“Did you tell Mr. Morris what your orders were?” she asked.
“Yes, miss; I said I was to have shown him in, if you had been at home. Perhaps I did wrong; I told him what you told me when you went out this morning—I said you had gone to read at the Museum.”
“What makes you think you did wrong?”
“Well, miss, he didn’t say anything, but he looked upset.”
“Do you mean that he looked angry?”
The servant shook her head. “Not exactly angry—puzzled and put out.”
“Did he leave any message?”
“He said he would call later, if you would be so good as to receive him.”
In half an hour more, Alban and Emily were together again. The light fell full on her face as she rose to receive him.
“Oh, how you have suffered!”
The words escaped him before he could restrain himself. He looked at her with the tender sympathy, so precious to women, which she had not seen in the face of any human creature since the loss of her aunt. Even the good doctor’s efforts to console her had been efforts of professional routine—the inevitable2 result of his life-long familiarity with sorrow and death. While Alban’s eyes rested on her, Emily felt her tears rising. In the fear that he might misinterpret her reception of him, she made an effort to speak with some appearance of composure.
“I lead a lonely life,” she said; “and I can well understand that my face shows it. You are one of my very few friends, Mr. Morris”—the tears rose again; it discouraged her to see him standing3 irresolute4, with his hat in his hand, fearful of intruding5 on her. “Indeed, indeed, you are welcome,” she said, very earnestly.
In those sad days her heart was easily touched. She gave him her hand for the second time. He held it gently for a moment. Every day since they had parted she had been in his thoughts; she had become dearer to him than ever. He was too deeply affected6 to trust himself to answer. That silence pleaded for him as nothing had pleaded for him yet. In her secret self she remembered with wonder how she had received his confession7 in the school garden. It was a little hard on him, surely, to have forbidden him even to hope.
Conscious of her own weakness—even while giving way to it—she felt the necessity of turning his attention from herself. In some confusion, she pointed8 to a chair at her side, and spoke9 of his first visit, when he had left her letters at the door. Having confided10 to him all that she had discovered, and all that she had guessed, on that occasion, it was by an easy transition that she alluded11 next to the motive12 for his journey to the North.
“I thought it might be suspicion of Mrs. Rook,” she said. “Was I mistaken?”
“No; you were right.”
“They were serious suspicions, I suppose?”
“Certainly! I should not otherwise have devoted13 my holiday-time to clearing them up.”
“May I know what they were?”
“I am sorry to disappoint you,” he began.
“But you would rather not answer my question,” she interposed.
“I would rather hear you tell me if you have made any other guess.”
“One more, Mr. Morris. I guessed that you had become acquainted with Sir Jervis Redwood.”
“For the second time, Miss Emily, you have arrived at a sound conclusion. My one hope of finding opportunities for observing Sir Jervis’s housekeeper15 depended on my chance of gaining admission to Sir Jervis’s house.”
“How did you succeed? Perhaps you provided yourself with a letter of introduction?”
“I knew nobody who could introduce me,” Alban replied. “As the event proved, a letter would have been needless. Sir Jervis introduced himself—and, more wonderful still, he invited me to his house at our first interview.”
“Sir Jervis introduced himself?” Emily repeated, in amazement16. “From Cecilia’s description of him, I should have thought he was the last person in the world to do that!”
Alban smiled. “And you would like to know how it happened?” he suggested.
“The very favor I was going to ask of you,” she replied.
Instead of at once complying with her wishes, he paused—hesitated—and made a strange request. “Will you forgive my rudeness, if I ask leave to walk up and down the room while I talk? I am a restless man. Walking up and down helps me to express myself freely.”
Her f ace1 brightened for the first time. “How like You that is!” she exclaimed.
Alban looked at her with surprise and delight. She had betrayed an interest in studying his character, which he appreciated at its full value. “I should never have dared to hope,” he said, “that you knew me so well already.”
“You are forgetting your story,” she reminded him.
He moved to the opposite side of the room, where there were fewer impediments in the shape of furniture. With his head down, and his hands crossed behind him, he paced to and fro. Habit made him express himself in his usual quaint14 way—but he became embarrassed as he went on. Was he disturbed by his recollections? or by the fear of taking Emily into his confidence too freely?
“Different people have different ways of telling a story,” he said. “Mine is the methodical way—I begin at the beginning. We will start, if you please, in the railway—we will proceed in a one-horse chaise—and we will stop at a village, situated17 in a hole. It was the nearest place to Sir Jervis’s house, and it was therefore my destination. I picked out the biggest of the cottages—I mean the huts—and asked the woman at the door if she had a bed to let. She evidently thought me either mad or drunk. I wasted no time in persuasion18; the right person to plead my cause was asleep in her arms. I began by admiring the baby; and I ended by taking the baby’s portrait. From that moment I became a member of the family—the member who had his own way. Besides the room occupied by the husband and wife, there was a sort of kennel19 in which the husband’s brother slept. He was dismissed (with five shillings of mine to comfort him) to find shelter somewhere else; and I was promoted to the vacant place. It is my misfortune to be tall. When I went to bed, I slept with my head on the pillow, and my feet out of the window. Very cool and pleasant in summer weather. The next morning, I set my trap for Sir Jervis.”
“Your trap?” Emily repeated, wondering what he meant.
“I went out to sketch20 from Nature,” Alban continued. “Can anybody (with or without a title, I don’t care), living in a lonely country house, see a stranger hard at work with a color-box and brushes, and not stop to look at what he is doing? Three days passed, and nothing happened. I was quite patient; the grand open country all round me offered lessons of inestimable value in what we call aerial perspective. On the fourth day, I was absorbed over the hardest of all hard tasks in landscape art, studying the clouds straight from Nature. The magnificent moorland silence was suddenly profaned21 by a man’s voice, speaking (or rather croaking22) behind me. ‘The worst curse of human life,’ the voice said, ‘is the detestable necessity of taking exercise. I hate losing my time; I hate fine scenery; I hate fresh air; I hate a pony23. Go on, you brute24!’ Being too deeply engaged with the clouds to look round, I had supposed this pretty speech to be addressed to some second person. Nothing of the sort; the croaking voice had a habit of speaking to itself. In a minute more, there came within my range of view a solitary25 old man, mounted on a rough pony.”
“Was it Sir Jervis?”
Alban hesitated.
“It looked more like the popular notion of the devil,” he said.
“Oh, Mr. Morris!”
“I give you my first impression, Miss Emily, for what it is worth. He had his high-peaked hat in his hand, to keep his head cool. His wiry iron-gray hair looked like hair standing on end; his bushy eyebrows26 curled upward toward his narrow temples; his horrid27 old globular eyes stared with a wicked brightness; his pointed beard hid his chin; he was covered from his throat to his ankles in a loose black garment, something between a coat and a cloak; and, to complete him, he had a club foot. I don’t doubt that Sir Jervis Redwood is the earthly alias28 which he finds convenient—but I stick to that first impression which appeared to surprise you. ‘Ha! an artist; you seem to be the sort of man I want!’ In those terms he introduced himself. Observe, if you please, that my trap caught him the moment he came my way. Who wouldn’t be an artist?”
“Did he take a liking29 to you?” Emily inquired.
“Not he! I don’t believe he ever took a liking to anybody in his life.”
“Then how did you get your invitation to his house?”
“That’s the amusing part of it, Miss Emily. Give me a little breathing time, and you shall hear.”
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1
ace
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| n.A牌；发球得分；佼佼者；adj.杰出的 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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3
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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irresolute
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| adj.无决断的，优柔寡断的，踌躇不定的 | |
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5
intruding
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| v.侵入，侵扰，打扰( intrude的现在分词)；把…强加于 | |
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6
affected
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| adj.不自然的，假装的 | |
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7
confession
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| n.自白，供认，承认 | |
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8
pointed
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| adj.尖的，直截了当的 | |
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9
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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10
confided
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| v.吐露（秘密，心事等）( confide的过去式和过去分词 )；（向某人）吐露（隐私、秘密等） | |
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11
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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13
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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14
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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15
housekeeper
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| n.管理家务的主妇，女管家 | |
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16
amazement
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| n.惊奇，惊讶 | |
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17
situated
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| adj.坐落在...的，处于某种境地的 | |
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18
persuasion
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| n.劝说；说服；持有某种信仰的宗派 | |
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19
kennel
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| n.狗舍，狗窝 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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profaned
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| v.不敬( profane的过去式和过去分词 )；亵渎，玷污 | |
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croaking
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| v.呱呱地叫( croak的现在分词 )；用粗的声音说 | |
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23
pony
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| adj.小型的；n.小马 | |
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brute
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| n.野兽，兽性 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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26
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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27
horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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28
alias
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| n.化名；别名；adv.又名 | |
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liking
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| n.爱好；嗜好；喜欢 | |
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