Delphi Complete Works of George Eliot (Illustrated) (455 page)

“My words may rule him some day. Their meaning may flash out on him. It is so with a nation — after many days.”

Meanwhile Jacob’s sense of power was increased and his time enlivened by a store of magical articulation with which he made the baby crow, or drove the large cat into a dark corner, or promised himself to frighten any incidental Christian of his own years. One week he had unfortunately seen a street mountebank, and this carried off his muscular imitativeness in sad divergence from New Hebrew poetry, after the model of Jehuda ha-Levi. Mordecai had arrived at a fresh passage in his poem; for as soon as Jacob had got well used to one portion, he was led on to another, and a fresh combination of sounds generally answered better in keeping him fast for a few minutes. The consumptive voice, generally a strong high baritone, with its variously mingling hoarseness, like a haze amidst illuminations, and its occasional incipient gasp had more than the usual excitement, while it gave forth Hebrew verses with a meaning something like this: —

  ”Away from me the garment of forgetfulness.
  Withering the heart;
  The oil and wine from presses of the Goyim,
  Poisoned with scorn.
  Solitude is on the sides of Mount Nebo,
  In its heart a tomb:
  There the buried ark and golden cherubim
  Make hidden light:
  There the solemn gaze unchanged,
  The wings are spread unbroken:
  Shut beneath in silent awful speech
  The Law lies graven.
  Solitude and darkness are my covering,
  And my heart a tomb;
  Smite and shatter it, O Gabriel!
  Shatter it as the clay of the founder
  Around the golden image.”

In the absorbing enthusiasm with which Mordecai had intoned rather than spoken this last invocation, he was unconscious that Jacob had ceased to follow him and had started away from his knees; but pausing he saw, as by a sudden flash, that the lad had thrown himself on his hands with his feet in the air, mountebank fashion, and was picking up with his lips a bright farthing which was a favorite among his pocket treasures. This might have been reckoned among the tricks Mordecai was used to, but at this moment it jarred him horribly, as if it had been a Satanic grin upon his prayer.

“Child! child!” he called out with a strange cry that startled Jacob to his feet, and then he sank backward with a shudder, closing his eyes.

“What?” said Jacob, quickly. Then, not getting an immediate answer, he pressed Mordecai’s knees with a shaking movement, in order to rouse him. Mordecai opened his eyes with a fierce expression in them, leaned forward, grasped the little shoulders, and said in a quick, hoarse whisper —

“A curse is on your generation, child. They will open the mountain and drag forth the golden wings and coin them into money, and the solemn faces they will break up into ear-rings for wanton women! And they shall get themselves a new name, but the angel of ignominy, with the fiery brand, shall know them, and their heart shall be the tomb of dead desires that turn their life to rottenness.”

The aspect and action of Mordecai were so new and mysterious to Jacob — they carried such a burden of obscure threat — it was as if the patient, indulgent companion had turned into something unknown and terrific: the sunken dark eyes and hoarse accents close to him, the thin grappling fingers, shook Jacob’s little frame into awe, and while Mordecai was speaking he stood trembling with a sense that the house was tumbling in and they were not going to have dinner any more. But when the terrible speech had ended and the pinch was relaxed, the shock resolved itself into tears; Jacob lifted up his small patriarchal countenance and wept aloud. This sign of childish grief at once recalled Mordecai to his usual gentle self: he was not able to speak again at present, but with a maternal action he drew the curly head toward him and pressed it tenderly against his breast. On this Jacob, feeling the danger well-nigh over, howled at ease, beginning to imitate his own performance and improve upon it — a sort of transition from impulse into art often observable. Indeed, the next day he undertook to terrify Adelaide Rebekah in like manner, and succeeded very well.

But Mordecai suffered a check which lasted long, from the consciousness of a misapplied agitation; sane as well as excitable, he judged severely his moments of aberration into futile eagerness, and felt discredited with himself. All the more his mind was strained toward the discernment of that friend to come, with whom he would have a calm certainty of fellowship and understanding.

It was just then that, in his usual midday guardianship of the old book-shop, he was struck by the appearance of Deronda, and it is perhaps comprehensible now why Mordecai’s glance took on a sudden eager interest as he looked at the new-comer: he saw a face and frame which seemed to him to realize the long-conceived type. But the disclaimer of Jewish birth was for the moment a backward thrust of double severity, the particular disappointment tending to shake his confidence in the more indefinite expectation. Nevertheless, when he found Deronda seated at the Cohens’ table, the disclaimer was for the moment nullified: the first impression returned with added force, seeming to be guaranteed by this second meeting under circumstance more peculiar than the former; and in asking Deronda if he knew Hebrew, Mordecai was so possessed by the new inrush of belief, that he had forgotten the absence of any other condition to the fulfillment of his hopes. But the answering “No” struck them all down again, and the frustration was more painful than before. After turning his back on the visitor that Sabbath evening, Mordecai went through days of a deep discouragement, like that of men on a doomed ship, who having strained their eyes after a sail, and beheld it with rejoicing, behold it never advance, and say, “Our sick eyes make it.” But the long-contemplated figure had come as an emotional sequence of Mordecai’s firmest theoretic convictions; it had been wrought from the imagery of his most passionate life; and it inevitably reappeared — reappeared in a more specific self-asserting form than ever. Deronda had that sort of resemblance to the preconceived type which a finely individual bust or portrait has to the more generalized copy left in our minds after a long interval: we renew our memory with delight, but we hardly know with how much correction. And now, his face met Mordecai’s inward gaze as it had always belonged to the awaited friend, raying out, moreover, some of that influence which belongs to breathing flesh; till by-and-by it seemed that discouragement had turned into a new obstinacy of resistance, and the ever-recurrent vision had the force of an outward call to disregard counter-evidence, and keep expectation awake. It was Deronda now who was seen in the often painful night-watches, when we are all liable to be held with the clutch of a single thought — whose figure, never with its back turned, was seen in moments of soothed reverie or soothed dozing, painted on that golden sky which was the doubly blessed symbol of advancing day and of approaching rest.

Mordecai knew that the nameless stranger was to come and redeem his ring; and, in spite of contrary chances, the wish to see him again was growing into a belief that he should see him. In the January weeks, he felt an increasing agitation of that subdued hidden quality which hinders nervous people from any steady occupation on the eve of an anticipated change. He could not go on with his printing of Hebrew on little Jacob’s mind; or with his attendance at a weekly club, which was another effort of the same forlorn hope: something else was coming. The one thing he longed for was to get as far as the river, which he could do but seldom and with difficulty. He yearned with a poet’s yearning for the wide sky, the far-reaching vista of bridges, the tender and fluctuating lights on the water which seems to breathe with a life that can shiver and mourn, be comforted and rejoice.

CHAPTER XXXIX
.

  ”Vor den Wissenden sich stellen
  Sicher ist’s in alien Fällen!
  Wenn du lange dich gequälet
  Weiss er gleich wo dir es fehlet;
  Auch auf Beifall darfst du hoffen,
  Denn er weiss wo du’s getroffen,”
           — GOETHE:
West-östlicker Divan
.

Momentous things happened to Deronda the very evening of that visit to the small house at Chelsea, when there was the discussion about Mirah’s public name. But for the family group there, what appeared to be the chief sequence connected with it occurred two days afterward. About four o’clock wheels paused before the door, and there came one of those knocks with an accompanying ring which serve to magnify the sense of social existence in a region where the most enlivening signals are usually those of the muffin-man. All the girls were at home, and the two rooms were thrown together to make space for Kate’s drawing, as well as a great length of embroidery which had taken the place of the satin cushions — a sort of
pièce de résistance
in the courses of needlework, taken up by any clever fingers that happened to be at liberty. It stretched across the front room picturesquely enough, Mrs. Meyrick bending over it on one corner, Mab in the middle, and Amy at the other end. Mirah, whose performances in point of sewing were on the make-shift level of the tailor-bird’s, her education in that branch having been much neglected, was acting as reader to the party, seated on a camp-stool; in which position she also served Kate as model for a title-page vignette, symbolizing a fair public absorbed in the successive volumes of the family tea-table. She was giving forth with charming distinctness the delightful Essay of Elia, “The Praise of Chimney-Sweeps,” and all were smiling over the “innocent blackness,” when the imposing knock and ring called their thoughts to loftier spheres, and they looked up in wonderment.

“Dear me!” said Mrs. Meyrick; “can it be Lady Mallinger? Is there a grand carriage, Amy?”

“No — only a hansom cab. It must be a gentleman.”

“The Prime Minister, I should think,” said Kate dryly. “Hans says the greatest man in London may get into a hansom cab.”

“Oh, oh, oh!” cried Mab. “Suppose it should be Lord Russell!”

The five bright faces were all looking amused when the old maid-servant bringing in a card distractedly left the parlor-door open, and there was seen bowing toward Mrs. Meyrick a figure quite unlike that of the respected Premier — tall and physically impressive even in his kid and kerseymere, with massive face, flamboyant hair, and gold spectacles: in fact, as Mrs. Meyrick saw from the card,
Julius Klesmer
.

Even embarrassment could hardly have made the “little mother” awkward, but quick in her perceptions she was at once aware of the situation, and felt well satisfied that the great personage had come to Mirah instead of requiring her to come to him; taking it as a sign of active interest. But when he entered, the rooms shrank into closets, the cottage piano, Mab thought, seemed a ridiculous toy, and the entire family existence as petty and private as an establishment of mice in the Tuileries. Klesmer’s personality, especially his way of glancing round him, immediately suggested vast areas and a multitudinous audience, and probably they made the usual scenery of his consciousness, for we all of us carry on our thinking in some habitual locus where there is a presence of other souls, and those who take in a larger sweep than their neighbors are apt to seem mightily vain and affected. Klesmer was vain, but not more so than many contemporaries of heavy aspect, whose vanity leaps out and startles one like a spear out of a walking-stick; as to his carriage and gestures, these were as natural to him as the length of his fingers; and the rankest affectation he could have shown would have been to look diffident and demure. While his grandiose air was making Mab feel herself a ridiculous toy to match the cottage piano, he was taking in the details around him with a keen and thoroughly kind sensibility. He remembered a home no longer than this on the outskirts of Bohemia; and in the figurative Bohemia too he had had large acquaintance with the variety and romance which belong to small incomes. He addressed Mrs. Meyrick with the utmost deference.

“I hope I have not taken too great a freedom. Being in the neighborhood, I ventured to save time by calling. Our friend, Mr. Deronda, mentioned to me an understanding that I was to have the honor of becoming acquainted with a young lady here — Miss Lapidoth.”

Klesmer had really discerned Mirah in the first moment of entering, but, with subtle politeness, he looked round bowingly at the three sisters as if he were uncertain which was the young lady in question.

“Those are my daughters: this is Miss Lapidoth,” said Mrs. Meyrick, waving her hand toward Mirah.

“Ah,” said Klesmer, in a tone of gratified expectation, turning a radiant smile and deep bow to Mirah, who, instead of being in the least taken by surprise, had a calm pleasure in her face. She liked the look of Klesmer, feeling sure that he would scold her, like a great musician and a kind man.

“You will not object to beginning our acquaintance by singing to me,” he added, aware that they would all be relieved by getting rid of preliminaries.

“I shall be very glad. It is good of you to be willing to listen to me,” said Mirah, moving to the piano. “Shall I accompany myself?”

“By all means,” said Klesmer, seating himself, at Mrs. Meyrick’s invitation, where he could have a good view of the singer. The acute little mother would not have acknowledged the weakness, but she really said to herself, “He will like her singing better if he sees her.”

All the feminine hearts except Mirah’s were beating fast with anxiety, thinking Klesmer terrific as he sat with his listening frown on, and only daring to look at him furtively. If he did say anything severe it would be so hard for them all. They could only comfort themselves with thinking that Prince Camaralzaman, who had heard the finest things, preferred Mirah’s singing to any other: — also she appeared to be doing her very best, as if she were more instead of less at ease than usual.

The song she had chosen was a fine setting of some words selected from
Leopardi’s grand Ode to Italy: —

  
”
O patria mia, vedo le mura c gli archi
  E le colonne e i simula-cri e l’erme
  Torridegli avi nostri
” —

This was recitative: then followed —

“
Ma la gloria — non vedo
” —

a mournful melody, a rhythmic plaint. After this came a climax of devout triumph — passing from the subdued adoration of a happy Andante in the words —

  
”
Beatissimi voi.
  Che offriste il petto alle nemiche lance
  Per amor di costei che al sol vi diede
” —

to the joyous outburst of an exultant Allegro in —

“
Oh viva, oh viva: Beatissimi voi Mentre nel monde si favelli o scriva.
”

When she had ended, Klesmer said after a moment —

“That is Joseph Leo’s music.”

“Yes, he was my last master — at Vienna: so fierce and so good,” said Mirah, with a melancholy smile. “He prophesied that my voice would not do for the stage. And he was right.”

“
Con
tinue, if you please,” said Klesmer, putting out his lips and shaking his long fingers, while he went on with a smothered articulation quite unintelligible to the audience.

The three girls detested him unanimously for not saying one word of praise. Mrs. Meyrick was a little alarmed.

Mirah, simply bent on doing what Klesmer desired, and imagining that he would now like to hear her sing some German, went through Prince Radzivill’s music to Gretchen’s songs in the “Faust,” one after the other without any interrogatory pause. When she had finished he rose and walked to the extremity of the small space at command, then walked back to the piano, where Mirah had risen from her seat and stood looking toward him with her little hands crossed before her, meekly awaiting judgment; then with a sudden unknitting of his brow and with beaming eyes, he stretched out his hand and said abruptly, “Let us shake hands: you are a musician.”

Mab felt herself beginning to cry, and all the three girls held Klesmer adorable. Mrs. Meyrick took a long breath.

But straightway the frown came again, the long hand, back uppermost, was stretched out in quite a different sense to touch with finger-tip the back of Mirah’s, and with protruded lip he said —

“Not for great tasks. No high roofs. We are no skylarks. We must be modest.” Klesmer paused here. And Mab ceased to think him adorable: “as if Mirah had shown the least sign of conceit!”

Mirah was silent, knowing that there was a specific opinion to be waited for, and Klesmer presently went on — “I would not advise — I would not further your singing in any larger space than a private drawing-room. But you will do there. And here in London that is one of the best careers open. Lessons will follow. Will you come and sing at a private concert at my house on Wednesday?”

“Oh, I shall be grateful,” said Mirah, putting her hands together devoutly. “I would rather get my bread in that way than by anything more public. I will try to improve. What should I work at most?”

Klesmer made a preliminary answer in noises which sounded like words bitten in two and swallowed before they were half out, shaking his fingers the while, before he said, quite distinctly, “I shall introduce you to Astorga: he is the foster-father of good singing and will give you advice.” Then addressing Mrs. Meyrick, he added, “Mrs. Klesmer will call before Wednesday, with your permission.”

“We shall feel that to be a great kindness,” said Mrs. Meyrick.

“You will sing to her,” said Klesmer, turning again to Mirah. “She is a thorough musician, and has a soul with more ears to it than you will often get in a musician. Your singing will satisfy her: —

‘Vor den Wissenden sich stellen;’

you know the rest?”

“‘Sicher ist’s in alien Fällen.’“

said Mirah, promptly. And Klesmer saying “Schön!” put out his hand again as a good-bye.

He had certainly chosen the most delicate way of praising Mirah, and the Meyrick girls had now given him all their esteem. But imagine Mab’s feeling when suddenly fixing his eyes on her, he said decisively, “That young lady is musical, I see!” She was a mere blush and sense of scorching.

“Yes,” said Mirah, on her behalf. “And she has a touch.”

“Oh, please, Mirah — a scramble, not a touch,” said Mab, in anguish, with a horrible fear of what the next thing might be: this dreadful divining personage — evidently Satan in gray trousers — might order her to sit down to the piano, and her heart was like molten wax in the midst of her. But this was cheap payment for her amazed joy when Klesmer said benignantly, turning to Mrs. Meyrick, “Will she like to accompany Miss Lapidoth and hear the music on Wednesday?”

“There could hardly be a greater pleasure for her,” said Mrs. Meyrick.
“She will be most glad and grateful.”

Thereupon Klesmer bowed round to the three sisters more grandly than they had ever been bowed to before. Altogether it was an amusing picture — the little room with so much of its diagonal taken up in Klesmer’s magnificent bend to the small feminine figures like images a little less than life-size, the grave Holbein faces on the walls, as many as were not otherwise occupied, looking hard at this stranger who by his face seemed a dignified contemporary of their own, but whose garments seemed a deplorable mockery of the human form.

Mrs. Meyrick could not help going out of the room with Klesmer and closing the door behind her. He understood her, and said with a frowning nod —

“She will do: if she doesn’t attempt too much and her voice holds out, she can make an income. I know that is the great point: Deronda told me. You are taking care of her. She looks like a good girl.”

“She is an angel,” said the warm-hearted woman.

“No,” said Klesmer, with a playful nod; “she is a pretty Jewess: the angels must not get the credit of her. But I think she has found a guardian angel,” he ended, bowing himself out in this amiable way.