"No, papa; not that; but I will tell you what I have written."
Then it occurred to him that this bargaining was altogether derogatory to his parental authority, and by no means likely to impress upon her mind the conviction that Tregear must be completely banished from her thoughts. He began already to find how difficult it would be for him to have the charge of such a daughter,—how impossible that he should conduct such a charge with sufficient firmness, and yet with sufficient tenderness! At present he had done no good. He had only been made more wretched than ever by her obstinacy. Surely he must pass her over to the charge of some lady,—but of some lady who would be as determined as was he himself that she should not throw herself away by marrying Mr. Tregear.
"There shall be no writing," he said, "no visiting, no communication of any kind. As you refuse to obey me now, you had better go to your room."
CHAPTER IX
"In Medias Res"
Perhaps the method of rushing at once "in medias res" is, of all the ways of beginning a story, or a separate branch of a story, the least objectionable. The reader is made to think that the gold lies so near the surface that he will be required to take very little trouble in digging for it. And the writer is enabled,—at any rate for a time, and till his neck has become, as it were, warm to the collar,—to throw off from him the difficulties and dangers, the tedium and prolixity, of description. This rushing "in medias res" has doubtless the charm of ease. "Certainly, when I threw her from the garret window to the stony pavement below, I did not anticipate that she would fall so far without injury to life or limb." When a story has been begun after this fashion, without any prelude, without description of the garret or of the pavement, or of the lady thrown, or of the speaker, a great amount of trouble seems to have been saved. The mind of the reader fills up the blanks,—if erroneously, still satisfactorily. He knows, at least, that the heroine has encountered a terrible danger, and has escaped from it with almost incredible good fortune; that the demon of the piece is a bold demon, not ashamed to speak of his own iniquity, and that the heroine and the demon are so far united that they have been in a garret together. But there is the drawback on the system,—that it is almost impossible to avoid the necessity of doing, sooner or later, that which would naturally be done at first. It answers, perhaps, for half-a-dozen chapters;—and to carry the reader pleasantly for half-a-dozen chapters is a great matter!—but after that a certain nebulous darkness gradually seems to envelope the characters and the incidents. "Is all this going on in the country, or is it in town,—or perhaps in the Colonies? How old was she? Was she tall? Is she fair? Is she heroine-like in her form and gait? And, after all, how high was the garret window?" I have always found that the details would insist on being told at last, and that by rushing "in medias res" I was simply presenting the cart before the horse. But as readers like the cart the best, I will do it once again,—trying it only for a branch of my story,—and will endeavour to let as little as possible of the horse be seen afterwards.
"And so poor Frank has been turned out of heaven?" said Lady Mabel Grex to young Lord Silverbridge.
"Who told you that? I have said nothing about it to anybody."
"Of course he told me himself," said the young beauty. I am aware that, in the word beauty, and perhaps, also, in the word young, a little bit of the horse is appearing; and I am already sure that I shall have to show his head and neck, even if not his very tail. "Poor Frank! Did you hear it all?"