"Such a goose, the tall fellow, Dulcie!"
It is a sad truth that foolish young women will judge by the exterior, leap at conclusions, and be guilty of rude and cruel remarks.
What would come of it if the silly, sensitive hearts were in earnest, or if they did not reserve to themselves the indefeasible right of changing their opinions?
At the "Nine Miles House" the wayfarers rested, either in the sanded parlour, or the common kitchen of the ale-house. Mistress Clarissa and her party had the sanded parlour for themselves; the young men, with their cramped legs, stumbled into the flitch-hung kitchen, the more entertaining room of the two, and had plates of beans and bacon, a toast and a tankard; for the day was in September, and the wind was already bracing both to body and appetite. Mistress Clarissa carried her private stores, and Cambridge laid out her slices of roasts and broils, plates of buns and comforts, and cruets with white wines. But when did a heroine remain in a sanded parlour in an inn, when she could stroll over the country and lose her way, and get run at by wild cattle, and stared at by naughty gentlemen? Clary was not so mean-spirited, though she was physically lazier than Dulcie; she was eager to scamper across the stubble fields (where Cambridge expected chickens to roam in flocks), and to wander, book in hand, by yon brook with the bewitching pollards.
Dulcie could not accompany her. Dulcie being a practical woman, a needle in innocent sharpness, had peeped about the waggon to inspect their luggage, and had found to her horror that one of her boxes had burst its fastenings—that very box with her respected mother's watered tabby, and her one lace head on the place of honour on the top. So she and Cambridge had an earnest consultation on the accident, which resulted in their proceeding to tuck up their skirts, empty the receptacle with the greatest care and tenderness, and repack it with such skill that a rope would replace its rent hinges. Dulcie was not for walking.
Clarissa was thus forced to saunter alone, and after she had got to the brook and the pollards, she sat down, and leant her arms on the bars of an old farm gate. Soon tiring of looking about her, staring at the minnows and the late orange coltsfoot and white wild ranunculus, and the straw-coloured willow-leaves drooping into the water, she took out of her pocket that little brown French classic, Pharamond, and started again to accompany the French storyteller, advancing on the very tallest of stilts that storyteller ever mounted. It was a wonder truly that Clary on her mossy bank, and by a rustic stile, had not preferred the voices of the winds and the waters, the last boom of the beetle, the last screech of the martin, the last loud laugh of the field-workers borne over a hedge or two on the breeze, to the click and patter of these absurd Frenchmen's tongues.
At last Clarissa bethought her of the hour, sprang up, carefully put away her volume—volumes and verses were precious then—and began to pick her steps homewards. Ah! there had been a wretch of a man looking at her—actually drawing her in his portfolio—the ugly fellow in the waggon. Thank goodness, he could not have recognized her as his fellow-traveller; he had copied the old farm-gate from the other side, and he could only have got a glimpse of her figure through the bars with not so much as the crown of her hat above them. He had only put her in faithfully by a line or two, and three dots, and he did not observe her now as she passed behind him and scanned his performance ere she scampered off. But what a risk she had run of having her likeness taken without her knowledge or consent, and carried about the country by a walking gentleman!
It was quite an adventure; yet how could Clary think it so when an earthquake and a whole town burnt to ashes were nothing in her French novels! But, still true to the instinct of personality which causes us to think a molehill in reference to our dear selves a world more momentous and interesting than a mountain in reference to a princess of the blood-royal, stately Clarissa flew off like a lapwing to tell Dulcie that she had just had such an escape, and hit on such a discovery—she had found out all about the two fellows; they were a couple of painters. Marry! it was a marvel to see the one so hearty, and the other so rosy. Doubtless they did not have an odd penny in their purse between them.
Clarissa came too late; she encountered Dulcie running out to meet her, all alive with the same news, only gathered in a more orthodox manner. The fair, soft lad, whom they had reckoned a nincompoop, had shaken himself up in his companion's absence, and had offered his landlady a drawing for his share of the dinner, "if you will score the value off the bill." And the landlady had repeated the story to Cambridge and Dulcie when she showed the picture to them, and expressed her conviction that the lad was far gone in the spleen—he seemed always in a brown study; too quiet-like for a lad. She should have no peace in her mind about him if she were in any way related to him. Bless her heart! he would sell another for something much less than a crown.
Dulcie, all in a glow, had actually been chaffering with the painter for one of those wonderful groups of luscious peaches, mellow pears, July flowers, and striped balsamine, singing birds and fluttering insects, full of extravagant beauty. In the business, too, Dulcie had been by far the more overcome of the two. The painter, roused to a job, had not cheated her; on the contrary, he had been as usual a conscientious spendthrift of his powers. He had conducted the negotiation in the plainest, manliest spirit, looking the eager girl in the face with his blue eyes, and receiving her crown-piece in his hand, which was nobler than his face, inasmuch as it was seamed with the action of his paints and tools, without a notion of anything unbecoming or degrading.