thought of this striking production each time he thought of his enterprising kinsman. And that happened often, for in his hearing Miriam often discussed the happy artist and his possibilities with Gabriel Nash, and Gabriel broke out about them to Miriam. The girl's tone on the subject was frank and simple: she only said, with an iteration that was slightly irritating, that Mr. Dormer had been tremendously kind to her. She never mentioned Julia's irruption to Julia's brother; she only referred to the portrait, with inscrutable amenity, as a direct consequence of Peter's fortunate suggestion that first day at Madame Carré's. Gabriel Nash, however, showed such a disposition to expatiate sociably and luminously on the peculiarly interesting character of what he called Dormer's predicament and on the fine suspense which it was fitted to kindle in the breast of discerning friends, that Peter wondered, as I have already hinted, if this insistence were not a subtle perversity, a devilish little invention to torment a man whose jealousy was presumable. Yet on the whole Nash struck him as but scantily devilish and as still less occupied with the prefigurement of his emotions. Indeed, he threw a glamour of romance over Nick; tossed off such illuminating yet mystifying references to him that Sherringham found himself capable of a magnanimous curiosity, a desire to follow out the chain of events. He learned from Gabriel that Nick was still away, and he felt as if he could almost submit to instruction, to initiation. The rare charm of these unregulated days was troubled—it ceased to be idyllic—when, late on the evening of the second Sunday, he walked away with Gabriel southward from St. John's Wood. For then something came out.
Page:The Tragic Muse (London & New York, Macmillan & Co., 1890), Volume 2.djvu/250
242
THE TRAGIC MUSE.
