warns him that they will tell each other what he thinks of them, when they retire for the night; and he is careful on these occasions to say something that will bear repetition.
'I see in Miss de Sor,' he declares, 'the resolution of a man, tempered by the sweetness of a woman. When that interesting creature marries, her husband will be—shall I use the vulgar word?—henpecked. Dear Miss Plym, he will enjoy it; and he will be quite right too; and, if I am asked to the wedding, I shall say, with heartfelt sincerity, Enviable man!'
In the height of her admiration for Mr. Mirabel's wonderful eye for character, Miss Plym is called away to the piano. Cecilia succeeds to her friend's place—and has her waist taken in charge as a matter of course.
'How do you like Miss Plym?' she asks directly.
Mr. Mirabel smiles, and shows the prettiest little pearly teeth. 'I was just thinking of her,' he confesses pleasantly; 'Miss Plym is so nice and plump, so comforting and domestic—such a perfect clergyman's daughter. You love her, don't you? Is she engaged to be married? In that case—between ourselves, dear Miss Wyvil, a clergyman is obliged to be cautious—I may own that I love her too.'
Delicious titillations of flattered self-esteem betray themselves in Cecilia's lovely complexion. She is the chosen confidante of this irresistible man; and she would like to express her sense of obligation. But Mr. Mirabel is a master in the art of putting the right words in the right places; and simple Cecilia distrusts herself and her grammar.
At that moment of embarrassment, a friend leaves the dance, and helps Cecilia out of the difficulty.
Emily approaches the sofa-throne, breathless—followed by her partner, entreating her to give him 'one turn more.' She is not to be tempted; she means to rest. Cecilia sees an act of mercy, suggested by the presence of the disengaged young man. She seizes his arm, and hurries him off to poor Miss Darnaway; sitting forlorn in a corner, and thinking of the nursery at home. In the meanwhile a circumstance occurs. Mr. Mirabel's all-embracing arm shows itself in a new character, when Emily sits by his side.
It becomes, for the first time, an irresolute arm. It advances a little—and hesitates. Emily at once administers an unexpected check; she insists on preserving a free waist, in her own outspoken language. 'No, Mr. Mirabel, keep that for the others. You can't imagine how ridiculous you and the young ladies look, and how absurdly unaware of it you all seem to be.' For the first time in his life, the reverend and ready-witted man of the world is at a loss for an answer. Why?
For this simple reason. He too has felt the magnetic attraction of the irresistible little creature whom every one likes. Miss Jethro has been doubly defeated. She has failed to keep them apart; and her unexplained misgivings have not been justified by events: Emily and Mr. Mirabel are good friends already. The brilliant clergyman is poor; his interests in life point to a marriage for money; he has fascinated the heiresses of two rich fathers, Mr. Tyvil and Mr. de Sor—and yet he is conscious of an influence (an alien influence, without a balance at its bankers), which has, in some mysterious way, got between him and his interests.
On Emily's side, the attraction felt is of another nature altogether. Among the merry young people at Monksmoor she is her old happy self again; and she finds in Mr. Mirabel the most agreeable and amusing man whom she has ever met. After those dismal night watches by the bed of her dying aunt, and the dreary weeks of solitude that followed, to live in this new world of luxury and gayety is like escaping from the darkness of night, and basking in the fall brightn ess of day. Cecilia declares that she looks, once more, like the joyous queen of the bedroom, in the bygone time at school; and Francine (profaning Shakespeare without knowing it), says, 'Emily is herself again!'
'Now that your arm is in its right place, reverend sir,' she gayly resumes, 'I may admit that there are exceptions to all rules. My waist is at your disposal, in a case of necessity—that is to say, in a case of waltzing.'
'The one case of all others,' Mirabel answers, with the engaging frankness that has won him so many friends, 'which can never happen in my unhappy experience. Waltzing, I blush to own it, means picking me up off the floor, and putting smelling salts to my nostrils. In other words, dear Miss Emily, it is the room that waltzes—not I. I can't look at those whirling couples there, with a steady head. Even the exquisite figure of our young hostess, when it describes flying circles, turns me giddy.'
Hearing this allusion to Cecilia, Emily drops to the level of the other girls. She too pays her homage to the Pope of private life. 'You promised me your unbiased opinion of Cecilia,' she reminds him; 'and you haven't given it yet.'
The ladies' friend gently remonstrates. 'Miss Wyvil's beauty dazzles me. How can I give an unbiased opinion? Besides, I am not thinking of her; I can only think of you.'
Emily lifts her eyes, half merrily, half tenderly, and looks at him over the top of her fan. It is her first effort at flirtation. She is tempted to engage in the most interesting of all games to a girl—the game which plays at making love. What has Cecilia told her, in those bedroom gossipings, dear to the hearts of the two friends? Cecilia has whispered, 'Mr. Mirabel admires your figure; he calls you 'the Venus of Milo, in a state of perfect abridgment.'' Where is the daughter of Eve, who would not have been flattered by that pretty compliment—who would not have talked soft nonsense in return? 'You can only think of Me,' Emily repeats coquettishly. 'Have you said that to the last young lady who occupied my place, and will you say it again to the next who follows me?'
'Not to one of them! Mere compliments are for the others—not for you.'
'What is for me, Mr. Mirabel?'
'What I have just offered you—a confession of the truth.'
Emily is startled by the tone in which he replies. He seems to be in earnest; not a vestige is left of the easy gayety of his manner. His face shows an expression of anxiety which she has never seen in it yet. 'Do you believe me?' he asks in a whisper.
She tries to change the subject.
'When am I to hear you preach, Mr. Mirabel?'
He persists. 'When you believe me,' he says.
His eyes add an emphasis to that reply which is not to be mistaken. Emily turns away from him, and notices Francine. She has left the dance, and is looking with marked attention at Emily and Mirabel. 'I want to speak to you,' she says, and beckons impatiently to Emily.
Mirabel whispers, 'Don't go!'
Emily rises nevertheless—ready to avail herself of the first excuse for leaving him. Francine meets her half way, and takes her roughly by the arm.
