Portia by Margaret Wolfe Hungerford (great novels .TXT) 📕

broadcast; shawls strew the lawn; Julia flies to the right, Dulce to the left; Portia instinctively finds refuge behind Dicky Browne, who shows great gallantry on this memorable occasion, and devotes himself to the service of the frail and weak. Indeed, it is on record, that, in the height of his zeal, he encircled Portia's waist with his arm, and cried aloud to the foe to "come on," as he waited for victory or death.

Jacky flies past, and is presently seen urging on his wild career in the little glade that leads to the wood. Once more they breathe, and order is restored, to Gower's deep regret, as he has managed, in the _melee_, to seize hold of Dulce's hand, and in an abstracted fashion has held it ever since.

"That boy deserves a sound whipping," says Sir Mark, indignantly, who is, nevertheless, a sworn friend of the graceless Jacky.

"You hear, Julia; you are to whip him at once?" says Roger.

"Whip him!" says Mrs. Beaufort, resentfully. "Indeed I shall not. I never whipped one of them in my life, and I never shall."

"You'd be afraid," says Dicky Browne. "You should see Julia when the Boodie attacks her; she literally goes into her boots, and stays there. It is, indeed, a pitiable exhibition. By-the-by, does anybody want dinner; because, if so, he may as well go and dress. It is quite half-past six."


CHAPTER XIII.


"A vague unrest
And a nameless longing filled her breast."


TIME, as a rushing wind, slips by, and brings us Dulce's ball. The night is lovely and balmy as any evening in the Summer months gone by, though now September shakes the leaves to their fall. A little breeze sweeps up from the ocean, where the "lights around the shore" show mystical and bright; while overhead, all down the steeps of heaven, myriad stars are set, to flood the sleeping world with their cold, clear beauty.

Upon the walls, and all along the balconies, lie patches of broken moonshine; and in the garden the pale beams revel and kiss the buds until they wake; and "all flowers that blow by day come forth, as t'were high noon."

In the library the lamps are lowered. Nobody has come down-stairs yet, and the footman, giving the last lingering touch to the little sweet gossiping fire that warns them of Winter's approach, turns to leave the room. On the threshold, however, he stands aside to let Miss Vibart enter.

She is dressed in a white satin gown, creamy in shade, and rather severe in its folds. Some pale water-lilies lie upon it, as though cast there by some lucky chance, and cling to it lovingly, as if glad to have found so soft a resting place. There is no flower in her hair, and no jewels anywhere, except three rows of priceless pearls, that clasp her slender throat. Throwing her gloves and fan upon the centre table, she walks slowly to a mirror, and examines herself somewhat critically.

As if ungratefully dissatisfied with the lovely vision it presents to her, she turns away again, with an impatient sigh, and trifles absently with a paper knife near her. There is a discontented line about her mouth, a wistful, restless expression in her eyes. She moves slowly, too, as if gladness is far from her, and shows, in every glance and movement, a strange amount of languor.

As though her thoughts compel her to action, she walks aimlessly from place to place; and now, as if she is listening for something to come; and now, as if she is trying to make up her mind to take some step from which she shrinks in secret.

At last, drawing her breath with a sudden quickness, born of determination, she opens a drawer in a cabinet, and, taking from it a little volume in the Tauchnitz binding, she opens the library door, and, turning to the right, walks swiftly down the corridor.

From out the shadow a figure advances toward her, a figure bent and uncomely, that tries in vain to avoid the meeting with her, and to get out of sight before recognition sets in.

It is the old man Slyme. As she sees him there returns to Portia the memory of many other times when she has met him here in this corridor, with apparently no meaning for his presence. Some unaccountable and utterly vague feeling of dislike for this man has been hers ever since she first saw him. He is repugnant to her in a remarkable degree, considering how little he has to do with her life in any way.

"He seems to haunt this part of the house," she says to herself now, uncomfortably. "If I were Fabian I should hate to know there was a chance of meeting him every time I opened my door. Has he, perhaps, a passion for Fabian--or--"

Instinctively she throws an additional touch of hauteur into her shapely head, and without deigning to notice the old man, sweeps by him, her glimmering white skirts making a gentle _frou-frou_ as she goes.

When she has passed, the secretary raises his eyes and watches her departing form, furtively. There is great cunning mixed with malignity and resentment in his glance. He mutters something inaudible, that carries no blessing in its tone, but yet, as though fascinated by her beauty, he stands still and follows each step she takes upon the polished oaken flooring.

As she stops at a particular door, his whole face changes, and satisfied malice takes the place of resentment.

"Even such pride can stoop," he mutters, with a half-drunken chuckle. "And it is I, my fine lady--who can scarce breathe when I am by--that have power to ring your proud heart."

He turns, and shambles onwards towards his own den.

Portia's steps have grown slower as she gets nearer to the door before which Slyme has seen her stop. Her eyes have sought the ground; all along the floor her image may be seen, lengthened, but clear; almost with every step she seems to tread upon herself. As she reaches the door she hesitates, and then lifts her hand as if with the intention of knocking. But again she pauses, and her hand drops to her side. As if more nervous than she cares to own, she leans against the lintel of the door, as one might, desirous of support.

Then the weakness vanishes; fastening her teeth upon her under lip, she rouses herself, and tapping gently but distinctly upon one of the panels, awaits an answer.

Presently she gets it. "Come in," says Fabian's voice, clear, indifferent; and slowly turning the handle she enters the room.

The lamps are alight; a fire is burning in the grate. At the upper table of this room, that is his study, his very _sanctum sanctorum_, Fabian is sitting with some papers and books before him.

At first, being unconscious of who his visitor is, he does not lift his head, but now, seeing her, he rises quickly to his feet, and says,

"You!" in accents of the most acute surprise.

She is standing barely inside the door with the little volume pressed closely, almost convulsively, between her fingers, and for a moment makes him no reply. It is the first time they have ever been alone since that day when he had injured his arm through the running away of Sir Christopher's mare.

Now, his face, his tone, is so unfriendly that a great fear falls upon her. Is he very angry with her still? Has she sinned past forgiveness? Will he, perhaps, order her to leave the room? She tries to rally her power of resistance against what fate--relentless, implacable--is preparing for her; but in vain. A terrible fear of him (the man regarding her with such stern eyes) and of herself crushes her. Her heart dies within her; what evil has fallen upon her days, that _once_ were happy? and yet--and yet--of what--what exquisite sweetness is this evil formed!

She flushes, first painfully; and then the flush fades, and pallor holds full sway.

"I can do something for you?" asks Fabian, not advancing toward her, not letting even one kindly accent warm his frozen tone, and this when the silence has grown positively unbearable.

"Thank you--no." Her little cold hands are nervously twined around the book she holds. Speech has cruelly deserted her; a sob has risen in her throat, and she is battling with it so fiercely, that for a moment she can say nothing. Then she conquers, and almost piteously she lays the book upon the very edge of the table nearest her, and says with difficulty:

"I brought you this. At breakfast this morning you said you had not read it; and to-night I knew you would be alone, and I thought--it is 'The Europeans'--it might help you to while away an hour."

Her voice dies away and again silence follows it. She is really frightened now. She has met many men, has been the acknowledged beauty of a London season, has had great homage laid at her feet; but no man has had power to make her heart waken, until she met this man, upon whom disgrace lies heavy. It is _Kismet_! She feels cold now, and miserable, and humbled before him who should surely be humbled before her. What has she meant by coming to his room without so much as an invitation; to him--who in her sight is guilty, indeed, of an offense not to be forgiven in the world.

She grows tired and very weary, and the old pain at her heart, that always comes to her when she is miserable or perplexed, is tormenting her now, making her feel sick of life and dispirited.

"It was kind of you to think of me," says Fabian, coldly; "_too_ kind. But there are some matters of importance I must get through to-night, and I fear I shall not have time for fiction."

She takes up the book again, the little instrument that betrays his determination to accept no benefits at her hands, and moves toward the door.

Coming quickly up to her, that he may open the door, he stands between her and it, and stops her.

"As you are here," he says, "let me look at you. Remember, I have never seen you dressed for a ball before."

As if astonished at his request, she stands quite still, and, letting her round, bare arms hang loosely before her, with her hands clasped, she lets him gaze at her sweet fairness in utter silence. It takes him some time. Then--

"You are very pale," he says--no more. Not a word of praise escapes him. She is woman enough to feel chagrin at this, and discontent. Has her glass lied to her, then? One small word of approbation, even about her gown, would have been sweet to her at this moment. _Is_ she so very pale? Is it that this white gown does not become her? A quick dislike to the beautiful robe--and only an hour ago she had regarded it with positive affection--now takes possession of her.

"I am always pale," she says, with subdued resentment.

"Not always. To-night one hardly knows where your _dress_ ends, and where _you_ begin." She has hardly time to wonder if this is a compliment or the other thing, when he goes on again: "I don't think I ever saw you in white before?" he says.

"No; and it is probable you will never see me in it again," she says, petulantly. "I dislike it. It is cold and unbecoming,