Introductory material (continued 4)

Mr. Finch suddenly lifted his head, and looked at Oscar with a certain appearance of alarm.

"Your brother mentions that he has made his fortune in America," said the Reverend gentleman. "I hope he is not connected with the money-market. He might infect Mr. Nugent with the spirit of reckless speculation which is, so to speak, the national sin of the United States. Your brother, having no doubt the same generous disposition as yours——"

"A far finer disposition than mine, Mr. Finch," interposed Oscar.

"Possessed, like you, of the gifts of fortune," proceeded the rector, with mounting enthusiasm.

"Once possessed of them," said Oscar. "Far from being overburdened with the gifts of fortune, now!"

"What!!!" cried Mr. Finch, with a start of consternation.

"Nugent has run through his fortune," proceeded Oscar, quite composedly. "I lent him the money to go to America. My brother is a genius, Mr. Finch. When did you ever hear of a genius who could keep within limits? Nugent is not content to live in my humble way. He has the tastes of a prince—money is nothing to him. It doesn't matter. He will make a new fortune Out of his pictures; and, in the meantime, you know, I can always lend him something to go on with."

Mr. Finch rose from his seat, with the air of a man whose just anticipations have not been realized—whose innocent confidence has been scandalously betrayed. Here was a prospect! Another person in perpetual want of money, going to settle under the shadow of the rectory! Another man likely to borrow of Oscar—and that man his brother!

"I fail to take your light view of your brother's extravagance," said the rector, addressing Oscar with his loftiest severity of manner, at the door. "I deplore and reprehend Mr. Nugent's misuse of the bounty bestowed on him by an all-wise Providence. You will do well to consider, before you encourage your brother's extravagance by lending him money. What does the great poet of humanity say of lenders? The Bard of Avon tells us, that 'loan oft loses both itself and friend.' Lay that noble line to heart, Oscar! Lucilla, be on your guard against that restlessness which I have already had occasion to reprove. I find I must leave you, Madame Pratolungo. I had forgotten my parish duties. My parish duties are waiting for me. Good day! good day!"

He looked round on us all three, in turn, with a very sour face, and walked out. "Surely," I thought to myself, "this brother of Oscar's is not beginning well! First, the daughter takes offense at him, and now the father follows her example. Even on the other side of the Atlantic, Mr. Nugent Dubourg exercises a malignant influence, and disturbs the family tranquillity before he has shown his nose in the house!"

Nothing more that is worth recording happened on that day. We had a very dull evening. Lucilla was out of spirits. As for me, I had not yet had time to accustom myself to the shocking spectacle of Oscar's discolored face. I was serious and silent. You would never have guessed me to be a Frenchwoman, if you had seen me for the first time on the occasion of my return to the rectory.

The next day a small domestic event happened, which must be chronicled in this place.

Our Dimchurch doctor, always dissatisfied with his position in an obscure country place, had obtained an appointment in India which offered great professional advantages to an ambitious man. He called to take leave of us on his departure. I found an opportunity of speaking to him about Oscar. He entirely agreed with me that the attempt to keep the change produced in his former patient by the Nitrate of Silver from Lucilla's knowledge, was simply absurd. The truth would reach her, he said, before many days were over our heads. With that prediction, addressed to my private ear, he left us. The removal of him from the scene was, you will please to bear in mind, the removal of an important local witness to the medical treatment of Oscar, and was, as such, an incident with a bearing of its own on the future, which claims a place for it in the present narrative.

Two more days passed, and nothing happened. On the morning of the third day, the doctor's prophecy was all but fulfilled, through the medium of the wandering Arab of the family, our funny little Jicks.

While Lucilla and I were strolling about the garden with Oscar, the child suddenly darted out on us from behind a tree, and, seizing Oscar round the legs, hailed him affectionately at the top of her voice as "The Blue Man!" Lucilla instantly stopped, and said, "Who do you call 'The Blue Man'?" Jicks answered boldly, "Oscar." Lucilla caught the child up in her arms. "Why do you call Oscar 'The Blue Man'?" she asked. Jicks pointed to Oscar's face, and then, remembering Lucilla's blindness, appealed to me. "You tell her!" said Jicks, in high glee. Oscar seized my hand, and looked at me imploringly. I determined not to interfere. It was bad enough to remain passive, and to let her be kept in the dark. Actively, I was resolved to take no part in deceiving her. Her color rose; she put Jicks down on the ground. "Are you both dumb?" she asked. "Oscar! I insist on knowing it—how have you got the nick-name of 'The Blue Man'?" Left helpless, Oscar (to my disgust) took refuge in a lie—and, worse still, a clumsy lie. He declared that he had got his nick-name in the nursery, at the time of Lucilla's absence in London, by one day painting his face in the character of Bluebeard to amuse the children! If Lucilla had felt the faintest suspicion of the truth, blind as she was, she must now have discovered it. As things were, Oscar annoyed and irritated her. I could see that it cost her a struggle to suppress something like a feeling of contempt for him. "Amuse the children, the next time, in some other way," she said. "Though I can't see you, still I don't like to hear of your disfiguring your face by painting it blue." With that answer, she walked away a little by herself, evidently disappointed in her betrothed husband for the first time in her experience of him.

He cast another imploring look at me. "Did you hear what she said about my face?" he whispered.

"You have lost an excellent opportunity of speaking out," I answered. "I believe you will bitterly regret the folly and the cruelty of deceiving her."

He shook his head, with the immovable obstinacy of a weak man.

"Nugent doesn't think as you do," he said, handing me the letter. "Read that bit there—now Lucilla is out of hearing."

I paused for a moment before I could read. The resemblance between the twins extended even to their handwritings! If I had picked Nugent's letter up, I should have handed it to Oscar as a letter of Oscar's own writing.

The paragraph to which he pointed, only contained these lines:—"Your last relieves my anxiety about your health. I entirely agree with you that any personal sacrifice which cures you of those horrible attacks is a sacrifice wisely made. As to your keeping the change a secret from the young lady, I can only say that I suppose you know best how to act in this emergency. I will abstain from forming any opinion of my own until we meet."

I handed Oscar back the letter.

"There is no very warm approval there of the course you are taking," I said. "The only difference between your brother and me is, that he suspends his opinion, and that I express mine."

"I have no fear of my brother," Oscar answered. "Nugent will feel for me, and understand me, when he comes to Browndown. In the meantime, this shall not happen again."

He stooped over Jicks. The child, while we were talking, had laid herself down luxuriously on the grass, and was singing to herself little snatches of a nursery song. Oscar pulled her up on her legs rather roughly. He was out of temper with her, as well as with himself.

"What are you going to do?" I asked.

"I am going to see Mr. Finch," he answered, "and to have Jicks kept for the future out of Lucilla's garden."

"Does Mr. Finch approve of your silence?"

"Mr. Finch, Madame Pratolungo, leaves me to decide on a matter which concerns nobody but Lucilla and myself."

After that reply, there was an end of all further remonstrance from me, as a matter of course.

Oscar walked off with his prisoner to the house. Jicks trotted along by his side, unconscious of the mischief she had done, singing another verse of the nursery song. I rejoined Lucilla, with my mind made up as to the line of conduct I should adopt in the future. If Oscar did succeed in keeping the truth concealed from her, I was positively resolved, come what might of it, to enlighten her before they were married, with my own lips. What! after pledging myself to keep the secret? Yes. Perish the promise which makes me false to a person whom I love! I despise such promises from the bottom of my heart.

Two days more slipped by—and then a telegram found its way to Browndown. Oscar came running to us, at the rectory, with his news. Nugent had landed at Liverpool. Oscar was to expect him at Dimchurch on the next day.

CHAPTER THE TWENTY-THIRD

He sets us All Right

I HAVE thus far quite inadvertently omitted to mention one of the prominent virtues of Reverend Finch. He was an accomplished master of that particular form of human persecution which is called reading aloud; and he inflicted his accomplishment on his family circle at every available opportunity. Of what we suffered on these occasions, I shall say nothing. Let it be enough to mention that the rector thoroughly enjoyed the pleasure of hearing his own magnificent voice.

There was no escaping Mr. Finch when the rage for "reading" seized on him. Now on one pretense, and now on another, he descended on us unfortunate women, book in hand; seated us at one end of the room; placed himself at the other; opened his dreadful mouth; and fired words at us, like shots at a target, by the hour together. Sometimes he gave us poetical readings from Shakespeare or Milton; and sometimes Parliamentary speeches by Burke or Sheridan. Read what he might, he made such a noise and such a fuss over it; he put his own individuality so prominently in the foremost place, and he kept the poets or the orators whom he was supposed to be interpreting so far in the back ground, that they lost every trace of character of their own, and became one and all perfectly intolerable reflections of Mr. Finch. I date my first unhappy doubts of the supreme excellence of Shakespeare's poetry from the rector's readings; and I attribute to the same exasperating cause my implacable hostility (on every question of the time) to the policy of Mr. Burke. On the evening when Nugent Dubourg was expected at Browndown—and when we particularly wanted to be left alone to dress ourselves, and to gossip by anticipation about the expected visitor—Mr. Finch was seized with one of his periodical rages for firing off words at his family, after tea. He selected Hamlet as the medium for exhibiting his voice, on this occasion; and he declared, as the principal motive for taking his elocutionary exercise, that the object he especially had in view was the benefit of poor Me!

"My good creature, I accidentally heard you reading to Lucilla, the other day. It was very nice, as far as it went—very nice indeed. But you will allow me—as a person, Madame Pratolungo, possessing considerable practice in the art of reading aloud—to observe that you might be benefited by a hint or two. I will give you a few ideas. (Mrs. Finch! I propose giving Madame Pratolungo a few ideas.) Pay particular attention, if you please, to the Pauses, and to the management of the Voice at the end of the lines. Lucilla, my child, you are interested in this. The perfecting of Madame Pratolungo is a matter of considerable importance to you. Don't go away."

Lucilla and I happened, on that evening, to be guests at the rectory table. It was one of the regular occasions on which we left our own side of the house, and joined the family at (what Mr. Finch called) "the pastor's evening meal." He had got his wife; he had got his eldest daughter; he had got your humble servant. A horrid smile of enjoyment overspread the reverend gentleman's face, as he surveyed us from the opposite end of the room, and opened his vocal fire on his audience of three.

"Hamlet: Act the First; Scene the First. Elsinore. A Platform before the Castle. Francisco on his post" (Mr. Finch). "Enter to him Bernardo" (Mr. Finch). "Who's there?" "Nay, answer me: stand, and unfold yourself." (Mrs. Finch unfolds herself—she suckles the baby, and tries to look as if she was having an intellectual treat.) "Francisco and Bernardo converse in bass—Boom-boom-boom. Enter Horatio and Marcellus" (Mr. Finch and Mr. Finch.) "Stand! Who's there?" "Friends to this ground." "And liegemen to the Dane." (Madame Pratolungo begins to feel the elocutionary exposition of Shakespeare, where she always feels it, in her legs. She tries to sit still on her chair. Useless! She is suffering under the malady known to her by bitter experience of Mr. Finch, as the Hamlet-Fidgets.) Bernardo and Franciso, Horatio and Marcellus, converse—Boom-boom-boom. "Enter Ghost of Hamlet's Father." Mr. Finch makes an awful pause. In the supernatural silence, we can hear the baby sucking. Mrs. Finch enjoys her intellectual treat. Madame Pratolungo fidgets. Lucilla catches the infection, and fidgets too. Marcellus-Finch goes on. "Thou art a scholar, speak to it, Horatio." Bernardo-Finch backs him: "Looks it not like the King? Mark it, Horatio." Lucilla-Finch inserts herself in the dialogue: "Papa, I am very sorry; I have had a nervous headache all day; please excuse me if I take a turn in the garden." The rector makes another awful pause, and glares at his daughter. (Exit Lucilla.) Horatio looks at the Ghost, and takes up the dialogue: "Most like; it harrows me "—Boom-boom-boom. The baby is satiated. Mrs. Finch wants her handkerchief. Madame Pratolungo seizes the opportunity of moving her distracted legs, and finds the handkerchief. Mr. Finch pauses—glares—-goes on again—reaches the second scene. "Enter the King, Queen, Hamlet, Polonius, Laertes, Voltimand, Cornelius, and Lords Attendant." All Mr. Finch! oh, my legs! my legs! all Mr. Finch, and Boom-boom-boom. Third scene. "Enter Laertes and Ophelia." (Both Rectors of Dimchurch; both with deep bass voices; both about five feet high, pitted with the small-pox, and adorned round the neck with dingy white cravats.) Mr. Finch goes on and on and on. Mrs. Finch and the baby simultaneously close their eyes in slumber. Madame Pratolungo suffers such tortures of restlessness in her lower limbs, that she longs for a skilled surgeon to take out his knife and deliver her from her own legs. Mr. Finch advances in deeper and deeper bass, in keener and keener enjoyment, to the Fourth Scene. ("Enter Hamlet, Horatio, and Marcellus.") Mercy! what do I hear? Is relief approaching to us from the world outside? Are there footsteps in the hall? Yes! Mrs. Finch opens her eyes; Mrs. Finch hears the footsteps, and rejoices in them as I do. Reverend Hamlet hears nothing but his own voice. He begins the scene: "The air bites shrewdly. It is very cold." The door opens. The rector feels a gust of air, dramatically appropriate, just at the right moment. He looks round. If it is a servant, let that domestic person tremble! No—not a servant. Guests—heavens be praised, guests. Welcome, gentlemen—welcome! No more Hamlet, tonight, thanks to You. Enter two Characters who must be instantly attended to:—Mr. Oscar Dubourg; introducing his twin-brother from America, Mr. Nugent Dubourg.

Astonishment at the extraordinary resemblance between them, was the one impression felt by all three of us, as the brothers entered the room.

Exactly alike in their height, in their walk, in their features, and in their voices. Both with the same colored hair and the same beardless faces. Oscar's smile exactly reflected on Nugent's lips. Oscar's odd little semi-foreign tricks of gesticulation with his hands, exactly reproduced in the hands of Nugent. And, to crown it all, there was the complexion which Oscar had lost for ever (just a shade darker perhaps) found again on Nugent's cheeks! The one difference which made it possible to distinguish between them, at the moment when they first appeared together in the room, was also the one difference which Lucilla was physically incapable of detecting—the terrible contrast of color between the brother who bore the blue disfigurement of the drug, and the brother who was left as Nature had made him.

"Delighted to make your acquaintance, Mrs. Finch—I have long wished for this pleasure. Thank you, Mr. Finch, for all your kindness to my brother. Madame Pratolungo, I presume? Permit me to shake hands. It is needless to say, I have heard of your illustrious husband. Aha! here's a baby. Yours, Mrs. Finch? Girl or boy, ma'am? A fine child—if a bachelor may be allowed to pronounce an opinion. Tweet—tweet—tweet!"

He chirruped to the baby, as if he had been a family man, and snapped his fingers gaily. Poor Oscar's blue face turned in silent triumph towards me. "What did I tell you?" his look asked. "Did I not say Nugent fascinated everybody at first sight?" Most true. An irresistible man. So utterly different in his manner from Oscar—except when he was in repose—and yet so like Oscar in other respects, I can only describe him as his brother completed. He had the pleasant lively flow of spirits, the easy winning gentleman-like confidence in himself, which Oscar wanted. And, then, what excellent taste he possessed. He liked children! he respected the memory of my glorious Pratolungo!—In half a minute from the time when he entered the room, Nugent Dubourg had won Mrs. Finch's heart and mine.

He turned from the baby to Mr. Finch, and pointed to the open Shakespeare on the table.

"You were reading to the ladies?" he said. "I am afraid we have interrupted you."

"Don't mention it," said the rector, with his lofty politeness. "Another time will do. It is a habit of mine, Mr. Nugent, to read aloud in my family circle. As a clergyman and a lover of poetry (in both capacities) I have long cultivated the art of elocution——"

"My dear sir, excuse me, you have cultivated it all wrong!"

Mr. Finch paused, thunderstruck. A man in his presence presuming to have an opinion of his own! a man in the rectory parlor capable of interrupting the rector in the middle of a sentence! guilty of the insane audacity of telling him, as a reader—with Shakespeare open before them—that he read wrong!

"Oh, we heard you as we came in!" proceeded Nugent, with the most undiminished confidence, expressed in the most gentlemanlike manner. "You read it like this." He took up Hamlet and read the opening line of the Fourth Scene, ("The air bites shrewdly. It is very cold") with an irresistibly-accurate imitation of Mr. Finch. "That's nor the way Hamlet would speak. No man in his position would remark that it was very cold in that bow-wow manner. What is Shakespeare before all things? True to nature; always true to nature. What condition is Hamlet in when he is expecting to see the Ghost? He is nervous, and he feels the cold. Let him show it naturally; let him speak as any other man would speak, under the circumstances. Look here! Quick and quiet—like this. 'The air bites shrewdly'—there Hamlet stops and shivers—pur-rer-rer! 'it is very cold.' That's the way to read Shakespeare!"

Mr. Finch lifted his head into the air as high as it could possibly go, and brought the flat of his hand down with a solemn and sounding smack on the open book.

"Allow me to say, sir——!" he began.

Nugent stopped him again, more good-humouredly than ever.

"You don't agree with me? All right! Quite useless to dispute about it. I don't know what you may be—I am the most opinionated man in existence. Sheer waste of time, my dear sir, to attempt convincing Me. Now, just look at that child!" Here Mr. Nugent Dubourg's attention was suddenly attracted by the baby. He twisted round on his heel, and addressed Mrs. Finch. "I take the liberty of saying, ma'am, that a more senseless dress doesn't exist, than the dress that is put, in this country, on infants of tender years. What are the three main functions which that child—that charming child of yours-performs? He sucks; he sleeps; and he grows. At the present moment, he isn't sucking, he isn't sleeping—he is growing with all his might. Under those interesting circumstances, what does he want to do? To move his limbs freely in every direction. You let him swing his arms to his heart's content—and you deny him freedom to kick his legs. You clothe him in a dress three times as long as himself. He tries to throw his legs up in the air as he throws his arms, and he can't do it. There is his senseless long dress entangling itself in his toes, and making an effort of what Nature intended to be a luxury. Can anything be more absurd? What are mothers about? Why don't they think for themselves? Take my advice—short petticoats, Mrs. Finch. Liberty, glorious liberty, for my young friend's legs! Room, heaps of room, for that infant martyr's toes!"

Mrs. Finch listened helplessly—lifted the baby's long petticoats, and looked at them—stared piteously at Nugent Dubourg—opened her lips to speak—and, thinking better of it, turned her watery eyes on her husband, appealing to him to take the matter up. Mr. Finch made another attempt to assert his dignity—a ponderously satirical attempt, this time.

"In offering your advice to my wife, Mr. Nugent," said the rector, "you must permit me to remark that it would have had more practical force if it had been the advice of a married man. I beg to remind you——"

"You beg to remind me that it is the advice of a bachelor? Oh, come! that really won't do at this time of day. Doctor Johnson settled that argument at once and for ever, a century since. 'Sir!' (he said to somebody of your way of thinking) 'you may scold your carpenter, when he has made a bad table, though you can't make a table yourself.' I say to you—'Mr. Finch, you may point out a defect in a baby's petticoats, though you haven't got a baby yourself!' Doesn't that satisfy you? All right! Take another illustration. Look at your room here. I can see in the twinkling of an eye, that it's badly lit. You have only got one window—you ought to have two. Is it necessary to be a practical builder to discover that? Absurd! Are you satisfied now? No! Take another illustration. What's this printed paper, here, on the chimney-piece? Assessed Taxes. Ha! Assessed Taxes will do. You're not in the House of Commons; you're not Chancellor of the Exchequer—but haven't you an opinion of your own about taxation, in spite of that? Must you and I be in Parliament before we can presume to see that the feeble old British Constitution is at its last gasp——?"

"And the vigorous young Republic drawing its first breath of life!" I burst in; introducing the Pratolungo programme (as my way is) at every available opportunity.

Nugent Dubourg instantly wheeled round in my direction; and set me right on my subject, just as he had set the rector right on reading Hamlet, and Mrs. Finch right on clothing babies.

"Not a bit of it!" he pronounced positively. "The 'young Republic' is the ricketty child of the political family. Give him up, ma'am. You will never make a man of him."

I tried to assert myself as the rector had tried before me—with precisely the same result. I appealed indignantly to the authority of my illustrious husband.

"Doctor Pratolungo—" I began.

"Was an honest man," interposed Nugent Dubourg. "I am an advanced Liberal myself—I respect him. But he was quite wrong. All sincere republicans make the same mistake. They believe in the existence of public spirit in Europe. Amiable delusion! Public spirit is dead in Europe. Public spirit is the generous emotion of young nations, of new peoples. In selfish old Europe, private interest has taken its place. When your husband preached the republic, on what ground did he put it? On the ground that the republic was going to elevate the nation. Pooh! Ask me to accept the republic, on the ground that I elevate Myself—and, supposing you can prove it, I will listen to you. If you are ever to set republican institutions going, in the Old World—there is the only motive power that will do it!"

I was indignant at such sentiments. "My glorious husband—" I began again.

"Would have died rather than appeal to the meanest instincts of his fellow-creatures. Just so! There was his mistake. That's why he never could make anything of the republic. That's why the republic is the ricketty child of the political family. Quod erat demonstrandum," said Nugent Dubourg, finishing me off with a pleasant smile, and an easy indicative gesture of the hand which said, "Now I have settled these three people in succession, I am equally well satisfied with myself and with them!"

His smile was irresistible. Bent as I was on disputing the degrading conclusions at which he had arrived, I really had not fire enough in me, at the moment, to feed my own indignation. As to Reverend Finch, he sat silently swelling in a corner; digesting, as he best might, the discovery that there was another man in the world, besides the Rector of Dimchurch, with an excellent opinion of himself, and with perfectly unassailable confidence and fluency in expressing it. In the momentary silence that now followed, Oscar got his first opportunity of speaking. He had, thus far, been quite content to admire his clever brother. He now advanced to me, and asked what had become of Lucilla.

"The servant told me she was here," he said. "I am so anxious to introduce her to Nugent."

Nugent put his arm affectionately round his brother's neck, and gave him a hug. "Dear old boy! I am just as anxious as you are."

"Lucilla went out a little while since," I said, "to take a turn in the garden."

"I'll go and find her," said Oscar. "Wait here, Nugent. I'll bring her in."

He left the room. Before he could close the door one of the servants appeared, to claim Mrs. Finch's private ear, on some mysterious domestic emergency. Nugent facetiously entreated her, as she passed him, to clear her mind of prejudice, and consider the question of infant petticoats on its own merits. Mr. Finch took offense at this second reference to the subject. He rose to follow his wife.

"When you are a married man, Mr. Dubourg," said the rector severely, "you will learn to leave the management of an infant in its mother's hands."

"There's another mistake!" remarked Nugent, following him with unabated good humour, to the door. "A married man's idea of another man as a husband, always begins and ends with his idea of himself." He turned to me, as the door closed on Mr. Finch. "Now we are alone, Madame Pratolungo," he said, "I want to speak to you about Miss Finch. There is an opportunity, before she comes in. Oscar's letter only told me that she was blind. I am naturally interested in everything that relates to my brother's future wife. I am particularly interested about this affliction of hers. May I ask how long she has been blind?"

"Since she was a year old," I replied.

"Through an accident?"

"No."

"After a fever? or a disease of any other sort?"

I began to feel a little surprised at his entering into these medical details.

"I never heard that it was through a fever, or other illness," I said. "So far as I know, the blindness came on unexpectedly, from some cause that did not express itself to the people about her, at the time."

He drew his chair confidentially nearer to mine. "How old is she?" he asked.

I began to feel more than a little surprised; and I showed it, I suppose, on telling him Lucilla's age.

"As things are now," he explained, "there are reasons which make me hesitate to enter on the question of Miss Finch's blindness either with my brother, or with any members of the family. I must wait to speak about it to them, until I can speak to good practical purpose. There is no harm in my starting the subject with you. When she first lost her sight, no means of restoring it were left untried, of course?"

"I should suppose not," I replied. "It's so long since, I have never asked."

"So long since," he repeated—and then considered for a moment.

His reflections ended in a last question.

"She is resigned, I suppose—and everybody about her is resigned—to the idea of her being hopelessly blind for life."

Instead of answering him, I put a question on my side. My heart was beginning to beat rapidly—without my knowing why.

"Mr. Nugent Dubourg," I said, "what have you got in your mind about Lucilla?"

"Madame Pratolungo," he replied, "I have got something in my mind which was put into it by a friend of mine whom I met in America."

"The friend you mentioned in your letter to your brother?"

"The same."

"The German gentleman whom you propose to introduce to Oscar and Lucilla?"

"Yes."

"May I ask who he is?"

Nugent Dubourg looked at me attentively; considered with himself for the second time; and answered in these words:

"He is the greatest living authority, and the greatest living operator, in diseases of the eye."

The idea in his mind burst its way into my mind in a moment.

"Gracious God!" I exclaimed, "are you mad enough to suppose that Lucilla's sight can be restored, after a blindness of one-and-twenty years?"

He suddenly held up his hand, in sign to me to be silent.

At the same moment the door opened; and Lucilla (followed by Oscar) entered the room.

CHAPTER THE TWENTY-FOURTH

He sees Lucilla

THE first impression which poor Miss Finch produced on Nugent Dubourg, was precisely the same as the first impression which she had produced on me.

"Good Heavens!" he cried. "The Dresden Madonna! The Virgin of San Sisto!"

Lucilla had already heard from me of her extraordinary resemblance to the chief figure in Raphael's renowned picture. Nugent's blunt outburst of recognition passed unnoticed by her. She stopped short, in the middle of the room—startled, the instant he spoke, by the extraordinary similarity of his tone and accent to the tone and accent of his brother's voice.

"Oscar," she asked nervously, "are you behind me? or in front of me?" Oscar laughed, and answered "Here!"—speaking behind her. She turned her head towards the place in front of her, from which Nugent had spoken. "Your voice is wonderfully like Oscar's," she said, addressing him timidly. "Is your face exactly like his face, too? May I judge for myself of the likeness between you? I can only do it in one way—by my touch."

Oscar advanced, and placed a chair for his brother by Lucilla's side.

"She has eyes in the tips of her fingers," he said. "Sit down, Nugent, and let her pass her hand over your face."

Nugent obeyed him in silence. Now that the first impression of surprise had passed away, I observed that a marked change was beginning to assert itself in his manner.

Little by little, an unnatural constraint got possession of him. His fluent tongue found nothing to talk about. His easy movements altered in the strangest way, until they almost became the movements of a slow awkward man. He was more like his brother than ever, as he sat down in the chair to submit himself to Lucilla's investigation. She had produced, at first sight—as well as I could judge—some impression on him for which he had not been prepared; causing some mental disturbance in him which he was for the moment quite unable to control. His eyes looked up at her, spell-bound; his color came and went; his breath quickened audibly when her fingers touched his face.

"What's the matter?" said Oscar, looking at him in surprise.

"Nothing is the matter," he answered, in the low absent tone of a man whose mind was secretly pursuing its own train of thought.

Oscar said no more. Once, twice, three times, Lucilla's hand passed slowly over Nugent's face. He submitted to it, silently, gravely, immovably—a perfect contrast to the talkative, lively young man of half an hour since. Lucilla employed a much longer time in examining him than she had occupied in examining me.

While the investigation was proceeding, I had leisure to think again over what had passed between Nugent and me on the subject of Lucilla's blindness, before she entered the room. My mind had by this time recovered its balance. I was able to ask myself what this young fellow's daring idea was really worth. Was it within the range of possibility that a sense so delicate as the sense of sight, lost for one-and-twenty years, could be restored by any means short of a miracle? It was monstrous to suppose it: the thing could not be. If there had been the faintest chance of giving my poor dear back the blessing of sight, that chance would have been tried by competent persons years and years since. I was ashamed of myself for having been violently excited at the moment by the new thought which Nugent had started in my mind; I was honestly indignant at his uselessly disturbing me with the vainest of all vain hopes. The one wise thing to do in the future, was to caution this flighty and inconsequent young man to keep his mad notion about Lucilla to himself—and to dismiss it from my own thoughts, at once and for ever.

Just as I arrived at that sensible resolution, I was recalled to what was going on in the room, by Lucilla's voice, addressing me by my name.

"The likeness is wonderful," she said. "Still, I think I can find a difference between them."

(The only difference between them was in the contrast of complexion and in the contrast of manner—both these being dissimilarities which appealed more or less directly to the eye.)

"What difference do you find?" I asked.

She slowly came towards me, with an anxious perplexed face; pondering as she advanced.

"I can't explain it," she answered—after a long silence.

When Lucilla left him, Nugent rose from his chair. He abruptly—almost roughly—took his brother's hand. He spoke to his brother in a strangely excited, feverish, headlong way.

"My dear fellow, now I have seen her, I congratulate you more heartily than ever. She is charming; she is unique. Oscar! I could almost envy you, if you were anyone else!"

Oscar was radiant with delight. His brother's opinion ranked above all human opinions in his estimation. Before he could say a word in return, Nugent left him as abruptly as he had approached him; walking away by himself to the window—and standing there, looking out.

Lucilla had not heard him. She was still pondering, with the same perplexed face. The likeness between the twins was apparently weighing on her mind—an unsolved problem that vexed and irritated it. Without anything said by me to lead to resuming the subject, she returned obstinately to the assertion that she had just made.

"I tell you again I am sensible of a difference between them," she repeated—"though you don't seem to believe me."

I interpreted this uneasy reiteration as meaning that she was rather trying to convince herself than to convince me. In her blind condition, it was doubly and trebly embarrassing not to know one brother from the other. I understood her unwillingness to acknowledge this—I felt (in her position) how it would have irritated me. She was waiting—impatiently waiting—for me to say something on my side. I am, as you know already, an indiscreet woman. I innocently said one of my rash things.

"I believe whatever you tell me, my dear," I answered. "You can find out a difference between them, I have no doubt. Still, I own I should like to see it put to the proof."

Her color rose. "How?" she asked abruptly.

"Try your touch alternately on both their faces," I suggested, "without knowing beforehand which position they each of them occupy. Make three trials—leaving them to change their places or not, between each trial, just as they please. If you guess which is which correctly three times following, there will be the proof that you can really lay your hand on a difference between them."

Lucilla shrank from accepting the challenge. She drew back a step, and silently shook her head. Nugent, who had overheard me, turned round suddenly from the window, and supported my proposal.

"A capital notion!" he burst out. "Let's try it! You don't object, Oscar—do you?"

"I object?" cried Oscar—amazed at the bare idea of his opposing any assertion of his will to the assertion of his brother's will. "If Lucilla is willing, I say Yes, with all my heart."

The two brothers approached us, arm in arm. Lucilla, very reluctantly, allowed herself to be persuaded into trying the experiment. Two chairs, exactly alike, were placed in front of her. At a sign from Nugent, Oscar silently took the chair on her right. By this arrangement, the hand which she had used in touching Nugent's face, would be now the hand that she would employ in touching Oscar's face. When they were both seated, I announced that we were ready. Lucilla placed her hands on their faces, right and left, without the faintest idea in her mind of the positions which the two relatively occupied.

After first touching them with both hands, and both together, she tried them separately next, beginning with Oscar, and using her right hand only. She left him for Nugent; again using her right hand—then came back to him again—then returned to Nugent—hesitated—-decided—tapped Nugent lightly on the head.

"Oscar!" she said.

Nugent burst out laughing. The laugh told her, before any of us could speak, that she had made a mistake at the first attempt.

"Try again, Lucilla," said Oscar kindly.

"Never!" she answered, angrily stepping back from both of them. "One mystification is enough."

Nugent tried next to persuade her to renew the experiment. She checked him sternly at the first word.

"Do you think if I won't do it for Oscar," she said, "that I would do it for you? You laughed at me. What was there to laugh at? Your brother's features are your features; your brother's hair is your hair; your brother's height is your height. What is there so very ridiculous—with such a resemblance as that—in a poor blind girl like me mistaking you one for the other? I wish to preserve a good opinion of you, for Oscar's sake. Don't turn me into ridicule again—or I shall be forced to think that your brother's good heart is not yours also!"

Nugent and Oscar looked at each other, petrified by this sudden outbreak; Nugent, of the two, being the most completely overwhelmed by it.

I attempted to interfere and put things right. My easy philosophy and my volatile French nature, failed to see any adequate cause for this vehement exhibition of resentment on Lucilla's part. Something in my tone, as I suppose, only added to her irritation. I, in my turn, was checked sternly at the first word. "You proposed it," she said; "You are the most to blame." I hastened to make my apologies (inwardly remarking that the habit of raising a storm in a tea-cup is a growing habit with the rising generation in England). Nugent followed me with more apologies on his side. Oscar supported us with his superior influence. He took Lucilla's hand—kissed it—and whispered something in her ear. The kiss and the whisper acted like a charm. She held out her hand to Nugent, she put her arm round my neck and embraced me, with all her own grace and sweetness. "Forgive me," she said to us gently. "I wish I could learn to be patient. But, oh, Mr. Nugent, it is sometimes so hard to be blind!" I can repeat the words; but I can give no idea of the touching simplicity with which they were spoken—of her innocently earnest anxiety to win her pardon. She so affected Nugent that he too—after a look at Oscar which said, "May I?"—kissed the hand that she offered to him. As his lips touched her, she started. The bright flush which always indicated the sudden rising of a thought in her mind, flew over her face. She unconsciously held Nugent's hand in her own, absorbed in the interest of realizing the new thought. For a moment, she stood, still as a statue, consulting with herself. The moment passed, she dropped Nugent's hand, and turned gaily to me.

"Will you think me very obstinate?" she asked.

"Why, my love?"

"I am not satisfied yet. I want to try again."

"No! no! At any rate not to-day."

"I want to try again," she repeated. "Not in your way. In a way of my own that has just come into my head." She turned to Oscar. "Will you humour me in this?" It is needless to set down Oscar's reply. She turned to Nugent. "Will you?"

"Only say what you wish me to do!" he answered.

"Go with your brother," she said, "to the other end of the room. I know where you are each of you standing, at this end. Madame Pratolungo will lead me to the place, and will put me just within reach of both your hands. I want each of you in turn (arrange by a sign between yourselves which is to begin) to take my hand, and hold it for a moment, and then drop it. I have an idea that I can distinguish between you, in that way—and I want very much to try it."

The brothers went silently to the other end of the room. I led Lucilla, after them, to the place in which they stood. At my suggestion, Nugent was the first to take her hand, as she had requested; to hold it for a moment, and then to drop it.

"Nugent!" she said, without the slightest hesitation.

"Quite right," I answered.

She laughed gaily. "Go on! Puzzle me if you possibly can."

The brothers noiselessly changed places. Oscar took her hand, standing exactly where Nugent had stood.

"Oscar!" she said.

"Right again," I told her.

At a sign from Nugent, Oscar took her hand for the second time. She repeated his name. At a sign from me, the brothers noiselessly placed themselves, one on either side of her—Oscar on the left; Nugent on the right. I gave them the signal; and they each took one of her hands at the same moment. This time, she waited a little longer before she spoke. When she did speak, she was right once more. She turned smiling, towards the left side, pointed to him as he stood by her, and said, "Oscar!"

We were all three equally surprised. I examined Oscar's hand and Nugent's hand alternately. Except the fatal difference in the color, they were, to all intents and purposes, the same hands—the same size, the same shape, the same texture of skin; no scar or mark on the hand of one to distinguish it from the hand of the other. By what mysterious process of divination had she succeeded in discovering which was which?

She was unwilling, or unable, to reply to that question plainly.

"Something in me answers to one of them and not to the other," she said.

"What is it?" I asked.

"I don't know. It answers to Oscar. It doesn't answer to Nugent—that's all."

She stopped any further inquiries by proposing that we should finish the evening with some music, in her own sitting-room, on the other side of the house. When we were seated together at the pianoforte—with the twin-brothers established as our audience at the other end of the room—she whispered in my ear:

"I'll tell you!"

"Tell me what?"

"How I know which is which when they both of them take my hand. When Oscar takes it, a delicious tingle runs from his hand into mine, and steals all over me. I can't describe it any better than that."

"I understand. And when Nugent takes your hand, what do you feel?"

"Nothing!"

"And that is how you found out the difference between them down-stairs?"

"That is how I shall always find out the difference between them. If Oscar's brother ever attempts to play tricks upon my blindness (he is quite capable of it—he laughed at my blindness!), that is how I shall find him out. I told you before I saw him that I hated him. I hate him still."

"My dear Lucilla!"

"I hate him still!"

She struck the first chords on the piano, with an obstinate frown on her pretty brow. Our little evening concert began.

CHAPTER THE TWENTY-FIFTH

Nugent puzzles Madame Pratolungo

I WAS far from sharing Lucilla's opinion of Nugent Dubourg. His enormous self-confidence was, to my mind, too amusing to be in the least offensive. I liked the spirit and gaiety of the young fellow. He came much nearer than his brother did to my ideal of the dash and resolution which ought to distinguish a man on the right side of thirty. So far as my experience of them went, Nugent was (in the popular English phrase) good company—and Oscar was not. My nationality leads me to attach great importance to social qualities. The higher virtues of a man only show themselves occasionally on compulsion, His social qualities come familiarly in contact with us every day of our lives. I like to be cheerful: I am all for the social qualities.

There was one little obstacle in those early days, which set itself up between my sympathies and Nugent.

I was thoroughly at a loss to understand the impression which Lucilla had produced on him.

The same constraint which had, in such a marked manner, subdued him at his first interview with her, still fettered him in the time when they became better acquainted with one another. He was never in high spirits in her presence. Mr. Finch could talk him down without difficulty, if Mr. Finch's daughter happened to be by. Even when he was vaporing about himself, and telling us of the wonderful things he meant to do in Painting, Lucilla's appearance was enough to check him, if she happened to come into the room. On the first day when he showed me his American sketches (I define them, if you ask my private opinion, as false pretenses of Art, by a dashing amateur)—on that day, he was in full flow; marching up and down the room, smacking his forehead, and announcing himself quite gravely as "the coming man" in landscape painting.

"My mission, Madame Pratolungo, is to reconcile Humanity and Nature. I propose to show (on an immense scale) how Nature (in her grandest aspects) can adapt herself to the spiritual wants of mankind. In your joy or your sorrow, Nature has subtle sympathies with you, if you only know where to look for them. My pictures—no! my poems in color—will show you. Multiply my works, as they certainly will be multiplied, by means of prints—and what does Art become in my hands? A Priesthood! In what aspect do I present myself to the public? As a mere landscape painter? No! As Grand Consoler!" In the midst of this rhapsody (how wonderfully he resembled Oscar in his bursts of excitement while he was talking!)—in the full torrent of his predictions of his own coming greatness, Lucilla quietly entered the room. The "Grand Consoler" shut up his portfolio; dropped Painting on the spot; asked for Music, and sat down, a model of conventional propriety, in a corner of the room. I inquired afterwards, why he had checked himself when she came in. "Did I?" he said. "I don't know why." The thing was really inexplicable. He honestly admired her—one had only to notice him when he was looking at her to see it. He had not the faintest suspicion of her dislike for him—she carefully concealed it for Oscar's sake. He felt genuine sympathy for her in her affliction—his mad idea that her sight might yet be restored, was the natural offspring of a true feeling for her. He was not unfavorable to his brother's marriage—on the contrary, he ruffled the rector's dignity (he was always giving offense to Mr. Finch) by suggesting that the marriage might be hastened. I heard him say the words myself:—"The church is close by. Why can't you put on your surplice and make Oscar happy to-morrow, after breakfast?" More even than this, he showed the most vivid interest—like a woman's interest rather than a man's—in learning how the love-affair between Oscar and Lucilla had begun. I referred him, so far as Oscar was concerned, to his brother as the fountain-head of information. He did not decline to consult his brother. He did not own to me that he felt any difficulty in doing so. He simply dropped Oscar in silence; and asked about Lucilla. How had it begun on her side? I reminded him of his brother's romantic position at Dimchurch and told him to judge for himself of the effect it would produce on the excitable imagination of a young girl. He declined to judge for himself; he persisted in appealing to me. When I told the little love-story of the two young people, one event in it appeared to make a very strong impression on him. The effect produced on Lucilla (when she first heard it) by the sound of his brother's voice, dwelt strangely on his mind. He failed to understand it; he ridiculed it; he declined to believe it. I was obliged to remind him that Lucilla was blind, and that love which, in other cases, first finds its way to the heart through the eyes, could only, in her case, first find its way through the ears. My explanation, thus offered, had its effect: it set him thinking. "The sound of his voice!" he said to himself, still turning the problem over and over in his mind. "People say my voice is exactly like Oscar's," he added, suddenly addressing himself to me. "Do you think so too?" I answered that there could be no doubt of it. He got up from his chair, with a quick little shudder, like a man who feels a chill—and changed the subject. On the next occasion when he and Lucilla met—so far from being more familiar with her, he was more constrained than ever. As it had begun between these two, so it seemed likely to continue to the end. In my society, he was always at his ease. In Lucilla's society, never!

What was the obvious conclusion which a person with my experience ought to have drawn from all this?

I know well enough what it was, now. On my oath as an honest woman, I failed to see it at the time. We are not always (suffer me to remind you) consistent with ourselves. The cleverest people commit occasional lapses into stupidity—just as the stupid people light up with gleams of intelligence at certain times. You may have shown your usual good sense in conducting your affairs on Monday, Tuesday, and Wednesday in the week. But it doesn't at all follow from this, that you may not make a fool of yourself on Thursday. Account for it as you may—for a much longer time than it suits my self-esteem to reckon up, I suspected nothing and discovered nothing. I noted his behavior in Lucilla's presence as odd behavior and unaccountable behavior—and that was all.

During the first fortnight just mentioned, the London doctor came to see Oscar.

He left again, perfectly satisfied with the results of his treatment. The dreadful epileptic malady would torture the patient and shock the friends about him no more: the marriage might safely be celebrated at the time agreed on. Oscar was cured.

The doctor's visit—reviving our interest in observing the effect of the medicine—also revived the subject of Oscar's false position towards Lucilla. Nugent and I held a debate about it between ourselves. I opened the interview by suggesting that we should unite our forces to persuade his brother into taking the frank and manly course. Nugent neither said Yes nor No to that proposal at the outset. He, who made up his mind at a moment's notice about everything else, took time to decide on this one occasion.

"There is something that I want to know first," he said. "I want to understand this curious antipathy of Lucilla's which my brother regards with so much alarm. Can you explain it?"

"Has Oscar attempted to explain it?" I inquired on my side.

"He mentioned it in one of his letters to me; and he tried to explain it, when I asked (on my arrival at Browndown) if Lucilla had discovered the change in his complexion. But he failed entirely to meet my difficulty in understanding the case."

"What is your difficulty?"

"This. So far as I can see, she fails to discover intuitively the presence of dark people in a room, or of dark colors in the ornaments of a room. It is only when she is told that such persons or such things are present that her prejudice declares itself. In what state of mind does such a strange feeling as this take its rise? It seems impossible that she can have any conscious associations with colors, pleasant or painful—if it is true that she was blind at a year old. How do you account for it? Can there be such a thing as a purely instinctive antipathy; remaining passive until external influences rouse it; and resting on no sort of practical experience whatever?"

"I think there may be," I replied. "Why, when I was a child just able to walk, did I shrink away from the first dog I saw who barked at me? I could not have known, at that age, either by experience or teaching, that a dog's bark is sometimes the prelude to a dog's bite. My terror, on that occasion, was purely instinctive surely?"

"Ingeniously put," he said. "But I am not satisfied yet."

"You must also remember," I continued, "that she has a positively painful association with dark colors, on certain occasions. They sometimes produce a disagreeable impression on her nerves, through her sense of touch. She discovered, in that way, that I had a dark gown on, on the day when I first saw her."

"And yet, she touches my brother's face, and fails to discover any alteration in it."

I met that objection also—to my own satisfaction, though not to his.

"I am far from sure that she might not have made the discovery," I said, "if she had touched him for the first time, since the discoloration of his face. But she examines him now with a settled impression in her mind, derived from previous experience of what she has felt in touching his skin. Allow for the modifying influence of that impression on her sense of touch—and remember at the same time, that it is the color and not the texture of the skin that is changed—and his escape from discovery becomes, to my mind, intelligible."

He shook his head; he owned he could not dispute my view. But he was not content for all that.

"Have you made any inquiries," he asked, "about the period of her infancy before she was blind? She may be still feeling, indirectly and unconsciously, the effect of some shock to her nervous system in the time when she could see."

"I have never thought of making inquiries."

"Is there anybody within our reach, who was familiarly associated with her in the first year of her life? It is hardly likely, I am afraid, at this distance of time?"

"There is a person now in the house," I said. "Her old nurse is still living."

"Send for her directly."

Zillah appeared. After first explaining what he wanted with her, Nugent went straight to the inquiry which he had in view.

"Was your young lady ever frightened when she was a baby by any dark person, or any dark thing, suddenly appearing before her?"

"Never, sir! I took good care to let nothing come near her that could frighten her—so long, poor little thing, as she could see."

"Are you quite sure you can depend on your memory?"

"Quite sure, sir—when it's a long time ago."

Zillah was dismissed. Nugent—thus far, unusually grave, and unusually anxious—turned to me with an air of relief.

"When you proposed to me to join you in forcing Oscar to speak out," he said, "I was not quite easy in my mind about the consequences. After what I have just heard, my fear is removed."

"What fear?" I asked.

"The fear of Oscar's confession producing an estrangement between them which might delay the marriage. I am against all delays. I am especially anxious that Oscar's marriage should not be put off. When we began our conversation, I own to you I was of Oscar's opinion that he would do wisely to let marriage make him sure of his position in her affections, before he risked the disclosure. Now—after what the nurse has told us—I see no risk worth considering."

"In short," I said, "you agree with me?"

"I agree with you—though I am the most opinionated man living. The chances now seem to me to be all in Oscar's favor, Lucilla's antipathy is not what I feared it was—an antipathy firmly rooted in a constitutional malady. It is nothing more serious," said Nugent, deciding the question, at once and for ever, with the air of a man profoundly versed in physiology—"it is nothing more serious than a fanciful growth, a morbid accident, of her blindness. She may live to get over it—she would, I believe, certainly get over it, if she could see. In two words, after what I have found out this morning, I say as you say—Oscar is making a mountain out of a molehill. He ought to have put himself right with Lucilla long since. I have unbounded influence over him. It shall back your influence. Oscar shall make a clean breast of it, before the week is out."

We shook hands on that bargain. As I looked at him—bright and dashing and resolute; Oscar, as I had always wished Oscar to be—I own to my shame I privately regretted that we had not met Nugent in the twilight, on that evening of ours which had opened to Lucilla the gates of a new life.

Having said to each other all that we had to say—our two lovers being away together at the time, for a walk on the hills—we separated, as I then supposed, for the rest of the day. Nugent went to the inn, to look at a stable which he proposed converting into a studio: no room at Browndown being half large enough, for the first prodigious picture with which the "Grand Consoler" in Art proposed to astonish the world. As for me, having nothing particular to do, I went out to see if I could meet Oscar and Lucilla on their return from their walk.

Failing to find them, I strolled back by way of Browndown. Nugent was sitting alone on the low wall in front of the house, smoking a cigar. He rose and came to meet me, with his finger placed mysteriously on his lips.

"You mustn't come in," he said; "you mustn't speak loud enough to be heard." He pointed round the corner of the house to the little room at the side, already familiar to you in these pages. "Oscar and Lucilla are shut up together there. And Oscar is making his confession to her at this moment!"

I lifted my hands and eyes in astonishment. Nugent went on.

"I see you want to know how it has all come about. You shall know.—While I was looking at the stable (it isn't half big enough for a studio for Me!), Oscar's servant brought me a little pencil note, entreating me, in Oscar's name, to go to him directly at Browndown. I found him waiting out here, dreadfully agitated. He cautioned me (just as I have cautioned you) not to speak loud. For the same reason too. Lucilla was in the house——"

"I thought they had gone out for a walk," I interposed.

"They did go out for a walk. But Lucilla complained of fatigue; and Oscar brought her back to Browndown to rest. Well! I inquired what was the matter. The answer informed me that the secret of Oscar's complexion had forced its way out for the second time, in Lucilla's hearing."

"Jicks again!" I exclaimed.

"No—not Jicks. Oscar's own man-servant, this time."

"How did it happen?"

"It happened through one of the boys in the village. Oscar and Lucilla found the little imp howling outside the house. They asked what was the matter. The imp told them that the servant at Browndown had beaten him. Lucilla was indignant. She insisted on having the thing inquired into. Oscar left her in the drawing-room (unluckily, as it turned out, without shutting the door); called the man up into the passage, and asked what he meant by ill-using the boy. The man answered, 'I boxed his ears, sir, as an example to the rest of them.' 'What did he do?' 'Rapped at the door, sir, with a stick (he is not the first who has done it when you are out); and asked if Blue Face was at home.' Lucilla heard every word of it, through the open door. Need I tell you what happened next?"

It was quite needless to relate that part of the story. I remembered too well what had happened on the former occasion, in the garden. I saw too plainly that Lucilla must have connected the two occurrences in her mind, and must have had her ready suspicion roused to serious action, as the necessary result.

"I understand," I said. "Of course, she insisted on an explanation. Of course, Oscar compromised himself by a clumsy excuse, and wanted you to help him. What did you do?"

"What I told you I should do this morning. He had counted confidently on my taking his side—it was pitiable to see him, poor fellow! Still, for his own sake, I refused to yield. I left him the choice of giving her the true explanation himself, or of leaving me to do it. There wasn't a moment to lose; she was in no humour to be trifled with, I can tell you! Oscar behaved very well about it—he always behaves well when I drive him into a corner! In one word, he was man enough to feel that he was the right person to make a clean breast of it—not I. I gave the poor old boy a hug to encourage him, pushed him into the room, shut the door on him, and came out here. He ought to have done it by this time. He has done it! Here he comes!"

Oscar ran out, bareheaded, from the house. There were signs of disturbance in him, as he approached us, which warned me that something had gone wrong, before he opened his lips.

Nugent spoke first.

"What's amiss now?" he asked. "Have you told her the truth?"

"I have tried to tell her the truth."

"Tried? What do you mean?"

Oscar put his arm round his brother's neck, and laid his head on his brother's shoulder, without answering one word.

I put a question to him on my side.

"Did Lucilla refuse to listen to you?" I asked.

"No."

"Has she said anything or done anything——?"

He lifted his head from his brother's shoulder, and stopped me before I could finish the sentence.

"You need feel no anxiety about Lucilla. Lucilla's curiosity is satisfied."

Nugent and I gazed at one another, in complete bewilderment. Lucilla had heard it all; Lucilla's curiosity was satisfied. He had that incredibly happy result to communicate to us—and he announced it with a look of humiliation, in a tone of despair! Nugent's patience gave way.

"Let us have an end of this mystification," he said, putting Oscar back from him, sharply, at arm's length. "I want a plain answer to a plain question. She knows that the boy knocked at the door, and asked if Blue Face was at home. Does she know what the boy's impudence meant? Yes? or No?"

"Yes."

"Does she know that it is you who are Blue Face?"

"No."

"No!!! Who else does she think it is?"

As he asked the question, Lucilla appeared at the door of the house. She moved her blind face inquiringly first one way, then the other. "Oscar!" she called out, "why have you left me alone? where are you?"

Oscar turned, trembling, to his brother.

"For God's sake forgive me, Nugent!" he said. "She thinks it's YOU."

CHAPTER THE TWENTY-SIXTH

He proves Equal to the Occasion

AT that astounding confession, abruptly revealed in those plain words, even resolute Nugent lost all power of self-control. He burst out with a cry which reached Lucilla's ears. She instantly turned towards us, and instantly assumed that the cry had come from Oscar's lips.

"Ah! there you are!" she exclaimed. "Oscar! Oscar! what is the matter with you to-day?"

Oscar was incapable of answering her. He had cast one glance of entreaty at his brother as Lucilla came nearer to us. The mute reproach which had answered him, in Nugent's eyes, had broken down his last reserves of endurance. He was crying silently on Nugent's breast.

It was necessary that one of us should make his, or her, voice heard. I spoke first.

"Nothing is the matter, my dear," I said, advancing to meet Lucilla. "We were passing the house, and Oscar ran out to stop us and bring us in."

My excuses roused a new alarm in her.

"Us?" she repeated. "Who is with you?"

"Nugent is with me."

The result of the deplorable misunderstanding which had taken place, instantly declared itself. She turned deadly pale under the horror of feeling that she was in the presence of the man with the blue face.

"Take me near enough to speak to him, but not to touch him," she whispered. "I have heard what he is like. (Oh, if you saw him, as I see him, in the dark!) I must control myself. I must speak to Oscar's brother, for Oscar's sake."

She seized my arm and held me close to her. What ought I to have said? What ought I to have done? I neither knew what to say or what to do. I looked from Lucilla to the twin brothers. There was Oscar the Weak, overwhelmed by the humiliating position in which he had placed himself towards the woman whom he was to marry, towards the brother whom he loved! And there was Nugent the Strong, master of himself; with his arm round his brother, with his head erect, with his hand signing to me to keep silence. He was right. I had only to look back at Lucilla's face to see that the delicate and perilous work of undeceiving her, was not work to be done at a moment's notice, on the spot.

"You are not yourself to-day," I said to her. "Let us go home."

"No!" she answered. "I must accustom myself to speak to him. I will begin to-day. Take me to him—but don't let him touch me!"

Nugent disengaged himself from Oscar—whose unfitness to help us through our difficulties was too manifest to be mistaken—as he saw us approaching. He pointed to the low wall in front of the house, and motioned to his brother to wait there out of the way before Lucilla could speak to him again. The wisdom of this proceeding was not long in asserting itself. Lucilla asked for Oscar the moment after he had left us. Nugent answered that Oscar had gone back to the house to get his hat.

The sound of Nugent's voice helped her to calculate her distance from him without assistance from me. Still holding my arm, she stopped and spoke to him.

"Nugent," she said, "I have made Oscar tell me—what he ought to have told me long since." (She paused between each sentence; painfully controlling herself, painfully catching her breath.) "He has discovered a foolish antipathy of mine. I don't know how; I tried to keep it a secret from him. I need not tell you what it is."

She made a longer pause at those words, holding me closer and closer to her; struggling more and more painfully against the irresistible nervous loathing that had got possession of her.

He listened, on his side, with the constraint which always fell upon him in her presence more marked than ever. His eyes were on the ground. He seemed reluctant even to look at her.

"I think I understand," she went on, "why Oscar was unwilling to tell me——" she stopped, at a loss how to express herself without running the risk of hurting his feelings—"to tell me," she resumed, "what it is in you which is not like other people. He was afraid my stupid weakness might prejudice me against you. I wish to say that I won't let it do that. I never was more ashamed of it than now. I, too, have my misfortune. I ought to sympathize with you, instead of——"

Her voice had been growing fainter and fainter as she proceeded. She leaned against me heavily. One glance at her told me that if I let it go on any longer she would fall into a swoon. "Tell your brother that we have gone back to the rectory," I said to Nugent. He looked up at Lucilla for the first time.

"You are right," he answered. "Take her home." He repeated the sign by which he had already hinted to me to be silent—and joined Oscar at the wall in front of the house.

"Has he gone?" she asked.

"He has gone."

The moisture stood thick on her forehead. I passed my handkerchief over her face, and turned her towards the wind.

"Are you better now?"

"Yes."

"Can you walk home?"

"Easily."

I put her arm in mine. After advancing with me a few steps, she suddenly stopped—with a blind apprehension, as it seemed, of something in front of her. She lifted her little walking-cane, and moved it slowly backwards and forwards in the empty air, with the action of some one who is clearing away an encumbrance to a free advance—say the action of a person walking in a thick wood, and pushing aside the lower twigs and branches that intercept the way.

"What are you about?" I asked.

"Clearing the air," she answered. "The air is full of him. I am in a forest of hovering figures, with faces of black-blue. Give me your arm. Come through!"

"Lucilla!"

"Don't be angry with me. I am coming to my senses again. Nobody knows what folly, what madness it is, better than I do. I have a will of my own: suffer as I may, I promise to break myself of it this time. I can't, and won't let Oscar's brother see that he is an object of horror to me." She stopped once more, and gave me a little propitiatory kiss. "Blame my blindness, dear, don't blame me. If I could only see—! Ah, how can I make you understand me, you who don't live in the dark?" She went on a few paces, silent and thoughtful—and then spoke again. "You won't laugh at me, if I say something?"

"You know I won't."

"Suppose yourself to be in bed at night."

"Yes?"

"I have heard people say that they have sometimes woke in the middle of the night, on a sudden, without any noise to disturb them. And they have fancied (without anything particular to justify it) that there was something, or somebody, in the dark room. Has that ever happened to you?"

"Certainly, my love.—It has happened to most people to fancy what you say, when their nerves are a little out of order."

"Very well. There is my fancy, and there are my nerves. When it happened to you, what did you do?"

"I struck a light, and satisfied myself that I was wrong."

"Suppose yourself without candle or matches, in a night without end, left alone with your fancy in the dark. There you have Me! It would not be easy, would it, to satisfy yourself; if you were in that helpless condition? You might suffer under it—very unreasonably—and yet very keenly for all that." She lifted her little cane, with a sad smile. "You might be almost as great a fool as poor Lucilla, and clear the air before you with this!"

The charm of her voice and her manner, added to the touching simplicity, the pathetic truth of those words. She made me realize, as I had never realized before, what it is to have, at one and the same time, the blessing of imagination, and the curse of blindness. For a moment, I was absorbed in my admiration and my love for her. For a moment, I forgot the terrible position in which we were all placed. She unconsciously recalled it to me when she spoke next.

"Perhaps I was wrong to force the truth out of Oscar?" she said, putting her arm again in mine, and walking on. "I might have reconciled myself to his brother, if I had never known what his brother was like. And yet I felt there was something strange in him, without being told, and without knowing what it was. There must have been a reason in me for the dislike that I felt for him from the first."

Those words appeared to me to indicate the state of mind which had led to Lucilla's deplorable mistake. I cautiously put some questions to her to test the correctness of my own idea.

"You spoke just now of forcing the truth out of Oscar," I said, "What made you suspect that he was concealing the truth from you?"

"He was so strangely embarrassed and confused," she answered. "Anybody in my place would have suspected him of concealing the truth."

So far the answer was conclusive.

"And how came you to find out what the truth really was?" I asked next.

"I guessed at it," she replied, "from something he said in referring to his brother. You know that I took a fanciful dislike to Nugent Dubourg before he came to Dimchurch?"

"Yes."

"And you remember that my prejudice against him was confirmed, on the first day when I passed my hand over his face to compare it with his brother's."

"I remember."

"Well—while Oscar was rambling and contradicting himself—he said something (a mere trifle) which suggested to me that the person with the blue face must be his brother. There was the explanation that I had sought for in vain—the explanation of my persistent dislike to Nugent! That horrid dark face of his must have produced some influence on me when I first touched it, like the influence which your horrid purple dress produced on me, when I first touched that. Don't you see?"

I saw but too plainly. Oscar had been indebted for his escape from discovery entirely to Lucilla's misinterpretation of his language. And Lucilla's misinterpretation now stood revealed as the natural product of her anxiety to account for her prejudice against Nugent Dubourg. Although the mischief had been done—still, for the quieting of my own conscience, I made an attempt to shake her faith in the false conclusion at which she had arrived.

"There is one thing I don't see yet," I said. "I don't understand Oscar's embarrassment in speaking to you. As you interpret him, what had he to be afraid of?"

She smiled satirically.

"What has become of your memory, my dear?" she asked. "What were you afraid of? You certainly never said a word to me of this poor man's deformity. You felt yourself, I suppose, (just as Oscar felt himself), placed between a choice of difficulties. On one side, my dislike of dark colors and dark people warned Oscar to hold his tongue. On the other, my hatred of having advantage taken of my blindness to keep things secret from me, pressed him to speak out. Isn't that enough—with his shy disposition, poor fellow—to account for his being embarrassed? Besides," she added, speaking more seriously, "perhaps he saw in my manner towards him that he had disappointed and pained me."

"How?" I asked.

"Don't you remember his once acknowledging in the garden that he had painted his face in the character of Bluebeard, to amuse the children? It was not delicate, it was not affectionate—it was not like him—to show such insensibility as that to his brother's shocking disfigurement. He ought to have remembered it, he ought to have respected it. There! we will say no more. We will go indoors and open the piano and try to forget."

Even Oscar's clumsy excuse in the garden—instead of confirming her suspicion—had lent itself to strengthen the foregone conclusion rooted in her mind! At that critical moment—before I had consulted with the twin-brothers as to what was to be done next—it was impossible to say more. I felt seriously alarmed when I thought of the future. When she was told—as told she must be—of the dreadful delusion into which she had fallen, what would be the result to Oscar? what would be the effect on herself? I own I shrank from pursuing the inquiry.

When we reached the turn in the valley, I looked back at Browndown for the last time. The twin-brothers were still in the place at which we had left them. Though the faces were indistinguishable, I could still see the figures plainly—Oscar sitting crouched up on the wall; Nugent erect at his side, with one hand laid on his shoulder. Even at that distance, the types of the two characters were expressed in the attitudes of the two men. As we entered the new winding of the valley which shut them out from view, I felt (so easy is it to comfort a woman!) that the commanding position of Nugent had produced its encouraging impression on my mind. "He will find a way out of it," I said to myself, "Nugent will help us through!"

CHAPTER THE TWENTY-SEVENTH

He finds a Way out of it

WE sat down at the piano, as Lucilla had proposed. She wished me to play first, and to play alone. I was teaching her, at the time, one of the Sonatas of Mozart; and I now tried to go on with the lesson. Never before, or since, have I played so badly, as on that day! The divine serenity and completeness by which Mozart's music is, to my mind, raised above all other music that ever was written, can only be worthily interpreted by a player whose whole mind is given undividedly to the work. Devoured as I then was by my own anxieties, I might profane those heavenly melodies—I could not play them. Lucilla accepted my excuses, and took my place.

Half an hour passed, without news from Browndown.

Calculated by reference to itself, half an hour is no doubt a short space of time. Calculated by reference to your own suspense, while your own interests are at stake, half an hour is an eternity. Every minute that passed, leaving Lucilla still undisturbed in her delusion, was a minute that pricked me in the conscience. The longer we left her in ignorance, the more painful to all of us the hard duty of enlightening her would become. I began to get restless. Lucilla, on her side, began to complain of fatigue. After the agitation that she had gone through, the inevitable reaction had come. I recommended her to go to her room and rest. She took my advice. In the state of my mind at that time, it was an inexpressible relief to me to be left by myself.

After pacing backwards and forwards for some little time in the sitting-room, and trying vainly to see my way through the difficulties that now beset us, I made up my mind to wait no longer for the news that never came. The brothers were still at Browndown. To Browndown I determined to return.

I peeped quietly into Lucilla's room. She was asleep. After a word to Zillah, recommending her young mistress to her care, I slipped out. As I crossed the lawn, I heard the garden-gate opened. In a minute more, the man of all others whom I most wanted to see, presented himself before me, in the person of Nugent Dubourg. He had borrowed Oscar's key, and had set off alone for the rectory to tell me what had passed between his brother and himself.

"This is the first stroke of luck that has fallen to me to-day," he said. "I was wondering how I should contrive to speak to you privately. And here you are—accessible and alone. Where is Lucilla? Can we depend on having the garden to ourselves?"

I satisfied him on both those points. He looked sadly pale and worn. Before he opened his lips, I saw that he too had had his mind disturbed, and his patience tried, since I had left him. There was a summer-house at the end of the garden with a view over the breezy solitude of the Downs. Here we established ourselves; and here, in my headlong way, I opened the interview with the one formidable question:—"Who is to tell her of the mistake she has made?"

"Nobody is to tell her."

That answer staggered me at the outset. I looked at Nugent in silent astonishment.

"There is nothing to be surprised at," he said. "Let me put my point of view before you in two words. I have had a serious talk with Oscar—"

Women are proverbially bad listeners—and I am no better than the rest of them. I interrupted him, before he could get any farther.

"I suppose Oscar has told you how the mistake happened?" I said.

"He has no idea how it happened. He owns—when he found himself face to face with her—that his presence of mind completely failed him: he didn't himself know what he was saying at the time. He lost his head; and she lost her patience. Think of his nervous confusion in collision with her nervous irritability—and the result explains itself: nothing could come of it but misapprehension and mistake. I turned the thing over in my mind, after you had left us; and the one course to take that I could see was to accept the position patiently, and to make the best instead of the worst of it. Having reached this conclusion, I settled the matter (as I settle most other difficulties)—by cutting the Gordian knot. I said to Oscar, 'Would it be a relief to your mind to leave her present impression undisturbed until you are married?' You know him—I needn't tell you what his answer was. 'Very well,' I said. 'Dry your eyes and compose yourself. I have begun as Blue Face. As Blue Face I will go on till further notice.' I spare you the description of Oscar's gratitude. I proposed; and he accepted. There is the way out of the difficulty as I see it."

"Your way out of the difficulty is an unworthy way, and a false way," I answered. "I protest against taking that cruel advantage of Lucilla's blindness. I refuse to have anything to do with it."

He opened his case, and took out a cigar.

"Do as you please," he said. "You saw the pitiable state she was in, when she forced herself to speak to me. You saw how her disgust and horror overpowered her at the end. Transfer that disgust and horror to Oscar (with indignation and contempt added in his case); expose him to the result of rousing those feelings in her, before he is fortified by a husband's influence over her mind, and a husband's place in her affections—if you dare. I love the poor fellow; and I daren't. May I smoke?"

I gave him his permission to smoke by a gesture. Before I said anything more to this inscrutable gentleman, I felt the necessity of understanding him—if I could.

There was no difficulty in accounting for his readiness to sacrifice himself in the interests of Oscar's tranquillity. He never did things by halves—he liked dashing at difficulties which would have made other men pause. The same zeal in his brother's service which had saved Oscar's life at the Trial, might well be the zeal that animated him now. The perplexity that I felt was not roused in me by the course that he had taken—but by the language in which he justified himself, and, more still, by his behavior to me while he was speaking. The well-bred brilliant young fellow of my previous experience, had now turned as dogged and as ungracious as a man could be. He waited to hear what I had to say to him next, with a hard defiance and desperation of manner entirely uncalled for by the circumstances, and entirely out of harmony with his character, so far as I had observed it. That there was something lurking under the surface, some inner motive at work in him which he was concealing from his brother and concealing from me, was as plainly visible as the sunshine and shade on the view that I was looking at from the summer-house. But what that something was, or what that inner motive might be, it baffled my utmost sagacity to guess. Not the faintest idea of the terrible secret that he was hiding from me, crossed my mind. Innocent of all suspicion of the truth, there I sat opposite to him, the unconscious witness of that unhappy man's final struggle to be true to the brother whom he loved, and to master the devouring passion that consumed him. So long as Lucilla falsely believed him to be disfigured by the drug, so long the commonest consideration for her tranquillity would, in the estimation of others, excuse and explain his keeping out of her presence. In that separation, lay his last chance of raising an insurmountable barrier between Lucilla and himself. He had already tried uselessly to place another obstacle in the way—he had vainly attempted to hasten the marriage which would have made Lucilla sacred to him as his brother's wife. That effort having failed, there was but one honorable alternative left to him—to keep out of her society, until she was married to Oscar. He had accepted the position in which Oscar had placed him, as the one means of reaching the end in view without exciting suspicion of the truth—and he had encountered, as his reward for the sacrifice, my ignorant protest, my stupid opposition, set as obstacles in his way! There were the motives—the pure, the noble motives—which animated him, as I know them now. There is the right reading of the dogged language that mystified me, of the defiant manner that offended me; interpreted by the one light that I have to guide my pen—the light of later events!

"Well?" he said. "Are we allies, or not? Are you with me or against me?"

I gave up attempting to understand him; and answered that plain question, plainly.

"I don't deny that the consequences of undeceiving her may be serious," I said. "But, for all that, I will have no share in the cruelty of keeping her deceived."

Nugent held up his forefinger, warningly.

"Pause, and reflect, Madame Pratolungo! The mischief that you may do, as matters stand now, may be mischief that you can never repair. It's useless to ask you to alter your mind. I only ask you to wait a little. There is plenty of time before the wedding-day. Something may happen which will spare you the necessity of enlightening Lucilla with your own lips."

"What can happen?" I asked.

"Lucilla may yet see him, as we see him," Nugent answered. "Lucilla's own eyes may discover the truth."

"What! have you not abandoned the mad notion of curing her blindness, yet?"

"I will abandon my notion when the German surgeon tells me it is mad. Not before."

"Have you said anything about it to Oscar?"

"Not a word. I shall say nothing about it to anybody but you, until the German is safe on the shores of England."

"Do you expect him to arrive before the marriage?"

"Certainly! He would have left New York with me, but for one patient who still required his care. No new patients will tempt him to stay in America. His extraordinary success has made his fortune. The ambition of his life is to see England: and he can afford to gratify it. He may be here by the next steamer that reaches Liverpool."

"And when he does come, you mean to bring him to Dimchurch?"

"Yes—unless Lucilla objects to it."

"Suppose Oscar objects? She is resigned to be blind for life. If you disturb that resignation with no useful result, you may make an unhappy woman of her for the rest of her days. In your brother's place, I should object to running that risk."

"My brother is doubly interested in running the risk. I repeat what I have already told you. The physical result will not be the only result, if her sight can be restored. There will be a new mind put into her as well as a new sense. Oscar has everything to dread from this morbid fancy of hers as long as she is blind. Only let her eyes correct her fancy—only let her see him as we see him, and get used to him, as we have got used to him; and Oscar's future with her is safe. Will you leave things as they are for the present, on the chance that the German surgeon may get here before the wedding-day?"

I consented to that; being influenced, in spite of myself, by the remarkable coincidence between what Nugent had just said of Lucilla, and what Lucilla had said to me of herself earlier in the day. It was impossible to deny that Nugent's theory, wild as it sounded, found its confirmation, so far, in Lucilla's view of her own case. Having settled the difference between us in this way, for the time being, I shifted our talk next to the difficult question of Nugent's relations towards Lucilla. "How are you to meet her again," I said, "after the effect you produced on her at the meeting to-day?"

He spoke far more pleasantly in discussing this side of the subject. His language and his manner both improved together.

"If I could have had my own way," he said, "Lucilla would have been relieved, by this time, of all fear of meeting with me again. She would have heard from you, or from Oscar, that business had obliged me to leave Dimchurch."

"Does Oscar object to let you go?"

"He won't hear of my going. I did my best to persuade him—I promised to return for the marriage. Quite useless! 'If you leave me here by myself,' he said, 'to think over the mischief I have done, and the sacrifices I have forced on you—you will break my heart. You don't know what an encouragement your presence is to me; you don't know what a blank you will leave in my life if you go!' I am as weak as Oscar is, when Oscar speaks to me in that way. Against my own convictions, against my own wishes, I yielded. I should have been better away—far, far better away!"

He said those closing words in a tone that startled me. It was nothing less than a tone of despair. How little I understood him then! how well I understand him now! In those melancholy accents, spoke the last of his honor, the last of his truth. Miserable, innocent Lucia! Miserable, guilty Nugent!

"And now you remain at Dimchurch," I resumed, "what are you to do?"

"I must do my best to spare her the nervous suffering which I unwillingly inflicted on her to-day. The morbid repulsion that she feels in my presence is not to be controlled—I can see that plainly. I shall keep out of her way; gradually withdrawing myself, so as not to force my absence on her attention. I shall pay fewer and fewer visits at the rectory, and remain longer and longer at Browndown every day. After they are married——" He suddenly stopped; the words seemed to stick in his throat. He busied himself in relighting his cigar, and took a long time to do it.

"After they are married," I repeated. "What then?"

"When Oscar is married, Oscar will not find my presence indispensable to his happiness. I shall leave Dimchurch."

"You will have to give a reason."

"I shall give the true reason. I can find no studio here big enough for me—as I have told you. And, even if I could find a studio, I should be doing no good, if I remained at Dimchurch. My intellect would contract, my brains would rust, in this remote place. Let Oscar live his quiet married life here. And let me go to the atmosphere that is fitter for me—the atmosphere of London or Paris."

He sighed, and fixed his eyes absently on the open hilly view from the summer-house door.

"It's strange to see you depressed," I said. "Your spirits seemed to be quite inexhaustible on that first evening when you interrupted Mr. Finch over Hamlet."

He threw away the end of his cigar, and laughed bitterly.

"We artists are always in extremes," he said. "What do you think I was wishing just before you spoke to me?"

"I can't guess."

"I was wishing I had never come to Dimchurch!"

Before I could return a word, on my side, Lucilla's voice reached our ears, calling to me from the garden. Nugent instantly sprang to his feet.

"Have we said all we need say?" he asked.

"Yes—for to-day, at any rate."

"For to-day, then—good-bye."

He leapt up; caught the cross-bar of wood over the entrance to the summer-house; and, swinging himself on to the low garden-wall beyond, disappeared in the field on the other side. I answered Lucilla's call, and hastened away to find her. We met on the lawn. She looked wild and pale, as if something had frightened her.