The Mill on the Floss by George Eliot (best self help books to read TXT) 📖

and putting out his hand with the air of fulfilling a social duty.

Maggie gave the tips of her fingers, and said, “Quite well, thank you,” in a tone of proud indifference. Philip’s eyes were watching them keenly; but Lucy was used to seeing variations in their manner to each other, and only thought with regret that there was some natural antipathy which every now and then surmounted their mutual good-will. “Maggie is not the sort of woman Stephen admires, and she is irritated by something in him which she interprets as conceit,” was the silent observation that accounted for everything to guileless Lucy. Stephen and Maggie had no sooner completed this studied greeting than each felt hurt by the other’s coldness. And Stephen, while rattling on in questions to Philip about his recent sketching expedition, was thinking all the more about Maggie because he was not drawing her into the conversation as he had invariably done before. “Maggie and Philip are not looking happy,” thought Lucy; “this first interview has been saddening to them.”

“I think we people who have not been galloping,” she said to Stephen, “are all a little damped by the rain. Let us have some music. We ought to take advantage of having Philip and you together. Give us the duet in ‘Masaniello’; Maggie has not heard that, and I know it will suit her.”

“Come, then,” said Stephen, going toward the piano, and giving a foretaste of the tune in his deep “brum-brum,” very pleasant to hear.

“You, please, Philip,—you play the accompaniment,” said Lucy, “and then I can go on with my work. You will like to play, sha’n’t you?” she added, with a pretty, inquiring look, anxious, as usual, lest she should have proposed what was not pleasant to another; but with yearnings toward her unfinished embroidery.

Philip had brightened at the proposition, for there is no feeling, perhaps, except the extremes of fear and grief, that does not find relief in music,—that does not make a man sing or play the better; and Philip had an abundance of pent-up feeling at this moment, as complex as any trio or quartet that was ever meant to express love and jealousy and resignation and fierce suspicion, all at the same time.

“Oh, yes,” he said, seating himself at the piano, “it is a way of eking out one’s imperfect life and being three people at once,—to sing and make the piano sing, and hear them both all the while,—or else to sing and paint.”

“Ah, there you are an enviable fellow. I can do nothing with my hands,” said Stephen. “That has generally been observed in men of great administrative capacity, I believe,—a tendency to predominance of the reflective powers in me! Haven’t you observed that, Miss Tulliver?”

Stephen had fallen by mistake into his habit of playful appeal to Maggie, and she could not repress the answering flush and epigram.

“I have observed a tendency to predominance,” she said, smiling; and Philip at that moment devoutly hoped that she found the tendency disagreeable.

“Come, come,” said Lucy; “music, music! We will discuss each other’s qualities another time.”

Maggie always tried in vain to go on with her work when music began. She tried harder than ever to-day; for the thought that Stephen knew how much she cared for his singing was one that no longer roused a merely playful resistance; and she knew, too, that it was his habit always to stand so that he could look at her. But it was of no use; she soon threw her work down, and all her intentions were lost in the vague state of emotion produced by the inspiring duet,—emotion that seemed to make her at once strong and weak; strong for all enjoyment, weak for all resistance. When the strain passed into the minor, she half started from her seat with the sudden thrill of that change. Poor Maggie! She looked very beautiful when her soul was being played on in this way by the inexorable power of sound. You might have seen the slightest perceptible quivering through her whole frame as she leaned a little forward, clasping her hands as if to steady herself; while her eyes dilated and brightened into that wide-open, childish expression of wondering delight which always came back in her happiest moments. Lucy, who at other times had always been at the piano when Maggie was looking in this way, could not resist the impulse to steal up to her and kiss her. Philip, too, caught a glimpse of her now and then round the open book on the desk, and felt that he had never before seen her under so strong an influence.

“More, more!” said Lucy, when the duet had been encored. “Something spirited again. Maggie always says she likes a great rush of sound.”

“It must be ‘Let us take the road,’ then,” said Stephen,—“so suitable for a wet morning. But are you prepared to abandon the most sacred duties of life, and come and sing with us?”

“Oh, yes,” said Lucy, laughing. “If you will look out the ‘Beggar’s Opera’ from the large canterbury. It has a dingy cover.”

“That is a great clue, considering there are about a score covers here of rival dinginess,” said Stephen, drawing out the canterbury.

“Oh, play something the while, Philip,” said Lucy, noticing that his fingers were wandering over the keys. “What is that you are falling into?—something delicious that I don’t know.”

“Don’t you know that?” said Philip, bringing out the tune more definitely. “It’s from the ‘Sonnambula’—‘Ah! perche non posso odiarti.’ I don’t know the opera, but it appears the tenor is telling the heroine that he shall always love her though she may forsake him. You’ve heard me sing it to the English words, ‘I love thee still.’”

It was not quite unintentionally that Philip had wandered into this song, which might be an indirect expression to Maggie of what he could not prevail on himself to say to her directly. Her ears had been open to what he was saying, and when he began to sing, she understood the plaintive passion of the music. That pleading tenor had no very fine qualities as a voice, but it was not quite new to her; it had sung to her by snatches, in a subdued way, among the grassy walks and hollows, and underneath the leaning ash-tree in the Red Deeps. There seemed to be some reproach in the words; did Philip mean that? She wished she had assured him more distinctly in their conversation that she desired not to renew the hope of love between them, only because it clashed with her inevitable circumstances. She was touched, not thrilled by the song; it suggested distinct memories and thoughts, and brought quiet regret in the place of excitement.

“That’s the way with you tenors,” said Stephen, who was waiting with music in his hand while Philip finished the song. “You demoralize the fair sex by warbling your sentimental love and constancy under all sorts of vile treatment. Nothing short of having your heads served up in a dish like that mediaeval tenor or troubadour, would prevent you from expressing your entire resignation. I must administer an antidote, while Miss Deane prepares to tear herself away from her bobbins.”

Stephen rolled out, with saucy energy,—

“Shall I, wasting in despair, Die because a woman’s fair?”

and seemed to make all the air in the room alive with a new influence. Lucy, always proud of what Stephen did, went toward the piano with laughing, admiring looks at him; and Maggie, in spite of her resistance to the spirit of the song and to the singer, was taken hold of and shaken by the invisible influence,—was borne along by a wave too strong for her.

But, angrily resolved not to betray herself, she seized her work, and went on making false stitches and pricking her fingers with much perseverance, not looking up or taking notice of what was going forward, until all the three voices united in “Let us take the road.”

I am afraid there would have been a subtle, stealing gratification in her mind if she had known how entirely this saucy, defiant Stephen was occupied with her; how he was passing rapidly from a determination to treat her with ostentatious indifference to an irritating desire for some sign of inclination from her,—some interchange of subdued word or look with her. It was not long before he found an opportunity, when they had passed to the music of “The Tempest.” Maggie, feeling the need of a footstool, was walking across the room to get one, when Stephen, who was not singing just then, and was conscious of all her movements, guessed her want, and flew to anticipate her, lifting the footstool with an entreating look at her, which made it impossible not to return a glance of gratitude. And then, to have the footstool placed carefully by a too self-confident personage,—not any self-confident personage, but one in particular, who suddenly looks humble and anxious, and lingers, bending still, to ask if there is not some draught in that position between the window and the fireplace, and if he may not be allowed to move the work-table for her,—these things will summon a little of the too ready, traitorous tenderness into a woman’s eyes, compelled as she is in her girlish time to learn her life-lessons in very trivial language. And to Maggie such things had not been every-day incidents, but were a new element in her life, and found her keen appetite for homage quite fresh. That tone of gentle solicitude obliged her to look at the face that was bent toward her, and to say, “No, thank you”; and nothing could prevent that mutual glance from being delicious to both, as it had been the evening before.

It was but an ordinary act of politeness in Stephen; it had hardly taken two minutes; and Lucy, who was singing, scarcely noticed it. But to Philip’s mind, filled already with a vague anxiety that was likely to find a definite ground for itself in any trivial incident, this sudden eagerness in Stephen, and the change in Maggie’s face, which was plainly reflecting a beam from his, seemed so strong a contrast with the previous overwrought signs of indifference, as to be charged with painful meaning. Stephen’s voice, pouring in again, jarred upon his nervous susceptibility as if it had been the clang of sheet-iron, and he felt inclined to make the piano shriek in utter discord. He had really seen no communicable ground for suspecting any ususual feeling between Stephen and Maggie; his own reason told him so, and he wanted to go home at once that he might reflect coolly on these false images, till he had convinced himself of their nullity. But then, again, he wanted to stay as long as Stephen stayed,—always to be present when Stephen was present with Maggie. It seemed to poor Philip so natural, nay, inevitable, that any man who was near Maggie should fall in love with her! There was no promise of happiness for her if she were beguiled into loving Stephen Guest; and this thought emboldened Philip to view his own love for her in the light of a less unequal offering. He was beginning to play very falsely under this deafening inward tumult, and Lucy was looking at him in astonishment, when Mrs. Tulliver’s entrance to summon them to lunch came as an excuse for abruptly breaking off the music.

“Ah, Mr. Philip!” said Mr. Deane, when they entered the dining-room, “I’ve not seen you for a long while. Your father’s not at home, I think, is he? I went after him to the office the other day, and they said he was out of town.”

“He’s been to Mudport on business for several days,” said Philip; “but he’s come back now.”