The man approached her with a strange smile on his face, rubbing his hands together, and shivering as with cold. When he had reached her side he attempted to take her hand. M’liss shrank away from him with an expression of disgust.
“What are you doing here again?” she demanded.
“I want to go with you. It’s dark in there,” he said, motioning to the wood he had just quitted, “and I don’t like to be alone. You’ll let me be with you, won’t you? I won’t be any trouble;” and a feeble smile flickered on his lips.
M’liss darted a quick look into his face. The grim outlines of his mouth were relaxed, and his lips moved again impotently. But his eyes were bright and open,—bright with a look that was new to M’liss—that imparted a strange softness and melancholy to his features,—the incipient gleam of insanity!
CHAPTER VIII
THE AUTHOR TO THE READER—EXPLANATORY
If I remember rightly, in one of the admirable tragedies of Tsien Tsiang at a certain culminating point of interest an innocent person is about to be sacrificed. The knife is raised and the victim meekly awaits the stroke. At this moment the author of the play appears on the stage, and, delivering an excellent philosophical dissertation on the merits of the “situation,” shows that by the purest principles of art the sacrifice is necessary, but at the same time offers to the audience the privilege of changing the denouement. Such, however, is the nice aesthetic sense of a Chinese auditory, and so universal the desire of bloodshed in the heathen breast, that invariably at each representation of this remarkable tragedy the cause of humanity gives way to the principles of art.
I offer this precedent as an excuse for digressing at a moment when I have burned down a small settlement, dispatched a fellow being, and left my heroine alone in the company of an escaped convict who has just developed insanity as a new social quality. My object in thus digressing is to confer with the reader in regard to the evolution of this story,—a familiarity not without precedent, as I might prove from most of the old Greek comedies, whose parabasis permits the poet to mingle freely with the dramatis personae, to address the audience and descant at length in regard to himself, his play, and his own merits.
The fact is that, during the progress of this story, I have received many suggestions from intimate friends in regard to its incidents and construction. I have also been in the receipt of correspondence from distant readers, one letter of which I recall signed by an “Honest Miner,” who advises me to “do the right thing by M’liss,” or intimates somewhat obscurely that he will “bust my crust for me,” which, though complimentary in its abstract expression of interest, and implying a taste for euphonism, evinces an innate coarseness which I fear may blunt his perceptions of delicate shades and Greek outlines.