Trilby

She blushed with pleasure, and the others thought him a "beastly cad" for poking fun at the poor girl in such a way. And they thought Monsieur Litolff another.

She then got up and shook the crumbs off her coat, and slipped her feet into Durien's slippers, saying, in English: "Well, I've got to go back. Life ain't all beer and skittles, and more's the pity; but what's the odds, so long as you're happy?"

On her way out she stopped before Taffy's picture – a chiffonnier with his lantern bending over a dust heap. For Taffy was, or thought himself, a passionate realist in those days. He has changed, and now paints nothing but King Arthurs and Guineveres and Lancelots and Elaines and floating Ladies of Shalott.

"That chiffonnier's basket isn't hitched high enough," she remarked. "How could he tap his pick against the rim and make the rag fall into it if it's hitched only half-way up his back? And he's got the wrong sabots, and the wrong lantern; it's all wrong."

"Dear me!" said Taffy, turning very red; "you seem to know a lot about it. It's a pity you don't paint, yourself."

"Ah! now you're cross!" said Miss O'Ferrall. "Oh, maïe, aïe!"

She went to the door and paused, looking round benignly. "What nice teeth you've all three got. That's because you're Englishmen, I suppose, and clean them twice a day. I do too. Trilby O'Ferrall, that's my name, 48 Rue des Pousse-Cailloux! – pose pour l'ensemble, quand ça l'amuse! va-t-en ville, et fait tout ce qui concerne son état! Don't forget. Thanks all, and good-bye."

"En v'là une orichinale," said Svengali.

"I think she's lovely," said Little Billee, the young and tender. "Oh, heavens, what angel's feet! It makes me sick to think she sits for the figure. I'm sure she's quite a lady."

And in five minutes or so, with the point of an old compass, he scratched in white on the dark red wall a three-quarter profile outline of Trilby's left foot, which was perhaps the more perfect poem of the two.

Slight as it was, this little piece of impromptu etching, in its sense of beauty, in its quick seizing of a peculiar individuality, its subtle rendering of a strongly received impression, was already the work of a master. It was Trilby's foot, and nobody else's, nor could have been, and nobody else but Little Billee could have drawn it in just that inspired way.

"Qu'est-ce que c'est, 'Ben Bolt'?" inquired Gecko.

Upon which Little Billee was made by Taffy to sit down to the piano and sing it. He sang it very nicely with his pleasant little throaty English barytone.

It was solely in order that Little Billee should have opportunities of practising this graceful accomplishment of his, for his own and his friends' delectation, that the piano had been sent over from London, at great cost to Taffy and the Laird. It had belonged to Taffy's mother, who was dead.

Before he had finished the second verse, Svengali exclaimed: "Mais c'est tout-à-fait chentil! Allons, Gecko, chouez-nous ça!"

And he put his big hands on the piano, over Little Billee's, pushed him off the music-stool with his great gaunt body, and, sitting on it himself, he played a masterly prelude. It was impressive to hear the complicated richness and volume of the sounds he evoked after Little Billee's gentle "tink-a-tink."

And Gecko, cuddling lovingly his violin and closing his upturned eyes, played that simple melody as it had probably never been played before – such passion, such pathos, such a tone! – and they turned it and twisted it, and went from one key to another, playing into each other's hands, Svengali taking the lead; and fugued and canoned and counterpointed and battle-doored and shuttlecocked it, high and low, soft and loud, in minor, in pizzicato, and in sordino – adagio, andante, allegretto, scherzo – and exhausted all its possibilities of beauty; till their susceptible audience of three was all but crazed with delight and wonder; and the masterful Ben Bolt, and his over-tender Alice, and his too submissive friend, and his old schoolmaster so kind and so true, and his long-dead schoolmates, and the rustic porch and the mill, and the slab of granite so gray,

 
"And the dear little nook
By the clear running brook,"
 

were all magnified into a strange, almost holy poetic dignity and splendor quite undreamed of by whoever wrote the words and music of that unsophisticated little song, which has touched so many simple British hearts that don't know any better – and among them, once, that of the present scribe – long, long ago!

"Sacrepleu! il choue pien, le Checko, hein?" said Svengali, when they had brought this wonderful double improvisation to a climax and a close. "C'est mon élèfe! che le fais chanter sur son fiolon, c'est comme si c'était moi qui chantais! ach! si ch'afais pour teux sous de voix, che serais le bremier chanteur du monte! I cannot sing!" he continued. (I will translate him into English, without attempting to translate his accent, which is a mere matter of judiciously transposing p's and b's, and t's and d's, and f's and v's, and g's and k's, and turning the soft French j into sch, and a pretty language into an ugly one.)

"I cannot sing myself, I cannot play the violin, but I can teach – hein, Gecko? And I have a pupil – hein, Gecko? – la betite Honorine;" and here he leered all round with a leer that was not engaging. "The world shall hear of la betite Honorine some day – hein, Gecko? Listen all – this is how I teach la betite Honorine! Gecko, play me a little accompaniment in pizzicato."

And he pulled out of his pocket a kind of little flexible flageolet (of his own invention, it seems), which he screwed together and put to his lips, and on this humble instrument he played "Ben Bolt," while Gecko accompanied him, using his fiddle as a guitar, his adoring eyes fixed in reverence on his master.

And it would be impossible to render in any words the deftness, the distinction, the grace, power, pathos, and passion with which this truly phenomenal artist executed the poor old twopenny tune on his elastic penny whistle – for it was little more – such thrilling, vibrating, piercing tenderness, now loud and full, a shrill scream of anguish, now soft as a whisper, a mere melodic breath, more human almost than the human voice itself, a perfection unattainable even by Gecko, a master, on an instrument which is the acknowledged king of all!

So that the tear which had been so close to the brink of Little Billee's eye while Gecko was playing now rose and trembled under his eyelid and spilled itself down his nose; and he had to dissemble and surreptitiously mop it up with his little finger as he leaned his chin on his hand, and cough a little husky, unnatural cough —pour se donner une contenance!

He had never heard such music as this, never dreamed such music was possible. He was conscious, while it lasted, that he saw deeper into the beauty, the sadness of things, the very heart of them, and their pathetic evanescence, as with a new, inner eye – even into eternity itself, beyond the veil – a vague cosmic vision that faded when the music was over, but left an unfading reminiscence of its having been, and a passionate desire to express the like some day through the plastic medium of his own beautiful art.

When Svengali ended, he leered again on his dumb-struck audience, and said: "That is how I teach la betite Honorine to sing; that is how I teach Gecko to play; that is how I teach 'il bel canto'! It was lost, the bel canto – but I found it, in a dream – I, and nobody else – I – Svengali – I – I —I! But that is enough of music; let us play at something else – let us play at this!" he cried, jumping up and seizing a foil and bending it against the wall… "Come along, Little Pillee, and I will show you something more you don't know…"

So Little Billee took off coat and waistcoat, donned mask and glove and fencing-shoes, and they had an "assault of arms," as it is nobly called in French, and in which poor Little Billee came off very badly. The German Pole fenced wildly, but well.

Then it was the Laird's turn, and he came off badly too; so then Taffy took up the foil, and redeemed the honor of Great Britain, as became a British hussar and a Man of Blood. For Taffy, by long and assiduous practice in the best school in Paris (and also by virtue of his native aptitudes), was a match for any maître d'armes in the whole French army, and Svengali got "what for."

And when it was time to give up play and settle down to work, others dropped in – French, English, Swiss, German, American, Greek; curtains were drawn and shutters opened; the studio was flooded with light – and the afternoon was healthily spent in athletic and gymnastic exercises till dinner-time.

But Little Billee, who had had enough of fencing and gymnastics for the day, amused himself by filling up with black and white and red chalk-strokes the outline of Trilby's foot on the wall, lest he should forget his fresh vision of it, which was still to him as the thing itself – an absolute reality, born of a mere glance, a mere chance.

Durien came in and looked over his shoulder, and exclaimed: "Tiens! le pied de Trilby! vous avez fait ça d'après nature?"

"Nong!"

"De mémoire, alors?"

"Wee!"

"Je vous en fais mon compliment! Vous avez eu la main heureuse. Je voudrais bien avoir fait ça, moi! C'est un petit chef-d'œuvre que vous avez fait là – tout bonnement, mon cher! Mais vous élaborez trop. De grâce, n'y touchez plus!"

And Little Billee was pleased, and touched it no more; for Durien was a great sculptor, and sincerity itself.

And then – well, I happen to forget what sort of day this particular day turned into at about six of the clock.

If it was decently fine, the most of them went off to dine at the Restaurant de la Couronne, kept by the Père Trin, in the Rue de Monsieur, who gave you of his best to eat and drink for twenty sols Parisis, or one franc in the coin of the empire. Good distending soups, omelets that were only too savory, lentils, red and white beans, meat so dressed and sauced and seasoned that you didn't know whether it were beef or mutton – flesh, fowl, or good red herring – or even bad, for that matter – nor very greatly care.

And just the same lettuce, radishes, and cheese of Gruyère or Brie as you got at the Trois Frères Provençaux (but not the same butter!). And to wash it all down, generous wine in wooden "brocs" – that stained a lovely æsthetic blue everything it was spilled over.

And you hobnobbed with models, male and female, students of law and medicine, painters and sculptors, workmen and blanchisseuses and grisettes, and found them very good company, and most improving to your French, if your French was of the usual British kind, and even to some of your manners, if these were very British indeed. And the evening was innocently wound up with billiards, cards, or dominos at the Café du Luxembourg opposite; or at the Théâtre du Luxembourg, in the Rue de Madame, to see funny farces with screamingly droll Englishmen in them; or, still better, at the Jardin Bullier (la Closerie des Lilas), to see the students dance the cancan, or try and dance it yourself, which is not so easy as it seems; or, best of all, at the Théâtre de l'Odéon, to see some piece of classical repertoire.

Or, if it were not only fine, but a Saturday afternoon into the bargain, the Laird would put on a necktie and a few other necessary things, and the three friends would walk arm in arm to Taffy's hotel in the Rue de Seine, and wait outside till he had made himself as presentable as the Laird, which did not take very long. And then (Little Billee was always presentable) they would, arm in arm, the huge Taffy in the middle, descend the Rue de Seine and cross a bridge to the Cité, and have a look in at the Morgue. Then back again to the quays on the rive gauche by the Pont Neuf, to wend their way westward; now on one side to look at the print and picture shops and the magasins of bric-à-brac, and haply sometimes buy thereof, now on the other to finger and cheapen the second-hand books for sale on the parapet, and even pick up one or two utterly unwanted bargains, never to be read or opened again.

When they reached the Pont des Arts they would cross it, stopping in the middle to look up the river towards the old Cité and Notre Dame, eastward, and dream unutterable things, and try to utter them. Then, turning westward, they would gaze at the glowing sky and all it glowed upon – the corner of the Tuileries and the Louvre, the many bridges, the Chamber of Deputies, the golden river narrowing its perspective and broadening its bed as it went flowing and winding on its way between Passy and Grenelle to St. Cloud, to Rouen, to the Havre, to England perhaps – where they didn't want to be just then; and they would try and express themselves to the effect that life was uncommonly well worth living in that particular city at that particular time of the day and year and century, at that particular epoch of their own mortal and uncertain lives.

Then, still arm in arm and chatting gayly, across the court-yard of the Louvre, through gilded gates well guarded by reckless imperial Zouaves, up the arcaded Rue de Rivoli as far as the Rue Castiglione, where they would stare with greedy eyes at the window of the great corner pastry-cook, and marvel at the beautiful assortment of bonbons, pralines, dragées, marrons glacés – saccharine, crystalline substances of all kinds and colors, as charming to look at as an illumination; precious stones, delicately frosted sweets, pearls and diamonds so arranged as to melt in the mouth; especially, at this particular time of the year, the monstrous Easter-eggs of enchanting hue, enshrined like costly jewels in caskets of satin and gold; and the Laird, who was well read in his English classics and liked to show it, would opine that "they managed these things better in France."

Then across the street by a great gate into the Allée des Feuillants, and up to the Place de la Concorde – to gaze, but quite without base envy, at the smart people coming back from the Bois de Boulogne. For even in Paris "carriage people" have a way of looking bored, of taking their pleasure sadly, of having nothing to say to each other, as though the vibration of so many wheels all rolling home the same way every afternoon had hypnotized them into silence, idiocy, and melancholia.

And our three musketeers of the brush would speculate on the vanity of wealth and rank and fashion; on the satiety that follows in the wake of self-indulgence and overtakes it; on the weariness of the pleasures that become a toil – as if they knew all about it, had found it all out for themselves, and nobody else had ever found it out before!

Then they found out something else – namely, that the sting of healthy appetite was becoming intolerable; so they would betake themselves to an English eating-house in the Rue de la Madeleine (on the left-hand side near the top), where they would renovate their strength and their patriotism on British beef and beer, and household bread, and bracing, biting, stinging yellow mustard, and horseradish, and noble apple-pie, and Cheshire cheese; and get through as much of these in an hour or so as they could for talking, talking, talking; such happy talk! as full of sanguine hope and enthusiasm, of cocksure commendation or condemnation of all painters, dead or alive, of modest but firm belief in themselves and each other, as a Paris Easter-egg is full of sweets and pleasantness (for the young).

And then a stroll on the crowded, well-lighted boulevards, and a bock at the café there, at a little three-legged marble table right out on the genial asphalt pavement, still talking nineteen to the dozen.

Then home by dark, old, silent streets and some deserted bridge to their beloved Latin quarter, the Morgue gleaming cold and still and fatal in the pale lamplight, and Notre Dame pricking up its watchful twin towers, which have looked down for so many centuries on so many happy, sanguine, expansive youths walking arm in arm by twos and threes, and forever talking, talking, talking…

The Laird and Little Billee would see Taffy safe to the door of his hôtel garni in the Rue de Seine, where they would find much to say to each other before they said good-night – so much that Taffy and Little Billee would see the Laird safe to his door, in the Place St. Anatole des Arts. And then a discussion would arise between Taffy and the Laird on the immortality of the soul, let us say, or the exact meaning of the word "gentleman," or the relative merits of Dickens and Thackeray, or some such recondite and quite unhackneyed theme, and Taffy and the Laird would escort Little Billee to his door, in the Place de l'Odéon, and he would re-escort them both back again, and so on till any hour you please.

Or again, if it rained, and Paris through the studio window loomed lead-colored, with its shiny slate roofs under skies that were ashen and sober, and the wild west wind made woful music among the chimney-pots, and little gray waves ran up the river the wrong way, and the Morgue looked chill and dark and wet, and almost uninviting (even to three healthy-minded young Britons), they would resolve to dine and spend a happy evening at home.

Little Billee, taking with him three francs (or even four), would dive into back streets and buy a yard or so of crusty new bread, well burned on the flat side, a fillet of beef, a litre of wine, potatoes and onions, butter, a little cylindrical cheese called "bondon de Neufchâtel," tender curly lettuce, with chervil, parsley, spring onions, and other fine herbs, and a pod of garlic, which would be rubbed on a crust of bread to flavor things with.

Taffy would lay the cloth Englishwise, and also make the salad, for which, like everybody else I ever met, he had a special receipt of his own (putting in the oil first and the vinegar after); and indeed his salads were quite as good as everybody else's.

The Laird, bending over the stove, would cook the onions and beef into a savory Scotch mess so cunningly that you could not taste the beef for the onions – nor always the onions for the garlic!

And they would dine far better than at le Père Trin's, far better than at the English Restaurant in the Rue de la Madeleine – better than anywhere else on earth!

And after dinner, what coffee, roasted and ground on the spot, what pipes and cigarettes of "caporal," by the light of the three shaded lamps, while the rain beat against the big north window, and the wind went howling round the quaint old mediæval tower at the corner of the Rue Vieille des Mauvais Ladres (the old street of the bad lepers), and the damp logs hissed and crackled in the stove!

What jolly talk into the small hours! Thackeray and Dickens again, and Tennyson and Byron (who was "not dead yet" in those days); and Titian and Velasquez, and young Millais and Holman Hunt (just out); and Monsieur Ingres and Monsieur Delacroix, and Balzac and Stendhal and George Sand; and the good Dumas! and Edgar Allan Poe; and the glory that was Greece and the grandeur that was Rome…

Good, honest, innocent, artless prattle – not of the wisest, perhaps, nor redolent of the very highest culture (which, by-the-way, can mar as well as make), nor leading to any very practical result; but quite pathetically sweet from the sincerity and fervor of its convictions, a profound belief in their importance, and a proud trust in their life-long immutability.

Oh, happy days and happy nights, sacred to art and friendship! oh, happy times of careless impecuniosity, and youth and hope and health and strength and freedom – with all Paris for a playground, and its dear old unregenerate Latin quarter for a workshop and a home!

And, up to then, no kill-joy complications of love!

No, decidedly no! Little Billee had never known such happiness as this – never even dreamed of its possibility.

A day or two after this, our opening day, but in the afternoon, when the fencing and boxing had begun and the trapeze was in full swing, Trilby's "Milk below!" was sounded at the door, and she appeared – clothed this time in her right mind, as it seemed: a tall, straight, flat-backed, square-shouldered, deep-chested, full-bosomed young grisette, in a snowy frilled cap, a neat black gown and white apron, pretty faded, well-darned, brown stockings, and well-worn, soft, gray, square-toed slippers of list, without heels and originally shapeless; but which her feet, uncompromising and inexorable as boot-trees, had ennobled into everlasting classic shapeliness, and stamped with an unforgettable individuality, as does a beautiful hand its well-worn glove – a fact Little Billee was not slow to perceive, with a curious conscious thrill that was only half æsthetic.

Then he looked into her freckled face, and met the kind and tender mirthfulness of her gaze and the plucky frankness of her fine wide smile with a thrill that was not æsthetic at all (nor the reverse), but all of the heart. And in one of his quick flashes of intuitive insight he divined far down beneath the shining surface of those eyes (which seemed for a moment to reflect only a little image of himself against the sky beyond the big north window) a well of sweetness; and floating somewhere in the midst of it the very heart of compassion, generosity, and warm sisterly love; and under that – alas! at the bottom of all – a thin slimy layer of sorrow and shame. And just as long as it takes for a tear to rise and gather and choke itself back again, this sudden revelation shook his nervous little frame with a pang of pity, and the knightly wish to help. But he had no time to indulge in such soft emotions. Trilby was met on her entrance by friendly greetings on all sides.

"Tiens! c'est la grande Trilby!" exclaimed Jules Guinot through his fencing-mask. "Comment! t'es déjà debout après hier soir? Avons-nous assez rigolé chez Mathieu, hein? Crénom d'un nom, quelle noce! V'là une crémaillère qui peut se vanter d'être diantrement bien pendue, j'espère! Et la petite santé, c'matin?"

"Hé, hé! mon vieux," answered Trilby. "Ça boulotte, apparemment! Et toi? et Victorine? Comment qu'a s'porte à c't'heure? Elle avait un fier coup d'chasselas! c'est-y jobard, hein? de s'fich 'paf comme ça d'vant l'monde! Tiens, v'là, Gontran! ça marche-t-y, Gontran, Zouzou d'mon cœur?"

"Comme sur des roulettes, ma biche!" said Gontran, alias l'Zouzou – a corporal in the Zouaves. "Mais tu t'es donc mise chiffonnière, à présent? T'as fait banqueroute?"

(For Trilby had a chiffonnier's basket strapped on her back, and carried a pick and lantern.)

"Mais-z-oui, mon bon!" she said. "Dame! pas d'veine hier soir! t'as bien vu! Dans la dêche jusqu'aux omoplates, mon pauv' caporal-sous-off! nom d'un canon – faut bien vivre, s'pas?"

Little Billee's heart sluices had closed during this interchange of courtesies. He felt it to be of a very slangy kind, because he couldn't understand a word of it, and he hated slang. All he could make out was the free use of the "tu" and the "toi," and he knew enough French to know that this implied a great familiarity, which he misunderstood.

So that Jules Guinot's polite inquiries whether Trilby were none the worse after Mathieu's house-warming (which was so jolly), Trilby's kind solicitude about the health of Victorine, who had very foolishly taken a drop too much on that occasion, Trilby's mock regrets that her own bad luck at cards had made it necessary that she should retrieve her fallen fortunes by rag-picking – all these innocent, playful little amenities (which I have tried to write down just as they were spoken) were couched in a language that was as Greek to him – and he felt out of it, jealous and indignant.

"Good-afternoon to you, Mr. Taffy," said Trilby, in English. "I've brought you these objects of art and virtu to make the peace with you. They're the real thing, you know. I borrowed 'em from le père Martin, chiffonnier en gros et en détail, grand officier de la Légion d'Honneur, membre de l'Institut, et cetera, treize bis, Rue du Puits d'Amour, rez-de-chaussée, au fond de la cour à gauche, vis-à-vis le mont-de-piété! He's one of my intimate friends, and – "

"You don't mean to say you're the intimate friend of a rag-picker?" exclaimed the good Taffy.

"Oh yes! Pourquoi pas? I never brag; besides, there ain't any beastly pride about le père Martin," said Trilby, with a wink. "You'd soon find that out if you were an intimate friend of his. This is how it's put on. Do you see? If you'll put it on, I'll fasten it for you, and show you how to hold the lantern and handle the pick. You may come to it yourself some day, you know. Il ne faut jurer de rien! Père Martin will pose for you in person, if you like. He's generally disengaged in the afternoon. He's poor but honest, you know, and very nice and clean; quite the gentleman. He likes artists, especially English – they pay. His wife sells bric-à-brac and old masters: Rembrandts from two francs fifty upwards. They've got a little grandson – a love of a child. I'm his god-mother. You know French, I suppose?"

"Oh yes," said Taffy, much abashed. "I'm very much obliged to you – very much indeed – a – I – a – "

"Y a pas d'quoi!" said Trilby, divesting herself of her basket and putting it, with the pick and lantern, in a corner. "Et maintenant, le temps d'absorber une fine de fin sec [a cigarette] et je m'la brise [I'm off]. On m'attend à l'Ambassade d'Autriche. Et puis zut! Allez toujours, mes enfants. En avant la boxe!"

She sat herself down cross-legged on the model-throne, and made herself a cigarette, and watched the fencing and boxing. Little Billee brought her a chair, which she refused; so he sat down on it himself by her side, and talked to her, just as he would have talked to any young lady at home – about the weather, about Verdi's new opera (which she had never heard), the impressiveness of Notre Dame, and Victor Hugo's beautiful romance (which she had never read), the mysterious charm of Leonardo da Vinci's Lisa Gioconda's smile (which she had never seen) – by all of which she was no doubt rather tickled and a little embarrassed, perhaps also a little touched.

Taffy brought her a cup of coffee, and conversed with her in polite formal French, very well and carefully pronounced; and the Laird tried to do likewise. His French was of that honest English kind that breaks up the stiffness of even an English party; and his jolly manners were such as to put an end to all shyness and constraint, and make self-consciousness impossible.

Others dropped in from neighboring studios – the usual cosmopolite crew. It was a perpetual come and go in this particular studio between four and six in the afternoon.

There were ladies, too, en cheveux, in caps and bonnets, some of whom knew Trilby, and thee'd and thou'd with familiar and friendly affection, while others mademoiselle'd her with distant politeness, and were mademoiselle'd and madame'd back again. "Absolument comme à l'Ambassade d'Autriche," as Trilby observed to the Laird, with a British wink that was by no means ambassadorial.

Then Svengali came and made some of his grandest music, which was as completely thrown away on Trilby as fireworks on a blind beggar, for all she held her tongue so piously.

Fencing and boxing and trapezing seemed to be more in her line; and indeed, to a tone-deaf person, Taffy lunging his full spread with a foil, in all the splendor of his long, lithe, youthful strength, was a far gainlier sight than Svengali at the key-board flashing his languid bold eyes with a sickly smile from one listener to another, as if to say: "N'est-ce pas que che suis peau! N'est-ce pas que ch'ai tu chénie? N'est-ce pas que che suis suplime, enfin?"

Then enter Durien the sculptor, who had been presented with a baignoire at the Porte St. Martin to see "La Dame aux Camélias," and he invited Trilby and another lady to dine with him "au cabaret" and share his box.

So Trilby didn't go to the Austrian embassy after all, as the Laird observed to Little Billee, with such a good imitation of her wink that Little Billee was bound to laugh.

But Little Billee was not inclined for fun; a dulness, a sense of disenchantment, had come over him; as he expressed it to himself, with pathetic self-pity:

 
"A feeling of sadness and longing
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain."
 

And the sadness, if he had known, was that all beautiful young women with kind sweet faces and noble figures and goddess-like extremities should not be good and pure as they were beautiful; and the longing was a longing that Trilby could be turned into a young lady – say the vicar's daughter in a little Devonshire village – his sister's friend and co-teacher at the Sunday-school; a simple, pure, and pious maiden of gentle birth.

For he adored piety in woman, although he was not pious by any means. His inarticulate, intuitive perceptions were not of form and color secrets only, but strove to pierce the veil of deeper mysteries in impetuous and dogmatic boyish scorn of all received interpretations. For he flattered himself that he possessed the philosophical and scientific mind, and piqued himself on thinking clearly, and was intolerant of human inconsistency.

That small reserve portion of his ever-active brain which should have lain fallow while the rest of it was at work or play, perpetually plagued itself about the mysteries of life and death, and was forever propounding unanswerable arguments against the Christian belief, through a kind of inverted sympathy with the believer. Fortunately for his friends, Little Billee was both shy and discreet, and very tender of other people's feelings; so he kept all his immature juvenile agnosticism to himself.

To atone for such ungainly strong-mindedness in one so young and tender, he was the slave of many little traditional observances which have no very solid foundation in either science or philosophy. For instance, he wouldn't walk under a ladder for worlds, nor sit down thirteen to dinner, nor have his hair cut on a Friday, and was quite upset if he happened to see the new moon through glass. And he believed in lucky and unlucky numbers, and dearly loved the sights and scents and sounds of high-mass in some dim old French cathedral, and found them secretly comforting.