ready to be plenished from Mordecai's; but his face and frame must be beautiful and strong, he must have been used to all the refinements of social life, his voice must flow with a full and easy current, his circumstances be free from sordid need: he must glorify the possibilities of the Jew, not sit and wonder as Mordecai did, bearing the stamp of his people amid the sign of poverty and waning breath. Sensitive to physical characteristics, he had, both abroad and in England, looked at pictures as well as men, and in a vacant hour he had sometimes lingered in the National Gallery in search of paintings which might feed his hopefulness with grave and noble types of the human form, such as might well belong to men of his own race. But he returned in disappointment. The instances are scattered but thinly over the galleries of Europe, in which the fortune or selection even of the chief masters has given to art a face at once young, grand, and beautiful, where, if there is any melancholy, it is no feeble passivity, but enters into the foreshadowed capability of heroism.

Some observant persons may perhaps remember his emaciated figure, and dark eyes deep in their sockets, as he stood in front of a picture that had touched him either to new or habitual meditation: he commonly wore a cloth cap with black fur round it, which no painter would have asked him to take off. But spectators would be likely to think of him as an odd-looking Jew who probably got money out of pictures; and Mordecai, when he looked at them, was perfectly aware of the impression he made. Experience had rendered him morbidly alive to the effect of a man's poverty and other physical disadvantages in cheapening his ideas, unless they are those of a Peter the Hermit who has a tocsin for the rabble. But he was too sane and generous to attribute his spiritual banishment solely to the excusable prejudices of others; certain incapacities of his own had made the sentence of exclusion; and hence it was that his imagination had constructed another man who would be something more ample than the second soul bestowed, according to the notion of the Cabbalists, to help out the insufficient first--who would be a blooming human life, ready to incorporate all that was worthiest in an existence whose visible, palpable part was burning itself fast away. His inward need for the conception of this expanded, prolonged self was reflected as an outward necessity. The thoughts of his heart (that ancient phrase best shadows the truth) seemed to him too precious, too closely interwoven with the growth of things not to have a further destiny. And as the more beautiful, the stronger, the more executive self took shape in his mind, he loved it beforehand with an affection half identifying, half contemplative and grateful.

Mordecai's mind wrought so constantly in images, that his coherent trains of thought often resembled the significant dreams attributed to sleepers by waking persons in their most inventive moments: nay, they often resembled genuine dreams in their way of breaking off the passage from the known to the unknown. Thus, for a long while, he habitually thought of the Being answering to his need as one distantly approaching or turning his back toward him, darkly painted against a golden sky. The reason of the golden sky lay in one of Mordecai's habits. He was keenly alive to some poetic aspects of London; and a favorite resort of his, when strength and leisure allowed, was to some of the bridges, especially about sunrise or sunset. Even when he was bending over watch-wheels and trinkets, or seated in a small upper room looking out on dingy bricks and dingy cracked windows, his imagination spontaneously planted him on some spot where he had a far-stretching scene; his thoughts went on in wide spaces; and whenever he could, he tried to have in reality the influences of a large sky. Leaning on the parapet of Blackfriar's Bridge, and gazing meditatively, the breadth and calm of the river, with its long vista half hazy, half luminous, the grand dim masses of tall forms of buildings which were the signs of world-commerce, the oncoming of boats and barges from the still distance into sound and color, entered into his mood and blent themselves indistinguishably with his thinking, as a fine symphony to which we can hardly be said to listen, makes a medium that bears up our spiritual wings. Thus it happened that the figure representative of Mordecai's longing was mentally seen darkened by the excess of light in the aerial background. But in the inevitable progress of his imagination toward fuller detail, he ceased to see the figure with its back toward him. It began to advance, and a face became discernible; the words youth, beauty, refinement, Jewish birth, noble gravity, turned into hardly individual but typical form and color: gathered from his memory of faces seen among the Jews of Holland and Bohemia, and from the paintings which revived that memory. Reverently let it be said of this mature spiritual need that it was akin to the boy's and girl's picturing of the future beloved; but the stirrings of such young desire are feeble compared with the passionate current of an ideal life straining to embody itself, made intense by resistance to imminent dissolution. The visionary form became a companion and auditor; keeping a place not only in the waking imagination, but in those dreams of lighter slumber of which it is truest to say, "I sleep, but my heart waketh"--when the disturbing trivial story of yesterday is charged with the impassioned purpose of years.

Of late the urgency of irremediable time, measured by the gradual choking of life, had turned Mordecai's trust into an agitated watch for the fulfillment that must be at hand. Was the bell on the verge of tolling, the sentence about to be executed? The deliverer's footstep must be near-- the deliverer who was to rescue Mordecai's spiritual travail from oblivion, and give it an abiding-place in the best heritage of his people. An insane exaggeration of his own value, even if his ideas had been as true and precious as those of Columbus or Newton, many would have counted this yearning, taking it as the sublimer part for a man to say, "If not I, then another," and to hold cheap the meaning of his own life. But the fuller nature desires to be an agent, to create, and not merely to look on: strong love hungers to bless, and not merely to behold blessing. And while there is warmth enough in the sun to feed an energetic life, there will still be men to feel, "I am lord of this moment's change, and will charge it with my soul."

But with that mingling of inconsequence which belongs to us all, and not unhappily, since it saves us from many effects of mistake, Mordecai's confidence in the friend to come did not suffice to make him passive, and he tried expedients, pathetically humble, such as happened to be within his reach, for communicating something of himself. It was now two years since he had taken up his abode under Ezra Cohen's roof, where he was regarded with much good-will as a compound of workman, dominie, vessel of charity, inspired idiot, man of piety, and (if he were inquired into) dangerous heretic. During that time little Jacob had advanced into knickerbockers, and into that quickness of apprehension which has been already made manifest in relation to hardware and exchange. He had also advanced in attachment to Mordecai, regarding him as an inferior, but liking him none the worse, and taking his helpful cleverness as he might have taken the services of an enslaved Djinn. As for Mordecai, he had given Jacob his first lessons, and his habitual tenderness easily turned into the teacher's fatherhood. Though he was fully conscious of the spiritual distance between the parents and himself, and would never have attempted any communication to them from his peculiar world, the boy moved him with that idealizing affection which merges the qualities of the individual child in the glory of childhood and the possibilities of a long future. And this feeling had drawn him on, at first without premeditation, and afterward with conscious purpose, to a sort of outpouring in the ear of the boy which might have seemed wild enough to any excellent man of business who overheard it. But none overheard when Jacob went up to Mordecai's room one day, for example, in which there was little work to be done, or at an hour when the work was ended, and after a brief lesson in English reading or in numeration, was induced to remain standing at his teacher's knees, or chose to jump astride them, often to the patient fatigue of the wasted limbs. The inducement was perhaps the mending of a toy, or some little mechanical device in which Mordecai's well-practiced finger-tips had an exceptional skill; and with the boy thus tethered, he would begin to repeat a Hebrew poem of his own, into which years before he had poured his first youthful ardors for that conception of a blended past and future which was the mistress of his soul, telling Jacob to say the words after him.

"The boy will get them engraved within him," thought Mordecai; "it is a way of printing."

None readier than Jacob at this fascinating game of imitating unintelligible words; and if no opposing diversion occurred he would sometimes carry on his share in it as long as the teacher's breath would last out. For Mordecai threw into each repetition the fervor befitting a sacred occasion. In such instances, Jacob would show no other distraction than reaching out and surveying the contents of his pockets; or drawing down the skin of his cheeks to make his eyes look awful, and rolling his head to complete the effect; or alternately handling his own nose and Mordecai's as if to test the relation of their masses. Under all this the fervid reciter would not pause, satisfied if the young organs of speech would submit themselves. But most commonly a sudden impulse sent Jacob leaping away into some antic or active amusement, when, instead of following the recitation he would return upon the foregoing words most ready to his tongue, and mouth or gabble, with a see-saw suited to the action of his limbs, a verse on which Mordecai had spent some of his too scanty heart's blood. Yet he waited with such patience as a prophet needs, and began his strange printing again undiscouraged on the morrow, saying inwardly--

"My words may rule him some day. Their meaning may flash out on him. It is so with a nation--after many days."

Meanwhile Jacob's sense of power was increased and his time enlivened by a store of magical articulation with which he made the baby crow, or drove the large cat into a dark corner, or promised himself to frighten any incidental Christian of his own years. One week he had unfortunately seen a street mountebank, and this carried off his muscular imitativeness in sad divergence from New Hebrew poetry, after the model of Jehuda ha-Levi. Mordecai had arrived at a fresh passage in his poem; for as soon as Jacob had got well used to one portion, he was led on to another, and a fresh combination of sounds generally answered better in keeping him fast for a few minutes. The consumptive voice, generally a strong high baritone, with its variously mingling hoarseness, like a haze amidst illuminations, and its occasional incipient gasp had more than the usual excitement, while it gave forth Hebrew verses with a meaning something like this:--

"Away from me the garment of forgetfulness.

Withering the heart;

The oil and wine from presses of the Goyim,

Poisoned with scorn.

Solitude is on the sides of Mount Nebo,

In its heart a tomb:

There the buried ark and golden cherubim

Make hidden light:

There the solemn gaze unchanged,

The wings are spread unbroken:

Shut beneath in silent awful speech

The Law lies graven.

Solitude and darkness are my covering,

And my heart a tomb;

Smite and shatter it, O Gabriel!

Shatter it as the clay of the founder

Around the golden image."

In the absorbing enthusiasm with which Mordecai had intoned rather than spoken this last invocation, he was unconscious that Jacob had ceased to follow him and had started away from his knees; but pausing he saw, as by a sudden flash, that the lad had thrown himself on his hands with his feet in the air, mountebank fashion, and was picking up with his lips a bright farthing which was a favorite among his pocket treasures. This might have been reckoned among the tricks Mordecai was used to, but at this moment it jarred him horribly, as if it had been a Satanic grin upon his prayer.

"Child! child!" he called out with a strange cry that startled Jacob to his feet, and then he sank backward with a shudder, closing his eyes.

"What?" said Jacob, quickly. Then, not getting an immediate answer, he pressed Mordecai's knees with a shaking movement, in order to rouse him. Mordecai opened his eyes with a fierce expression in them, leaned forward, grasped the little shoulders, and said in a quick, hoarse whisper--

"A curse is on your generation, child. They will open the mountain and drag forth the golden wings and coin them into money, and the solemn faces they will break up into ear-rings for wanton women! And they shall get themselves a new name, but the angel of ignominy, with the fiery brand, shall know them, and their heart shall be the tomb of dead desires that turn their life to rottenness."

The aspect and action of Mordecai were so new and mysterious to Jacob-- they carried such a burden of obscure threat--it was as if the patient, indulgent companion had turned into something unknown and terrific: the sunken dark eyes and hoarse accents close to him, the thin grappling fingers, shook Jacob's little frame into awe, and while Mordecai was speaking he stood trembling with a sense that the house was tumbling in and they were not going to have dinner any more. But when the terrible speech had ended and the pinch was relaxed, the shock resolved itself into tears; Jacob lifted up his small patriarchal countenance and wept aloud. This sign of childish grief at once recalled Mordecai to his usual gentle self: he was not able to speak again at present, but with a maternal action he drew the curly head toward him and pressed it tenderly against his breast. On this Jacob, feeling the danger well-nigh over, howled at ease, beginning to imitate his own performance and improve upon it--a sort of transition from impulse into art often observable. Indeed, the next day he undertook to terrify Adelaide Rebekah in like manner, and succeeded very well.

But Mordecai suffered a check which lasted long, from the consciousness of a misapplied agitation; sane as well as excitable, he judged severely his moments of aberration into futile eagerness, and felt discredited with himself. All the more his mind was strained toward the discernment of that friend to come, with whom he would have a calm certainty of fellowship and understanding.

It was just then that, in his usual midday guardianship of the old book- shop, he was struck by the appearance of Deronda, and it is perhaps comprehensible now why Mordecai's glance took on a sudden eager interest as he looked at the new-comer: he saw a face and frame which seemed to him to realize the long-conceived type. But the disclaimer of Jewish birth was for the moment a backward thrust of double severity, the particular disappointment tending to shake his confidence in the more indefinite expectation. Nevertheless, when he found Deronda seated at the Cohens' table, the disclaimer was for the moment nullified: the first impression returned with added force, seeming to be guaranteed by this second meeting under circumstance more peculiar than the former; and in asking Deronda if he knew Hebrew, Mordecai was so possessed by the new inrush of belief, that he had forgotten the absence of any other condition to the fulfillment of his hopes. But the answering "No" struck them all down again, and the frustration was more painful than before. After turning his back on the visitor that Sabbath evening, Mordecai went through days of a deep discouragement, like that of men on a doomed ship, who having strained their eyes after a sail, and beheld it with rejoicing, behold it never advance, and say, "Our sick eyes make it." But the long-contemplated figure had come as an emotional sequence of Mordecai's firmest theoretic convictions; it had been wrought from the imagery of his most passionate life; and it inevitably reappeared--reappeared in a more specific self- asserting form than ever. Deronda had that sort of resemblance to the preconceived type which a finely individual bust or portrait has to the more generalized copy left in our minds after a long interval: we renew our memory with delight, but we hardly know with how much correction. And now, his face met Mordecai's inward gaze as it had always belonged to the awaited friend, raying out, moreover, some of that influence which belongs to breathing flesh; till by-and-by it seemed that discouragement had turned into a new obstinacy of resistance, and the ever-recurrent vision had the force of an outward call to disregard counter-evidence, and keep expectation awake. It was Deronda now who was seen in the often painful night-watches, when we are all liable to be held with the clutch of a single thought--whose figure, never with its back turned, was seen in moments of soothed reverie or soothed dozing, painted on that golden sky which was the doubly blessed symbol of advancing day and of approaching rest.

Mordecai knew that the nameless stranger was to come and redeem his ring; and, in spite of contrary chances, the wish to see him again was growing into a belief that he should see him. In the January weeks, he felt an increasing agitation of that subdued hidden quality which hinders nervous people from any steady occupation on the eve of an anticipated change. He could not go on with his printing of Hebrew on little Jacob's mind; or with his attendance at a weekly club, which was another effort of the same forlorn hope: something else was coming. The one thing he longed for was to get as far as the river, which he could do but seldom and with difficulty. He yearned with a poet's yearning for the wide sky, the far- reaching vista of bridges, the tender and fluctuating lights on the water which seems to breathe with a life that can shiver and mourn, be comforted and rejoice.