"Of course I do! Why didn't you say so before? Go after her, I tell you; and make haste. If she goes straight home—you know where—come back as soon as she's inside the door."
"Yes, sir."
"Damn you, go, or you'll lose sight of her!"
"I'm a-listenin' after the street-door, sir. It ain't gone yet. There it is now!"
And with the word he left the room.
Mary was too much absorbed in her own thoughts to note that she was followed by a man with the collar of his great-coat up to his eyes, and a woolen comforter round his face. She walked on steadily for home, scarce seeing the people that passed her. It was clear to Mewks that she had not a suspicion of being kept in sight. He saw her in at her own door, and went back to his master.
CHAPTER XLIV.
JOSEPH JASPER.
Another fact Mewks carried to his master—namely, that, as Mary came near the door of the house, she was met by "a rough-looking man," who came walking slowly along, as if he had been going up and down waiting for her. He made her an awkward bow as she drew near, and she stopped and had a long conversation with him—such at least it seemed to Mewks, annoyed that he could hear nothing of it, and fearful of attracting their attention—after which the man went away, and Mary went into the house. This report made his master grin, for, through the description Mewks gave, he suspected a thief disguised as a workman; but, his hopes being against the supposition, he dwelt the less upon it.
The man who stopped Mary, and whom, indeed, she would have stopped, was Joseph Jasper, the blacksmith. That he was rough in appearance, no one who knew him would have wished himself able to deny, and one less like a thief would have been hard to find. His hands were very rough and ingrained with black; his fingers were long, but chopped off square at the points, and had no resemblance to the long, tapering fingers of an artist or pickpocket. His clothes were of corduroy, not very grimy, because of the huge apron of thick leather he wore at his work, but they looked none the better that he had topped them with his tall Sunday hat. His complexion was a mixture of brown and browner; his black eyebrows hung far over the blackest of eyes, the brightest flashing of which was never seen, because all the time he played he kept them closed tight. His face wore its natural clothing—a mustache thick and well-shaped, and a beard not too large, of a color that looked like black burned brown. His hair was black and curled all over his head. His whole appearance was that of a workman; a careless glance could never have suspected him a poet-musician; as little could even such a glance have failed to see in him an honest man. He was powerfully built, over the middle height, but not tall. He spoke very fair old-fashioned English, with the Yorkshire tone and turn. His walk was rather plodding, and his movements slow and stiff; but in communion with his violin they were free enough, and the more delicate for the strength that was in them; at the anvil they were as supple as powerful. On his face dwelt an expression that was not to be read by the indifferent—a waiting in the midst of work, as of a man to whom the sense of the temporary was always present, but present with the constant reminder that, just therefore, work must be as good as work can be that things may last their due time.
The following was the conversation concerning the purport of which Mewks was left to what conjecture was possible to a serving-man of his stamp.