Now this great human dog, sprawling his strong arms abroad on the oaken table, warming his heavily-booted feet at the hearth, always with a cheery word and smile, by his constant presence there slowly wore away the impression of the bailiff, and the dear old kitchen came to be itself again.
XXIV
But all these shocks and worries and trampling upon her emotions made the pencil tremble in the artist’s hand as she worked in the gaunt garret.
One day, as she was returning from Woolhorton, Iden’s solicitor, from whom he had borrowed money, overtook her, walked his horse, and began to talk to her in his perky, affected, silly way. Of all the fools in Woolhorton town there was none equal in pure idiotcy to this namby-pamby fellow—it was wonderful how a man of Iden’s intelligence could trust his affairs to such a man, the more so as there was at least one good lawyer in the place. This is very characteristic of the farming race; they will work like negroes in the field, and practise the utmost penury to save a little, and be as cautious over a groat as the keenest miser, and then go and trust their most important affairs to some perfect fool of a solicitor. His father, perhaps, or his uncle, or somebody connected with the firm, had a reputation about the era of Waterloo, and upon this tradition they carry their business to a man whom they admit themselves “doan’t seem up to much, yon.” In the same way, or worse, for there is no tradition even in this case, they will consign a hundred pounds’ worth of milk to London on the mere word of a milkman’s agent, a man of straw for aught they know, and never so much as go up to town to see if there is such a milk business in existence.
This jackanapes began to talk to Amaryllis about her father. “Now, don’t you think, Miss Iden, you could speak to your father about these money matters; you know he’s getting into a pound, he really is (the jackanapes pretended to hunt); he’ll be pounded. Now, don’t you think you could talk to him, and persuade him to be more practical?”
The chattering of this tomtit upset Amaryllis more than the rudeness of the gruff baker who forced his way in, and would not go. That such a contemptible nincompoop should dare to advise her father to be practical! The cleverest man in the world—advise him to be practical; as if, indeed, he was not practical and hardworking to the very utmost.
To her it was a bitter insult. The pencil trembled in her hand.
But what shook it most of all was anxiety about her mother. Ever since the bailiff’s intrusion Mrs. Iden had seemed so unsettled. Sometimes she would come downstairs after the rest had retired, and sit by the dying fire for hours alone, till Iden chanced to wake, and go down for her.
Once she went out of doors very late, leaving the front door wide open, and Amaryllis found her at midnight wandering in an aimless way among the ricks.
At such times she had a glazed look in her eyes, and did not seem to see what she gazed at. At others she would begin to cry without cause, and gave indications of hysteria. The nervous Flamma family were liable to certain affections of that kind, and Amaryllis feared lest her mother’s system had been overstrained by these continual worries.
Poor woman! she had, indeed, been worried enough to have shaken the strongest; and, having nothing stolid in her nature, it pressed upon her.
After awhile these attacks seemed to diminish, and Amaryllis hoped that nothing would come of it, but it left her in a state of extreme anxiety lest some fresh trouble should happen to renew the strain.
When she thought of her mother she could not draw—the sound of her shuffling, nervous footstep on the landing or the path outside under the window stopped her at once. These things disheartened her a thousand times more than the returned sketches the postman was always bringing.
On butter-making mornings, once a week, there was always a great to-do; Mrs. Iden, like nervous people, was cross and peevish when she was exceptionally busy, and clapperclawed Iden to some purpose. It chanced that Amaryllis one day was just opening an envelope and taking out a returned drawing, when Iden entered, angry and fresh from Mrs. Iden’s tongue, and, seeing the letter, began to growl:—
“Better drow that there fool stuff in the vire, and zee if you can’t help your mother. Better do zummat to be some use on. Pity as you wasn’t a boy chap to go out and yarn summat. Humph! humph!” growl, mutter, growl. “Drow” was local for throw, “summat” for something, “yarn” for earn. Unless I give you a vocabulary you may not be able to follow him.
The contemptuous allusion to her sketches as fool stuff, contrasted with the benefit and advantage of earning something—something real and solid—hit the artist very hard. That was the thought that troubled her so much, and paralysed her imagination. They were unsaleable—she saw the worthlessness of them far more than Iden. They were less in value than the paper on which they were traced; fool stuff, fit for the fire only.
That was the very thought that troubled her so, and Iden hit the nail home with his rude speech. That was the material view; unless a thing be material, or will fetch something material, it is good for the fire only.
So it came about that the portfolio was pushed aside, and dust gathered on it, and on the pencils, and the india-rubber, and in the little box of vine charcoal. Amaryllis having arranged her violets in the tumbler of water in the window niche, sat down at the table and leant her head on her hand, and tried to think what she
