Daniel Deronda
George Eliot
CHAPTER XLV. Page 1
Behold my lady's carriage stop the way. powdered lacquey and with charming bay; She sweeps the matting, treads the crimson stair. Her arduous function solely "to be there." Like Sirious rising o'er the silent sea. She hides her heart in lustre loftily.
The drawing-rooms in Park Lane, all white, gold, and pale crimson, were agreeably furnished, and not crowded with guests, before Mr. and Mrs. Grandcourt entered; and more than half an hour of instrumental music was being followed by an interval of movement and chat. Klesmer was there with his wife, and in his generous interest for Mirah he proposed to accompany her singing of Leo's "_O patria mia_," which he had before recommended her to choose, as more distinctive of her than better known music. He was already at the piano, and Mirah was standing there conspicuously, when Gwendolen, magnificent in her pale green velvet and poisoned diamonds, was ushered to a seat of honor well in view of them. With her long sight and self-command she had the rare power of quickly distinguishing persons and objects on entering a full room, and while turning her glance toward Mirah she did not neglect to exchange a bow with Klesmer as she passed. The smile seemed to each a lightning-flash back on that morning when it had been her ambition to stand as the "little Jewess" was standing, and survey a grand audience from the higher rank of her talent--instead of which she was one of the ordinary crowd in silk and gems, whose utmost performance it must be to admire or find fault. "He thinks I am in the right road now," said the lurking resentment within her.
"Well, your Jewess is pretty--there's no denying that. But where is her Jewish impudence? She looks as demure as a nun. I suppose she learned that on the stage."
He was beginning to feel on Mirah's behalf something of what he had felt for himself in his seraphic boyish time, when Sir Hugo asked him if he would like to be a great singer--an indignant dislike to her being remarked on in a free and easy way, as if she were an imported commodity disdainfully paid for by the fashionable public, and he winced the more because Mordecai, he knew, would feel that the name "Jewess" was taken as a sort of stamp like the lettering of Chinese silk. In this susceptible mood he saw the Grandcourts enter, and was immediately appealed to by Hans about "that Vandyke duchess of a beauty." Pray excuse Deronda that in this moment he felt a transient renewal of his first repulsion from Gwendolen, as if she and her beauty and her failings were to blame for the undervaluing of Mirah as a woman--a feeling something like class animosity, which affection for what is not fully recognized by others, whether in persons or in poetry, rarely allows us to escape. To Hans admiring Gwendolen with his habitual hyperbole, he answered, with a sarcasm that was not quite good-natured--
"I thought you could admire no style of woman but your Berenice."
"That is the style I worship--not admire," said Hans. "Other styles of women I might make myself wicked for, but for Berenice I could make myself--well, pretty good, which is something much more difficult."
"Hush," said Deronda, under the pretext that the singing was going to begin. He was not so delighted the answer as might have been expected, and was relieved by Hans's movement to a more advanced spot.
Deronda had never before heard Mirah sing "_O patria mia_." He knew well Leopardi's fine Ode to Italy (when Italy sat like a disconsolate mother in chains, hiding her face on knees and weeping), and the few selected words were filled for him with the grandeur of the whole, which seemed to breath an inspiration through the music. Mirah singing this, made Mordecai more than ever one presence with her. Certain words not included in the song nevertheless rang within Deronda as harmonies from the invisible--
"Non ti difende Nessun dè tuoi! L'armi, qua l'armi: io solo Combatteró, procomberó sol io"-- (Footnote: Do none of thy children defend thee? Arms! bring me arms! alone I will fight, alone I will fall.)
they seemed the very voice of that heroic passion which is falsely said to devote itself in vain when it achieves the god-like end of manifesting unselfish love. And that passion was present to Deronda now as the vivid image of a man dying helplessly away from the possibility of battle.
Klesmer, having risen to Gwendolen as she approached, and being included by her in the opening conversation with Mirah, continued near them a little while, looking down with a smile, which was rather in his eyes than on his lips, at the piquant contrast of the two charming young creatures seated on the red divan. The solicitude seemed to be all on the side of the splendid one.
"You must let me say how much I am obliged to you," said Gwendolen. "I had heard from Mr. Deronda that I should have a great treat in your singing, but I was too ignorant to imagine how great."
"You are very good to say so," answered Mirah, her mind chiefly occupied in contemplating Gwendolen. It was like a new kind of stage-experience to her to be close to genuine grand ladies with genuine brilliants and complexions, and they impressed her vaguely as coming out of some unknown drama, in which their parts perhaps got more tragic as they went on.
"We shall all want to learn of you--I, at least," said Gwendolen. "I sing very badly, as Herr Klesmer will tell you,"--here she glanced upward to that higher power rather archly, and continued--"but I have been rebuked for not liking to middling, since I can be nothing more. I think that is a different doctrine from yours?" She was still looking at Klesmer, who said quickly--
"If you think I could teach you, I shall be very glad. I am anxious to teach, but I have only just begun. If I do it well, it must be by remembering how my master taught me."
Gwendolen was in reality too uncertain about herself to be prepared for this simple promptitude of Mirah's, and in her wish to change the subject, said, with some lapse from the good taste of her first address--
"You have not been long in London, I think?--but you were perhaps introduced to Mr. Deronda abroad?"
"No," said Mirah; "I never saw him before I came to England in the summer."
"But he has seen you often and heard you sing a great deal, has he not?" said Gwendolen, led on partly by the wish to hear anything about Deronda, and partly by the awkwardness which besets the readiest person, in carrying on a dialogue when empty of matter. "He spoke of you to me with the highest praise. He seemed to know you quite well."
"Oh, I was poor and needed help," said Mirah, in a new tone of feeling, "and Mr. Deronda has given me the best friends in the world. That is the only way he came to know anything about me--because he was sorry for me. I had no friends when I came. I was in distress. I owe everything to him."
Poor Gwendolen, who had wanted to be a struggling artist herself, could nevertheless not escape the impression that a mode of inquiry which would have been rather rude toward herself was an amiable condescension to this Jewess who was ready to give her lessons. The only effect on Mirah, as always on any mention of Deronda, was to stir reverential gratitude and anxiety that she should be understood to have the deepest obligation to him.
But both he and Hans, who were noticing the pair from a distance, would have felt rather indignant they had known that the conversation had led up to Mirah's representation of herself in this light of neediness. In the movement that prompted her, however, there was an exquisite delicacy, which perhaps she could not have stated explicitly--the feeling that she ought not to allow any one to assume in Deronda a relation of more equality or less generous interest toward her than actually existed. Her answer was delightful to Gwendolen: she thought of but the ready compassion which in another form she had trusted in and found herself; and on the signals that Klesmer was about to play she moved away in much content, entirely without presentiment that this Jewish _protégé_ would ever make a more important difference in her life than the possible improvement of her singing--if the leisure and spirits of a Mrs. Grandcourt would allow of other lessons than such as the world was giving her at rather a high charge.
With her wonted alternation from resolute care of appearances to some rash indulgence of an impulse, she chose, under the pretext of getting farther from the instrument, not to go again to her former seat, but placed herself on a settee where she could only have one neighbor. She was nearer to Deronda than before: was it surprising that he came up in time to shake hands before the music began--then, that after he had stood a little while by the elbow of the settee at the empty end, the torrent-like confluences of bass and treble seemed, like a convulsion of nature, to cast the conduct of petty mortals into insignificance, and to warrant his sitting down?
But when at the end of Klesmer's playing there came the outburst of talk under which Gwendolen had hoped to speak as she would to Deronda, she observed that Mr. Lush was within hearing, leaning against the wall close by them. She could not help her flush of anger, but she tried to have only an air of polite indifference in saying--
"Miss Lapidoth is everything you described her to be."
"You have been very quick in discovering that," said Deronda, ironically.