THE LIVES OF THE OBSCURE
her ears. “No; I could never have done that,” Mr. Edgeworth used to say, when people described the scene. And whenever to the end of his life he thought of Thomas Day he fell silent. So great, so passionate, so inconsistent—his life had been a tragedy, and in thinking of his friend, the best friend he had ever had, Richard Edgeworth fell silent.
It is almost the only occasion upon which silence is recorded of him. To muse, to repent, to contemplate were foreign to his nature. His wife and friends and children are silhouetted with extreme vividness upon a broad disc of interminable chatter. Upon no other background could we realise so clearly the sharp fragment of his first wife, or the shades and depths which make up the character, at once humane and brutal, advanced and hidebound of the inconsistent philosopher, Thomas Day. But his power is not limited to people; landscapes, groups, societies seem, even as he describes them, to split off from him, to be projected away, so that we are able to run just ahead of him and anticipate his coming. They are brought out all the more vividly by the extreme incongruity which so often marks his comment and stamps his presence; they live with a peculiar beauty, fantastic, solemn, mysterious, in contrast with Edgeworth, who is none of these things. In particular, he brings before us a garden in Cheshire, the garden of a parsonage, an ancient but commodious parsonage.
One pushed through a white gate and found oneself in a grass court, small but well kept, with roses grow-
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