ART has its trials as well as its triumphs. It is powerless to assert itself against the sordid1 interests of everyday life. The greatest book ever written, the finest picture ever painted, appeals in vain to minds preoccupied2 by selfish and secret cares. On entering Lord Loring’s gallery, Father Benwell found but one person who was not looking at the pictures under false pretenses3.
Innocent of all suspicion of the conflicting interests whose struggle now centered in himself, Romayne was carefully studying the picture which had been made the pretext4 for inviting5 him to the house. He had bowed to Stella, with a tranquil6 admiration7 of her beauty; he had shaken hands with Penrose, and had said some kind words to his future secretary — and then he had turned to the picture, as if Stella and Penrose had ceased from that moment to occupy his mind.
“In your place,” he said quietly to Lord Loring, “I should not buy this work.”
“Why not?”
“It seems to me to have the serious defect of the modern English school of painting. A total want of thought in the rendering8 of the subject, disguised under dexterous9 technical tricks of the brush. When you have seen one of that man’s pictures, you have seen all. He manufactures — he doesn’t paint.”
Father Benwell came in while Romayne was speaking. He went through the ceremonies of introduction to the master of Vange Abbey with perfect politeness, but a little absently. His mind was bent10 on putting his suspicion of Stella to the test of confirmation11. Not waiting to be presented, he turned to her with the air of fatherly interest and chastened admiration which he well knew how to assume in his intercourse12 with women.
“May I ask if you agree with Mr. Romayne’s estimate of the picture?” he said, in his gentlest tones.
She had heard of him, and of his position in the house. It was quite needless for Lady Loring to whisper to her, “Father Benwell, my dear!” Her antipathy13 identified him as readily as her sympathy might have identified a man who had produced a favorable impression on her. “I have no pretension14 to be a critic,” she answered, with frigid15 politeness. “I only know what I personally like or dislike.”
The reply exactly answered Father Benwell’s purpose. It diverted Romayne’s attention from the picture to Stella. The priest had secured his opportunity of reading their faces while they were looking at each other.
“I think you have just stated the true motive16 for all criticism,” Romayne said to Stella. “Whether we only express our opinions of pictures or books in the course of conversation or whether we assert them at full length, with all the authority of print, we are really speaking, in either case, of what personally pleases or repels17 us. My poor opinion of that picture means that it says nothing to Me. Does it say anything to You?”
He smiled gently as he put the question to her, but there was no betrayal of emotion in his eyes or in his voice. Relieved of anxiety, so far as Romayne was concerned, Father Benwell looked at Stella.
Steadily18 as she controlled herself, the confession19 of her heart’s secret found its way into her face. The coldly composed expression which had confronted the priest when she spoke20 to him, melted away softly under the influence of Romayne’s voice and Romayne’s look. Without any positive change of color, her delicate skin glowed faintly, as if it felt some animating21 inner warmth. Her eyes and lips brightened with a new vitality22; her frail23 elegant figure seemed insensibly to strengthen and expand, like the leaf of a flower under a favoring sunny air. When she answered Romayne (agreeing with him, it is needless to say), there was a tender persuasiveness24 in her tones, shyly inviting him still to speak to her and still to look at her, which would in itself have told Father Benwell the truth, even if he had not been in a position to see her face. Confirmed in his doubts of her, he looked, with concealed25 suspicion, at Lady Loring next. Sympathy with Stella was undisguisedly expressed to him in the honest blue eyes of Stella’s faithful friend.
The discussion on the subject of the unfortunate picture was resumed by Lord Loring, who thought the opinions of Romayne and Stella needlessly severe. Lady Loring, as usual, agreed with her husband. While the general attention was occupied in this way, Father Benwell said a word to Penrose — thus far, a silent listener to the discourse26 on Art.
“Have you seen the famous portrait of the first Lady Loring, by Gainsborough?” he asked. Without waiting for a reply, he took Penrose by the arm, and led him away to the picture — which had the additional merit, under present circumstances, of hanging at the other end of the gallery.
“How do you like Romayne?” Father Benwell put the question in low peremptory27 tones, evidently impatient for a reply.
“He interests me already,” said Penrose. “He looks so ill and so sad, and he spoke to me so kindly28 —”
“In short,” Father Benwell interposed, “Romayne has produced a favorable impression on you. Let us get on to the next thing. You must produce a favorable impression on Romayne.”
Penrose sighed. “With the best will to make myself agreeable to people whom I like,” he said, “I don’t always succeed. They used to tell me at Oxford29 that I was shy — and I am afraid that is against me. I wish I possessed30 some of your social advantages, Father!”
“Leave it to me, son! Are they still talking about the picture?”
“Yes.”
“I have something more to say to you. Have you noticed the young lady?”
“I thought her beautiful — but she looks a little cold.”
Father Benwell smiled. “When you are as old as I am,” he said, “you will not believe in appearances where women are concerned. Do you know what I think of her? Beautiful, if you like — and dangerous as well.”
“Dangerous! In what way?”
“This is for your private ear, Arthur. She is in love with Romayne. Wait a minute! And Lady Loring — unless I am entirely31 mistaken in what I observed — knows it and favors it. The beautiful Stella may be the destruction of all our hopes, unless we keep Romayne out of her way.”
These words were whispered with an earnestness and agitation32 which surprised Penrose. His superior’s equanimity33 was not easily overthrown34. “Are you sure, Father, of what you say?” he asked.
“I am quite sure — or I should not have spoken.”
“Do you think Mr. Romayne returns the feeling?”
“Not yet, luckily. You must use your first friendly influence over him — what is her name? Her surname, I mean.”
“Eyrecourt. Miss Stella Eyrecourt.”
“Very well. You must use your influence (when you are quite sure that it is an influence) to keep Mr. Romayne away from Miss Eyrecourt.”
Penrose looked embarrassed. “I am afraid I should hardly know how to do that,” he said “But I should naturally, as his assistant, encourage him to keep to his studies.”
Whatever Arthur’s superior might privately35 think of Arthur’s reply, he received it with outward indulgence. “That will come to the same thing,” he said. “Besides, when I get the information I want — this is strictly36 between ourselves — I may be of some use in placing obstacles in the lady’s way.”
Penrose started. “Information!” he repeated. “What information?”
“Tell me something before I answer you,” said Father Benwell. “How old do you take Miss Eyrecourt to be?”
“I am not a good judge in such matters. Between twenty and twenty-five, perhaps?”
“We will take her age at that estimate, Arthur. In former years, I have had opportunities of studying women’s characters in the confessional. Can you guess what my experience tells me of Miss Eyrecourt?”
“No, indeed!”
“A lady is not in love for the first time when she is between twenty and twenty-five years old — that is my experience,” said Father Benwell. “If I can find a person capable of informing me, I may make some valuable discoveries in the earlier history of Miss Eyrecourt’s life. No more, now. We had better return to our friends.”
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1
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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preoccupied
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| adj.全神贯注的，入神的；被抢先占有的；心事重重的v.占据（某人）思想，使对…全神贯注，使专心于( preoccupy的过去式) | |
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pretenses
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| n.借口（pretense的复数形式） | |
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pretext
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| n.借口，托词 | |
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inviting
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| adj.诱人的，引人注目的 | |
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tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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rendering
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| n.表现，描写 | |
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dexterous
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| adj.灵敏的；灵巧的 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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confirmation
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| n.证实，确认，批准 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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antipathy
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| n.憎恶；反感，引起反感的人或事物 | |
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pretension
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| n.要求；自命，自称；自负 | |
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frigid
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| adj.寒冷的，凛冽的；冷淡的；拘禁的 | |
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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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repels
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| v.击退( repel的第三人称单数 )；使厌恶；排斥；推开 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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confession
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| n.自白，供认，承认 | |
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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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animating
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| v.使有生气( animate的现在分词 )；驱动；使栩栩如生地动作；赋予…以生命 | |
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vitality
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| n.活力，生命力，效力 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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persuasiveness
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| 说服力 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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peremptory
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| adj.紧急的，专横的，断然的 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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Oxford
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| n.牛津（英国城市） | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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equanimity
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| n.沉着，镇定 | |
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overthrown
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| adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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