The Mill on the Floss by George Eliot (best beach reads of all time .txt) 📕

“Poor aunty! You are cruel to ridicule her. She is very valuable to me, I know. She manages the house beautifully⁠—much better than any stranger would⁠—and she was a great comfort to me in mamma’s illness.”

“Yes, but in point of companionship one would prefer that she should be represented by her brandy-cherries and cream-cakes. I think with a shudder that her daughter will always be present in person, and have no agreeable proxies of that kind⁠—a fat, blond girl, with round blue eyes, who will stare at us silently.”

“Oh yes!” exclaimed Lucy, laughing wickedly, and clapping her hands, “that is just my cousin Maggie. You must have seen her!”

“No, indeed; I’m only guessing what Mrs. Tulliver’s daughter must be; and then if she is to banish Philip, our only apology for a tenor, that will be an additional bore.”

“But I hope that may not be. I think I will ask you to call on Philip and tell him Maggie is coming tomorrow. He is quite aware of Tom’s feeling, and always keeps out of his way; so he will understand, if you tell him, that I asked you to warn him not to come until I write to ask him.”

“I think you had better write a pretty note for me to take; Phil is so sensitive, you know, the least thing might frighten him off coming at all, and we had hard work to get him. I can never induce him to come to the park; he doesn’t like my sisters, I think. It is only your faëry touch that can lay his ruffled feathers.”

Stephen mastered the little hand that was straying toward the table, and touched it lightly with his lips. Little Lucy felt very proud and happy. She and Stephen were in that stage of courtship which makes the most exquisite moment of youth, the freshest blossom-time of passion⁠—when each is sure of the other’s love, but no formal declaration has been made, and all is mutual divination, exalting the most trivial word, the lightest gesture, into thrills delicate and delicious as wafted jasmine scent. The explicitness of an engagement wears off this finest edge of susceptibility; it is jasmine gathered and presented in a large bouquet.

“But it is really odd that you should have hit so exactly on Maggie’s appearance and manners,” said the cunning Lucy, moving to reach her desk, “because she might have been like her brother, you know; and Tom has not round eyes; and he is as far as possible from staring at people.”

“Oh, I suppose he is like the father; he seems to be as proud as Lucifer. Not a brilliant companion, though, I should think.”

“I like Tom. He gave me my Minny when I lost Lolo; and papa is very fond of him: he says Tom has excellent principles. It was through him that his father was able to pay all his debts before he died.”

“Oh, ah; I’ve heard about that. I heard your father and mine talking about it a little while ago, after dinner, in one of their interminable discussions about business. They think of doing something for young Tulliver; he saved them from a considerable loss by riding home in some marvellous way, like Turpin, to bring them news about the stoppage of a bank, or something of that sort. But I was rather drowsy at the time.”

Stephen rose from his seat, and sauntered to the piano, humming in falsetto, “Graceful Consort,” as he turned over the volume of The Creation, which stood open on the desk.

“Come and sing this,” he said, when he saw Lucy rising.

“What, ‘Graceful Consort’? I don’t think it suits your voice.”

“Never mind; it exactly suits my feeling, which, Philip will have it, is the grand element of good singing. I notice men with indifferent voices are usually of that opinion.”

“Philip burst into one of his invectives against The Creation the other day,” said Lucy, seating herself at the piano. “He says it has a sort of sugared complacency and flattering make-believe in it, as if it were written for the birthday fête of a German Grand-Duke.”

“Oh, pooh! He is the fallen Adam with a soured temper. We are Adam and Eve unfallen, in Paradise. Now, then⁠—the recitative, for the sake of the moral. You will sing the whole duty of woman⁠—‘And from obedience grows my pride and happiness.’ ”

“Oh no, I shall not respect an Adam who drags the tempo, as you will,” said Lucy, beginning to play the duet.

Surely the only courtship unshaken by doubts and fears must be that in which the lovers can sing together. The sense of mutual fitness that springs from the two deep notes fulfilling expectation just at the right moment between the notes of the silvery soprano, from the perfect accord of descending thirds and fifths, from the preconcerted loving chase of a fugue, is likely enough to supersede any immediate demand for less impassioned forms of agreement. The contralto will not care to catechise the bass; the tenor will foresee no embarrassing dearth of remark in evenings spent with the lovely soprano. In the provinces, too, where music was so scarce in that remote time, how could the musical people avoid falling in love with each other? Even political principle must have been in danger of relaxation under such circumstances; and the violin, faithful to rotten boroughs, must have been tempted to fraternise in a demoralizing way with a reforming violoncello. In that case, the linnet-throated soprano and the full-toned bass singing⁠—

“With thee delight is ever new,
With thee is life incessant bliss,”

—believed what they sang all the more because they sang it.

“Now for Raphael’s great song,” said Lucy, when they had finished the duet. “You do the ‘heavy beasts’ to perfection.”

“That sounds complimentary,” said Stephen, looking at his watch. “By Jove, it’s nearly half-past one! Well, I can just sing this.”

Stephen delivered with admirable ease the deep notes representing the tread