Gwendolen had not caught sight of Deronda in her passage, and while she was seated acquitting herself in chat with Sir Hugo, she glanced round her with careful ease, bowing a recognition here and there, and fearful lest an anxious-looking exploration in search of Deronda might be observed by her husband, and afterward rebuked as something “damnably vulgar.” But all traveling, even that of a slow gradual glance round a room, brings a liability to undesired encounters, and amongst the eyes that met Gwendolen’s, forcing her into a slight bow, were those of the “amateur too fond of Meyerbeer,” Mr. Lush, whom Sir Hugo continued to find useful as a half-caste among gentlemen. He was standing near her husband, who, however, turned a shoulder toward him, and was being understood to listen to Lord Pentreath. How was it that at this moment, for the first time, there darted through Gwendolen, like a disagreeable sensation, the idea that this man knew all about her husband’s life? He had been banished from her sight, according to her will, and she had been satisfied; he had sunk entirely into the background of her thoughts, screened away from her by the agitating figures that kept up an inward drama in which Lush had no place. Here suddenly he reappeared at her husband’s elbow, and there sprang up in her, like an instantaneously fabricated memory in a dream, the sense of his being connected with the secrets that made her wretched. She was conscious of effort in turning her head away from him, trying to continue her wandering survey as if she had seen nothing of more consequence than the picture on the wall, till she discovered Deronda. But he was not looking toward her, and she withdrew her eyes from him, without having got any recognition, consoling herself with the assurance that he must have seen her come in. In fact, he was not standing far from the door with Hans Meyrick, whom he had been careful to bring into Lady Mallinger’s list. They were both a little more anxious than was comfortable lest Mirah should not be heard to advantage. Deronda even felt himself on the brink of betraying emotion, Mirah’s presence now being linked with crowding images of what had gone before and was to come after—all centering in the brother he was soon to reveal to her; and he had escaped as soon as he could from the side of Lady Pentreath, who had said in her violoncello voice,
“Well, your Jewess is pretty—there’s no denying that. But where is her Jewish impudence? She looks as demure as a nun. I suppose she learned that on the stage.”
He was beginning to feel on Mirah’s behalf something of what he had felt for himself in his seraphic boyish time, when Sir Hugo asked him if he would like to be a great singer—an indignant dislike to her being remarked on in a free and easy way, as if she were an imported commodity disdainfully paid for by the fashionable public, and he winced the more because Mordecai, he knew, would feel that the name “Jewess” was taken as a sort of stamp like the lettering of Chinese silk. In this susceptible mood he saw the Grandcourts enter, and was immediately appealed to by Hans about “that Vandyke duchess of a beauty.” Pray excuse Deronda that in this moment he felt a transient renewal of his first repulsion from Gwendolen, as if she and her beauty and her failings were to blame for the undervaluing of Mirah as a woman—a feeling something like class animosity, which affection for what is not fully recognized by others, whether in persons or in poetry, rarely allows us to escape. To Hans admiring Gwendolen with his habitual hyperbole, he answered, with a sarcasm that was not quite good-natured,
“I thought you could admire no style of woman but your Berenice.”
“That is the style I worship—not admire,” said Hans. “Other styles of women I might make myself wicked for, but for Berenice I could make myself—well, pretty good, which is something much more difficult.”
“Hush,” said Deronda, under the pretext that the singing was going to begin. He was not so delighted with the answer as might have been expected, and was relieved by Hans’s movement to a more advanced spot.
Deronda had never before heard Mirah sing “O patria mia.” He knew well Leopardi’s fine Ode to Italy (when Italy sat like a disconsolate mother in chains, hiding her face on her knees and weeping), and the few selected words were filled for him with the grandeur of the whole, which seemed to breathe an inspiration through the music. Mirah singing this, made Mordecai more than ever one presence with her. Certain words not included in the song nevertheless rang within Deronda as harmonies from the invisible,
“Non ti difende
Nessun de’ tuoi! L’armi, qua l’armi: io solo
Combatterò, procomberò sol io”—[*]
[* Do none of thy children defend thee? Arms! bring me arms! alone I will fight, alone I will fall.]
they seemed the very voice of that heroic passion which is falsely said to devote itself in vain when it achieves the godlike end of manifesting unselfish love. And that passion was present to Deronda now as the vivid image of a man dying helplessly away from the possibility of battle.