"Have you told Sir John who did it?" asked the Vicar. "And are you sure?"
"Quite sure, Sir. There can be no doubting it was your gentleman, Sir. I've not told Sir John yet, Sir. But I shall have to tell Sir John this evening. Meaning no offence to you, Sir, as I hopes you'll see. It's my duty, Sir. Besides which—"
"Of course," said the Vicar, hastily. "Certainly it's your duty. And what will Sir John do?"
"He's dreadful set against the person who did it—destroying property like that—and sort of slapping his arrangements in the face."
Pause. Horrocks made a movement. The Vicar, tie almost at the back of his neck now, a most unusual thing for him, stared blankly at his toes.
"I thought I'd tell you, Sir," said Horrocks.
"Yes," said the Vicar. "Thanks, Horrocks, thanks!" He scratched the back of his head. "You might perhaps ... I think it's the best way ... Quite sure Mr Angel did it?"
"Sherlock 'Omes, Sir, couldn't be cocksurer."
"Then I'd better give you a little note to the Squire."
XXXIX.
The Vicar's table-talk at dinner that night, after the Angel had stated his case, was full of grim explanations, prisons, madness.
"It's too late to tell the truth about you now," said the Vicar. "Besides, that's impossible. I really do not know what to say. We must face our circumstances, I suppose. I am so undecided—so torn. It's the two worlds. If your Angelic world were only a dream, or if this world were only a dream—or if I could believe either or both dreams, it would be all right with me. But here is a real Angel and a real summons—how to reconcile them I do not know. I must talk to Gotch.... But he won't understand. Nobody will understand...."
"I am putting you to terrible inconvenience, I am afraid. My appalling unworldliness—"
"It's not you," said the Vicar. "It's not you. I perceive you have brought something strange and beautiful into my life. It's not you. It's myself. If I had more faith either way. If I could believe entirely in this world, and call you an Abnormal Phenomenon, as Crump does. But no. Terrestrial Angelic, Angelic Terrestrial.... See-Saw."
"Still, Gotch is certain to be disagreeable, most disagreeable. He always is. It puts me into his hands. He is a bad moral influence, I know. Drinking. Gambling. Worse. Still, one must render unto Cæsar the things that are Cæsar's. And he is against Disestablishment...."
Then the Vicar would revert to the social collapse of the afternoon. "You are so very fundamental, you know," he said—several times.
The Angel went to his own room puzzled but very depressed. Every day the world had frowned darker upon him and his angelic ways. He could see how the trouble affected the Vicar, yet he could not imagine how he could avert it. It was all so strange and unreasonable. Twice again, too, he had been pelted out of the village.
He found the violin lying on his bed where he had laid it before dinner. And taking it up he began to play to comfort himself. But now he played no delicious vision of the Angelic Land. The iron of the world was entering into his soul. For a week now he had known pain and rejection, suspicion and hatred; a strange new spirit of revolt was growing up in his heart. He played a melody, still sweet and tender as those of the Angelic Land, but charged with a new note, the note of human sorrow and effort, now swelling into something like defiance, dying now into a plaintive sadness. He played softly, playing to himself to comfort himself, but the Vicar heard, and all his finite bothers were swallowed up in a hazy melancholy, a melancholy that was quite remote from sorrow. And besides the Vicar, the Angel had another hearer of whom neither Angel nor Vicar was thinking.
Delia.
XL.
She was only four or five yards away from the Angel in the westward gable. The diamond-paned window of her little white room was open. She knelt on her box of japanned tin, and rested her chin on her hands, her elbows on the window-sill. The young moon hung over the pine trees, and its light, cool and colourless, lay softly upon the silent-sleeping world. Its light fell upon her white face, and discovered new depths in her dreaming eyes. Her soft lips fell apart and showed the little white teeth.
Delia was thinking, vaguely, wonderfully, as girls will think. It was feeling rather than thinking; clouds of beautiful translucent emotion drove across the clear sky of her mind, taking shape that changed and vanished. She had all that wonderful emotional tenderness, that subtle exquisite desire for self-sacrifice, which exists so inexplicably in a girl's heart, exists it seems only to be presently trampled under foot by the grim and gross humours of daily life, to be ploughed in again roughly and remorselessly, as the farmer ploughs in the clover that has sprung up in the soil. She had been looking out at the tranquillity of the moonlight long before the Angel began to play,—waiting; then suddenly the quiet, motionless beauty of silver and shadow was suffused with tender music.
She did not move, but her lips closed and her eyes grew even softer. She had been thinking before of the strange glory that had suddenly flashed out about the stooping hunchback when he spoke to her in the sunset; of that and of a dozen other glances, chance turns, even once the touching of her hand. That afternoon he had spoken to her, asking strange questions. Now the music seemed to bring his very face before her, his look of half curious solicitude, peering into her face, into her eyes, into her and through her, deep down into her soul. He seemed now to be speaking directly to her, telling her of his solitude and trouble. Oh! that regret, that longing! For he was in trouble. And how could a servant-girl help him, this soft-spoken gentleman who carried himself so kindly, who played so sweetly. The music was so sweet and keen, it came so near to the thought of her heart, that presently one hand tightened on the other, and the tears came streaming down her face.
As Crump would tell you, people do not do that kind of thing unless there is something wrong with the nervous system. But then, from the scientific point of view, being in love is a pathological condition.
I am painfully aware of the objectionable nature of my story here. I have even thought of wilfully perverting the truth to propitiate the Lady Reader. But I could not. The story has been too much for me. I do the thing with my eyes open. Delia must remain what she really was—a servant girl. I know that to give a mere servant girl, or at least an English servant girl, the refined feelings of a human being, to present her as speaking with anything but an intolerable confusion of aspirates, places me outside the pale of respectable writers. Association with servants, even in thought, is dangerous in these days. I can only plead (pleading vainly, I know), that Delia was a very exceptional servant girl. Possibly, if one enquired, it might be found that her parentage was upper middle-class—that she was made of the finer upper middle-class clay. And (this perhaps may avail me better) I will promise that in some future work I will redress the balance, and the patient reader shall have the recognised article, enormous feet and hands, systematic aspiration of vowels and elimination of aspirates, no figure (only middle-class girls have figures—the thing is beyond a servant-girl's means), a fringe (by agreement), and a cheerful readiness to dispose of her self-respect for half-a-crown. That is the accepted English servant, the typical English woman (when stripped of money and accomplishments) as she appears in the works of contemporary writers. But Delia somehow was different. I can only regret the circumstance—it was altogether beyond my control.