Surely the Countess of Fleetwood's drive from the Welsh borders to Esslemont, accompanied by the chosen of the land, followed by the vivats of the whole Principality, and England gaping to hear the stages of her progress, may be held sufficiently romantic without stuffing of surprises and conflicts, adventures at inns, alarms at midnight, windings of a horn over hilly verges of black heaths, and the rape of the child, the pursuit, the recovery of the child, after a new set of heroine performances on the part of a strung-wire mother, whose outcry in a waste country district, as she clasps her boy to her bosom again: 'There's a farm I see for milk for him!' the Dame repeats, having begun with an admission that the tale has been contradicted, and is not produced on authority. The end in design is to win the ear by making a fuss, and roll event upon event for the braining of common intelligence, until her narrative resembles dusty troopings along a road to the races.
Carinthia and her babe reached Esslemont, no matter what impediments. There, like a stopped runner whose pantings lengthen to the longer breath, her alarms over the infant subsided, ceasing for as long as she clasped it or was in the room with it. Walking behind the precious donkey-basket round the park, she went armed, and she soon won a fearful name at Kentish cottage-hearths, though she 'was not black to see, nor old. No, she was very young. But she did all the things that soldiers do,—was a bit of a foreigner;—she brought a reputation up from the Welsh land, and it had a raven's croak and a glow-worm's drapery and a goblin's origin.
Something was hinted of her having agitated London once. Somebody dropped word of her and that old Lord Levellier up at Croridge. She stalked park and country at night. Stories, one or two near the truth, were told of a restless and a very decided lady down these parts as well; and the earl her husband daren't come nigh in his dread of her, so that he runs as if to save his life out of every place she enters. And he's not one to run for a trifle. His pride is pretty well a match for princes and princesses.
All the same, he shakes in his shoes before her, durst hardly spy at Esslemont again while she's in occupation. His managing gentleman comes down from him, and goes up from her; that's how they communicate. One week she's quite solitary; another week the house is brimful as can be. She 's the great lady entertaining then. Yet they say it 's a fact, she has not a shilling of her own to fling at a beggar. She 'll stock a cottage wanting it with provision for a fortnight or more, and she'll order the doctor in, and she'll call and see the right things done for illness. 'But no money; no one's to expect money of her. The shots you hear in Esslemont grounds out of season are she and her maid, always alongside her, at it before a target on a bank, trying that old Lord Levellier's gunpowder out of his mill; and he's got no money either; not for his workmen, they say, until they congregate, and a threatening to blow him up brings forth half their pay, on account. But he 's a known miser. She's not that. She's a pleasant-faced lady for the poor. She has the voice poor people like. It's only her enemy, maybe her husband, she can be terrible to. She'd drive a hole through a robber stopping her on the road, as soon as look at him.
This was Esslemont's atmosphere working its way to the earl, not so very long after the establishment of his countess there. She could lay hold of the English, too, it seemed. Did she call any gentleman of the district by his Christian name? Lord Simon Pitscrew reported her doing so in the case of one of the Welshmen. Those Welshmen! Apparently they are making a push for importance in the kingdom!
CHAPTER XXXV
IN WHICH CERTAIN CHANGES MAY BE DISCERNED
Behind his white plaster of composure, Lord Fleetwood had alternately raged and wondered during the passage of the Welsh cavalcade up Eastward: a gigantic burlesque, that would have swept any husband of their heroine off the scene had he failed to encounter it deferentially, preserving his countenance and ostensibly his temper. An idiot of a woman, incurable in her lunacy, suspects the father of the infant as guilty of designs done to death in romances; and so she manages to set going solemnly a bigger blazing Tom Fool's show than any known or written romance gives word of! And that fellow, Gower Woodseer, pleads, in apology, for her husband's confusion, physiologically, that it comes of her having been carried off and kept a prisoner when she was bearing the child and knitting her whole mind to ensure the child. But what sheer animals these women are, if they take impressions in such a manner! And Mr. Philosopher argues that the abusing of women proves the hating of Nature; names it 'the commonest insanity, and the deadliest,' and men are 'planted in the bog of their unclean animal condition until they do proper homage to the animal Nature makes the woman be.' Oh, pish, sir!—as Meeson Corby had the habit of exclaiming when Abrane's 'fiddler' argues him into a corner. The fellow can fiddle fine things and occasionally clear sense:—'Men hating Nature are insane. Women and Nature are close. If it is rather general to hate Nature and maltreat women, we begin to see why the world is a mad world.' That is the tune of the fiddler's fiddling. As for him, something protects him. He was the slave of Countess Livia; like Abrane, Mallard, Corby, St. Ombre, young Cressett, and the dozens. He is now her master. Can a man like that be foolish, in saying of the Countess Carinthia, she is 'not only quick to understand, she is in the quick of understanding'? Gower Woodseer said it of her in Wales, and again on the day of his walk up to London from Esslemont, after pedestrian exercise, which may heat the frame, but cools the mind. She stamped that idea on a thoughtful fellow.
He's a Welshman. They are all excitable,—have heads on hound's legs for a flying figure in front. Still, they must have an object, definitely seen by them—definite to them if dim to their neighbours; and it will run in the poetic direction: and the woman to win them, win all classes of them, within so short a term, is a toss above extraordinary. She is named Carinthia—suitable name for the Welsh pantomimic procession. Or cry out the word in an amphitheatre of Alpine crags,—it sounds at home.
She is a daughter of the mountains,—should never have left them. She is also a daughter of the Old Buccaneer—no poor specimen of the fighting Englishman of his day. According to Rose Mackrell, he, this Old Buccaneer, it was, who, by strange adventures, brought the great Welsh mines into the family! He would not be ashamed in spying through his nautical glass, up or down, at his daughter's doings. She has not yet developed a taste for the mother's tricks:—the mother, said to have been a kindler. That Countess of Cressett was a romantic little fly-away bird. Both parents were brave: the daughter would inherit gallantry. She inherits a kind of thwarted beauty. Or it needs the situation seen in Wales: her arms up and her unaffrighted eyes over the unappeasable growl. She had then the beauty coming from the fathom depths, with the torch of Life in the jaws of Death to light her: beauty of the nether kingdom mounting to an upper place in the higher. Her beauty recognized, the name of the man who married her is not Longears—not to himself, is the main point; nor will it be to the world when he shows that it is not so to himself.