I pity him, and relax my clutch.
"No," whispers Crene; "as long as you have your check, you as good as have your trunk; but when you give that up, you have nothing. Keep that till you see your trunk."
My clutch re-tightens.
"At any rate, you can wait till the next train, and see if it doesn't come back. You'll get to your journey's end just as soon."
"Shall I? Well, I will," compliant as usual.
"No," interposes my good genius again. "Men are always saying that a woman never goes when she engages to go. She is always a train later or a train earlier, and you can't meet her."
Pliant to the last touch I say aloud,—
"No, I must go in this train"; and so I go trunkless and crest-fallen to meet Halicarnassus.
It is a dismal day, and Crene, to comfort me, puts into my hands two books as companions by the way. They are Coventry Patmore's "Angel in the House," "The Espousals and the Betrothal." I do not approve of reading in the cars; but without is a dense, white, unvarying fog, and within my heart it is not clear sunshine. So I turn to my books.
Did any one ever read them before? Somebody wrote a vile review of them once, and gave the idea of a very puerile, ridiculous, apron-stringy attempt at poetry. Whoever wrote that notice ought to be shot, for the books are charming pure and homely and householdy, yet not effeminate. Critics may sneer as much as they choose: it is such love as Vaughan's that Honorias value. Because a woman's nature is not proof against deterioration, because a large and long-continued infusion of gross blood, and perhaps even the monotonous pressure of rough, pitiless, degrading circumstances, may displace, eat out, rub off the delicacy of a soul, may change its texture to unnatural coarseness and scatter ashes for beauty, women do exist, victims rather than culprits, coarse against their nature, hard, material, grasping, the saddest sight humanity can see. Such a woman can accept coarse men. They may come courting on all fours, and she will not be shocked. But women in the natural state want men to stand god-like erect, to tread majestically, and live delicately, Women do not often make an ado about this. They talk it over among themselves, and take men as they are. They quietly soften them down, and smooth them out, and polish them up, and make the best of them, and simply and sedulously shut their eyes and make believe there isn't any worst, or reason it away,—a great deal more than I should think they would. But if you want to see the qualities that a woman, spontaneously loves, the expression, the tone, the bearing that thoroughly satisfies her self-respect, that not only secures her acquiescence, but arouses her enthusiasm and commands her abdication, crucify the flesh, and read Coventry Patmore. Not that he is the world's great poet, nor Arthur Vaughan the ideal man; but this I do mean: that the delicacy, the spirituality of his love, the scrupulous respectfulness of his demeanor, his unfeigned inward humility, as far removed from servility on the one side as from assumption on the other, and less the opponent than the offspring of self-respect, his thorough gentleness, guilelessness, deference, his manly, unselfish homage, are such qualities, and such alone, as lead womanhood captive. Listen to me, you rattling, roaring, rollicking Ralph Roister Doisters, you calm, inevitable Gradgrinds, as smooth, as sharp, as bright as steel, and as soulless, and you men, whoever, whatever, and wherever you are, with fibres of rope and nerves of wire, there is many and many a woman who tolerates you because she finds you, but there is nothing in her that ever goes out to seek you. Be not deceived by her placability. "Here he is," she says to herself, "and something must be done about it. Buried under Ossa and Pelion somewhere he must be supposed to have a soul, and the sooner he is dug into, the sooner it will be exhumed." So she digs. She would never have made you, nor of her own free-will elected you; but being made, such as you are, and on her hands in one way or another, she carves and chisels, and strives to evoke from the block a breathing statue. She may succeed so far as that you shall become her Frankenstein, a great, sad, monstrous, incessant, inevitable caricature of her ideal, the monument at once of her success and her failure, the object of her compassion, the intimate sorrow of her soul, a vast and dreadful form into which her creative power can breathe the breath of life, but not of sympathy. Perhaps she loves you with a remorseful, pitying, protesting love, and carries you on her shuddering shoulders to the grave. Probably, as she is good and wise, you will never find it out. A limpid brook ripples in beauty and bloom by the side of your muddy, stagnant self-complacence, and you discern no essential difference. "Water's water," you say, with your broad, stupid generalization, and go oozing along contentedly through peat-bogs and meadow-ditches, mounting, perhaps, in moments of inspiration, to the moderate sublimity of a cranberry-meadow, but subsiding with entire satisfaction into a muck-puddle; and all the while the little brook that you patronize when you are full-fed, and snub when you are hungry, and look down upon always,—the little brook is singing its own melody through grove and orchard and sweet wild-wood,—singing with the birds and the blooms songs that you cannot hear; but they are heard by the silent stars, singing on and on into a broader and deeper destiny, till it pours, one day, its last earthly note, and becomes forevermore the unutterable sea.