His career was interesting during the eighteen months wherein society papers chatted of him amiably and romantically. He had entered into the joys of hunting with enthusiasm and success, and had made a fast and admiring friend of Captain Maudsley; while Saracen held his own grandly. He had dined with country people, and had dined them; had entered upon the fag-end of the London season with keen, amused enjoyment; and had engrafted every little use of the convention. The art was learned, but the man was always apart from it; using it as a toy, yet not despising it; for, as he said, it had its points, it was necessary. There was yachting in the summer; but he was keener to know the life of England and his heritage than to roam afar, and most of the year was spent on the estate and thereabouts: with the steward, with the justices of the peace, in the fields, in the kennels, among the accounts.
To-day he was in London, haunting Tattersall's, the East End, the docks, his club, the London Library—he had a taste for English history, especially for that of the seventeenth century; he saturated himself with it: to-morrow he would present to his grandfather a scheme for improving the estate and benefiting the cottagers. Or he would suddenly enter the village school, and daze and charm the children by asking them strange yet simple questions, which sent a shiver of interest to their faces.
One day at the close of his second hunting-season there was to be a ball at the Court, the first public declaration of acceptance by his people; for, at his wish, they did not entertain for him in town the previous season—Lady Belward had not lived in town for years. But all had gone so well, if not with absolute smoothness, and with some strangeness,— that Gaston had become an integral part of their life, and they had ceased to look for anything sensational.
This ball was to be the seal of their approval. It had been mentioned in
'Truth' with that freshness and point all its own. What character than
Gaston's could more appeal to his naive imagination? It said in a
piquant note that he did not wear a dagger and sombrero.
Everything was ready. Decorations were up, the cook and the butler had done their parts. At eleven in the morning Gaston had time on his hands. Walking out, he saw two or three children peeping in at the gateway.
He would visit the village school. He found the junior curate troubling the youthful mind with what their godfathers and godmothers did for them, and begging them to do their duty "in that state of life," etc. He listened, wondering at the pious opacity, and presently asked the children to sing. With inimitable melancholy they sang: "Oh, the Roast Beef of Old England!"
Gaston sat back and laughed softly till the curate felt uneasy, till the children, waking to his humour, gurgled a little in the song. With his thumbs caught lightly in his waistcoat pockets, he presently began to talk with the children in an easy, quiet voice. He asked them little out-of-the-way questions, he lifted the school-room from their minds, and then he told them a story, showing them on the map where the place was, giving them distances, the kind of climate, and a dozen other matters of information, without the nature of a lesson. Then he taught them the chorus—the Board forbade it afterwards—of a negro song, which told how those who behaved themselves well in this world should ultimately:
"Blow on, blow on, blow on dat silver horn!"
It was on this day that, as he left the school, he saw Ian Belward driving past. He had not met his uncle since his arrival,—the artist had been in Morocco,—nor had he heard of him save through a note in a newspaper which said that he was giving no powerful work to the world, nor, indeed, had done so for several years; and that he preferred the purlieus of Montparnasse to Holland Park.
They recognised each other. Ian looked his nephew up and down with a cool kind of insolence as he passed, but did not make any salutation. Gaston went straight to the castle. He asked for his uncle, and was told that he had gone to Lady Belward. He wandered to the library: it was empty. He lit a cigar, took down a copy of Matthew Arnold's poems, opening at "Sohrab and Rustum," read it with a quick-beating heart, and then came to "Tristram and Iseult." He knew little of "that Arthur" and his knights of the Round Table, and Iseult of Brittany was a new figure of romance to him. In Tennyson, he had got no further than "Locksley Hall," which, he said, had a right tune and wrong words; and "Maud," which "was big in pathos." The story and the metre of "Tristram and Iseult" beat in his veins. He got to his feet, and, standing before the window, repeated a verse aloud: