The Awkward Age
TextSo the objector concludes, and never surely without great profit from his having been “drawn.” His apparent triumph—if it be even apparent—still leaves, it will be noted, convenient cover for retort in the riddled face of the opposite stronghold. The last word in these cases is for nobody who can’t pretend to an ABSOLUTE test. The terms here used, obviously, are matters of appreciation, and there is no short cut to proof (luckily for us all round) either that “Monsieur Alphonse” develops itself on the highest plane of irony or that “Ghosts” simplifies almost to excruciation. If “John Gabriel Borkmann” is but a pennyworth of effect as to a character we can imagine much more amply presented, and if “Hedda Gabler” makes an appeal enfeebled by remarkable vagueness, there is by the nature of the case no catching the convinced, or call him the deluded, spectator or reader in the act of a mistake. He is to be caught at the worst in the act of attention, of the very greatest attention, and that is all, as a precious preliminary at least, that the playwright asks of him, besides being all the very divinest poet can get. I remember rejoicing as much to remark this, after getting launched in “The Awkward Age,” as if I were in fact constructing a play—just as I may doubtless appear now not less anxious to keep the philosophy of the dramatist’s course before me than if I belonged to his order. I felt, certainly, the support he feels, I participated in his technical amusement, I tasted to the full the bitter-sweetness of his draught—the beauty and the difficulty (to harp again on that string) of escaping poverty EVEN THOUGH the references in one’s action can only be, with intensity, to each other, to things exactly on the same plane of exhibition with themselves. Exhibition may mean in a “story” twenty different ways, fifty excursions, alternatives, excrescences, and the novel, as largely practised in English, is the perfect paradise of the loose end. The play consents to the logic of but one way, mathematically right, and with the loose end as gross an impertinence on its surface, and as grave a dishonour, as the dangle of a snippet of silk or wool on the right side of a tapestry. We are shut up wholly to cross-relations, relations all within the action itself; no part of which is related to anything but some other part—save of course by the relation of the total to life. And, after invoking the protection of Gyp, I saw the point of my game all in the problem of keeping these conditioned relations crystalline at the same time that I should, in emulation of life, consent to their being numerous and fine and characteristic of the London world (as the London world was in this quarter and that to be deciphered). All of which was to make in the event for complications.
I see now of course how far, with my complications, I got away from Gyp; but I see to-day so much else too that this particular deflexion from simplicity makes scarce a figure among the others after having once served its purpose, I mean, of lighting my original imitative innocence. For I recognise in especial, with a waking vibration of that interest in which, as I say, the plan of the book is embalmed for me, that my subject was probably condemned in advance to appreciable, or more exactly perhaps to almost preposterously appreciative, over-treatment. It places itself for me thus in a group of small productions exhibiting this perversity, representations of conceived cases in which my process has been to pump the case gaspingly dry, dry not only of superfluous moisture, but absolutely (for I have encountered the charge) of breathable air. I may note, in fine, that coming back to the pages before us with a strong impression of their recording, to my shame, that disaster, even to the extent of its disqualifying them for decent reappearance, I have found the adventure taking, to my relief, quite another turn, and have lost myself in the wonder of what “over-treatment” may, in the detail of its desperate ingenuity, consist of. The revived interest I speak of has been therefore that of following critically, from page to page, even as the red Indian tracks in the forest the pale-face, the footsteps of the systematic loyalty I was able to achieve. The amusement of this constatation is, as I have hinted, in the detail of the matter, and the detail is so dense, the texture of the figured and smoothed tapestry so loose, that the genius of Gyp herself, muse of general looseness, would certainly, once warned, have uttered the first disavowal of my homage. But what has occurred meanwhile is that this high consistency has itself, so to speak, constituted an exhibition, and that an important artistic truth has seemed to me thereby lighted. We brushed against that truth just now in our glance at the denial of expansibility to any idea the mould of the “stage-play” may hope to express without cracking and bursting—and we bear in mind at the same time that the picture of Nanda Brookenham’s situation, though perhaps seeming to a careless eye so to wander and sprawl, yet presents itself on absolutely scenic lines, and that each of these scenes in itself, and each as related to each and to all of its companions, abides without a moment’s deflexion by the principle of the stage-play. In doing this then it does more—it helps us ever so happily to see the grave distinction between substance and form in a really wrought work of art signally break down. I hold it impossible to say, before “The Awkward Age,” where one of these elements ends and the other begins: I have been unable at least myself, on re-examination, to mark any such joint or seam, to see the two DISCHARGED offices as separate. They are separate before the fact, but the sacrament of execution indissolubly marries them, and the marriage, like any other marriage, has only to be a “true” one for the scandal of a breach not to show. The thing “done,” artistically, is a fusion, or it has not BEEN done—in which case of course the artist may be, and all deservedly, pelted with any fragment of his botch the critic shall choose to pick up. But his ground once conquered, in this particular field, he knows nothing of fragments and may say in all security: “Detach one if you can. You can analyse in YOUR way, oh yes—to relate, to report, to explain; but you can’t disintegrate my synthesis; you can’t resolve the elements of my whole into different responsible agents or find your way at all (for your own fell purpose). My mixture has only to be perfect literally to bewilder you—you are lost in the tangle of the forest. Prove this value, this effect, in the air of the whole result, to be of my subject, and that other value, other effect, to be of my treatment, prove that I haven’t so shaken them together as the conjurer I profess to be MUST consummately shake, and I consent but to parade as before a booth at the fair.” The exemplary closeness of “The Awkward Age” even affects me, on re-perusal, I confess, as treasure quite instinctively and foreseeingly laid up against my present opportunity for these remarks. I have been positively struck by the quantity of meaning and the number of intentions, the extent of GROUND FOR INTEREST, as I may call it, that I have succeeded in working scenically, yet without loss of sharpness, clearness or “atmosphere,” into each of my illuminating occasions—where, at certain junctures, the due preservation of all these values took, in the familiar phrase, a good deal of doing.
I should have liked just here to re-examine with the reader some of the positively most artful passages I have in mind—such as the hour of Mr. Longdon’s beautiful and, as it were, mystic attempt at a compact with Vanderbank, late at night, in the billiard-room of the country-house at which they are staying; such as the other nocturnal passage, under Mr. Longdon’s roof, between Vanderbank and Mitchy, where the conduct of so much fine meaning, so many flares of the exhibitory torch through the labyrinth of mere immediate appearances, mere familiar allusions, is successfully and safely effected; such as the whole array of the terms of presentation that are made to serve, all systematically, yet without a gap anywhere, for the presentation, throughout, of a Mitchy “subtle” no less than concrete and concrete no less than deprived of that officious explanation which we know as “going behind”; such as, briefly, the general service of co-ordination and vivification rendered, on lines of ferocious, of really quite heroic compression, by the picture of the assembled group at Mrs. Grendon’s, where the “cross-references” of the action are as thick as the green leaves of a garden, but none the less, as they have scenically to be, counted and disposed, weighted with responsibility. Were I minded to use in this connexion a “loud” word—and the critic in general hates loud words as a man of taste may hate loud colours—I should speak of the composition of the chapters entitled “Tishy Grendon,” with all the pieces of the game on the table together and each unconfusedly and contributively placed, as triumphantly scientific. I must properly remind myself, rather, that the better lesson of my retrospect would seem to be really a supreme revision of the question of what it may be for a subject to suffer, to call it suffering, by over-treatment. Bowed down so long by the inference that its product had in this case proved such a betrayal, my artistic conscience meets the relief of having to recognise truly here no traces of suffering. The thing carries itself to my maturer and gratified sense as with every symptom of soundness, an insolence of health and joy. And from this precisely I deduce my moral; which is to the effect that, since our only way, in general, of knowing that we have had too much of anything is by FEELING that too much: so, by the same token, when we don’t feel the excess (and I am contending, mind, that in “The Awkward Age” the multiplicity yields to the order) how do we know that the measure not recorded, the notch not reached, does represent adequacy or satiety? The mere feeling helps us for certain degrees of congestion, but for exact science, that is for the criticism of “fine” art, we want the notation. The notation, however, is what we lack, and the verdict of the mere feeling is liable to fluctuate. In other words an imputed defect is never, at the worst, disengageable, or other than matter for appreciation—to come back to my claim for that felicity of the dramatist’s case that his synthetic “whole” IS his form, the only one we have to do with. I like to profit in his company by the fact that if our art has certainly, for the impression it produces, to defer to the rise and fall, in the critical temperature, of the telltale mercury, it still hasn’t to reckon with the engraved thermometer-face.
HENRY JAMES.
THE AWKWARD AGE
BOOK FIRST. LADY JULIA
I
Save when it happened to rain Vanderbank always walked home, but he usually took a hansom when the rain was moderate and adopted the preference of the philosopher when it was heavy. On this occasion he therefore recognised as the servant opened the door a congruity between the weather and the “four-wheeler” that, in the empty street, under the glazed radiance, waited and trickled and blackly glittered. The butler mentioned it as on such a wild night the only thing they could get, and Vanderbank, having replied that it was exactly what would do best, prepared in the doorway to put up his umbrella and dash down to it. At this moment he heard his name pronounced from behind and on turning found himself joined by the elderly fellow guest with whom he had talked after dinner and about whom later on upstairs he had sounded his hostess. It was at present a clear question of how this amiable, this apparently unassertive person should get home—of the possibility of the other cab for which even now one of the footmen, with a whistle to his lips, craned out his head and listened through the storm. Mr. Longdon wondered to Vanderbank if their course might by any chance be the same; which led our young friend immediately to express a readiness to see him safely in any direction that should accommodate him. As the footman’s whistle spent itself in vain they got together into the four-wheeler, where at the end of a few moments more Vanderbank became conscious of having proposed his own rooms as a wind-up to their drive. Wouldn’t that be a better finish of the evening than just separating in the wet? He liked his new acquaintance, who struck him as in a manner clinging to him, who was staying at an hotel presumably at that hour dismal, and who, confessing with easy humility to a connexion positively timid with a club at which one couldn’t have a visitor, accepted his invitation under pressure. Vanderbank, when they arrived, was amused at the air of added extravagance with which he said he would keep the cab: he so clearly enjoyed to that extent the sense of making a night of it. “You young men, I believe, keep them for hours, eh? At least they did in my time,” he laughed—“the wild ones! But I think of them as all wild then. I dare say that when one settles in town one learns how to manage; only I’m afraid, you know, that I’ve got completely out of it. I do feel really quite mouldy. It’s a matter of thirty years—!”
“Since you’ve been in London?”
“For more than a few days at a time, upon my honour. You won’t understand that—any more, I dare say, than I myself quite understand how at the end of all I’ve accepted this queer view of the doom of coming back. But I don’t doubt I shall ask you, if you’ll be so good as to let me, for the help of a hint or two: as to how to do, don’t you know? and not to—what do you fellows call it?—BE done. Now about one of THESE things—!”
One of these things was the lift in which, at no great pace and with much rumbling and creaking, the porter conveyed the two gentlemen to the alarming eminence, as Mr. Longdon measured their flight, at which Vanderbank perched. The impression made on him by this contrivance showed him as unsophisticated, yet when his companion, at the top, ushering him in, gave a touch to the quick light and, in the pleasant ruddy room, all convenience and character, had before the fire another look at him, it was not to catch in him any protrusive angle. Mr. Longdon was slight and neat, delicate of body and both keen and kind of face, with black brows finely marked and thick smooth hair in which the silver had deep shadows. He wore neither whisker nor moustache and seemed to carry in the flicker of his quick brown eyes and the positive sun-play of his smile even more than the equivalent of what might, superficially or stupidly, elsewhere be missed in him; which was mass, substance, presence—what is vulgarly called importance. He had indeed no presence but had somehow an effect. He might almost have been a priest if priests, as it occurred to Vanderbank, were ever such dandies. He had at all events conclusively doubled the Cape of the years—he would never again see fifty-five: to the warning light of that bleak headland he presented a back sufficiently conscious. Yet though to Vanderbank he couldn’t look young he came near—strikingly and amusingly—looking new: this after a minute appeared mainly perhaps indeed in the perfection of his evening dress and the special smartness of the sleeveless overcoat he had evidently had made to wear with it and might even actually be wearing for the first time. He had talked to Vanderbank at Mrs. Brookenham’s about Beccles and Suffolk; but it was not at Beccles nor anywhere in the county that these ornaments had been designed. His action had already been, with however little purpose, to present the region to his interlocutor in a favourable light. Vanderbank, for that matter, had the kind of imagination that likes to PLACE an object, even to the point of losing sight of it in the conditions; he already saw the nice old nook it must have taken to keep a man of intelligence so fresh while suffering him to remain so fine. The product of Beccles accepted at all events a cigarette—still much as a joke and an adventure—and looked about him as if even more pleased than he expected. Then he broke, through his double eye-glass, into an exclamation that was like a passing pang of envy and regret. “You young men, you young men—!”
“Well, what about us?” Vanderbank’s tone encouraged the courtesy of the reference. “I’m not so young moreover as that comes to.”
“How old are you then, pray?”
“Why I’m thirty-four.”
“What do you call that? I’m a hundred and three!” Mr. Longdon at all events took out his watch. “It’s only a quarter past eleven.” Then with a quick change of interest, “What did you say is your public office?” he enquired.
“The General Audit. I’m Deputy Chairman.”
“Dear!” Mr. Longdon looked at him as if he had had fifty windows. “What a head you must have!”
“Oh yes—our head’s Sir Digby Dence.”
“And what do we do for you?”
“Well, you gild the pill—though not perhaps very thick. But it’s a decent berth.”
“A thing a good many fellows would give a pound of their flesh for?”
Vanderbank’s visitor appeared so to deprecate too faint a picture that he dropped all scruples. “I’m the most envied man I know—so that if I were a shade less amiable I should be one of the most hated.”
Mr. Longdon laughed, yet not quite as if they were joking. “I see. Your pleasant way carries it off.”
Vanderbank was, however, not serious. “Wouldn’t it carry off anything?”
Again his friend, through the pince-nez, appeared to crown him with a Whitehall cornice. “I think I ought to let you know I’m studying you. It’s really fair to tell you,” he continued with an earnestness not discomposed by the indulgence in Vanderbank’s face. “It’s all right—all right!” he reassuringly added, having meanwhile stopped before a photograph suspended on the wall. “That’s your mother!” he brought out with something of the elation of a child making a discovery or guessing a riddle. “I don’t make you out in her yet—in my recollection of her, which, as I told you, is perfect; but I dare say I soon shall.”
Vanderbank was more and more aware that the kind of amusement he excited would never in the least be a bar to affection. “Please take all your time.”
Mr. Longdon looked at his watch again. “Do you think I HAD better keep it?”
“The cab?” Vanderbank liked him so, found in him such a promise of pleasant things, that he was almost tempted to say: “Dear and delightful sir, don’t weigh that question; I’ll pay, myself, for the man’s whole night!” His approval at all events was complete.
“Most certainly. That’s the only way not to think of it.”
“Oh you young men, you young men!” his guest again murmured. He had passed on to the photograph—Vanderbank had many, too many photographs—of some other relation, and stood wiping the gold-mounted glasses through which he had been darting admirations and catching side-lights for shocks. “Don’t talk nonsense,” he continued as his friend attempted once more to throw in a protest; “I belong to a different period of history. There have been things this evening that have made me feel as if I had been disinterred—literally dug up from a long sleep. I assure you there have!”—he really pressed the point.
Vanderbank wondered a moment what things in particular these might be; he found himself wanting to get at everything his visitor represented, to enter into his consciousness and feel, as it were, on his side. He glanced with an intention freely sarcastic at an easy possibility. “The extraordinary vitality of Brookenham?”
Mr. Longdon, with nippers in place again, fixed on him a gravity that failed to prevent his discovering in the eyes behind them a shy reflexion of his irony. “Oh Brookenham! You must tell me all about Brookenham.”
“I see that’s not what you mean.”
Mr. Longdon forbore to deny it. “I wonder if you’ll understand what I mean.” Vanderbank bristled with the wish to be put to the test, but was checked before he could say so. “And what’s HIS place—Brookenham’s?”
“Oh Rivers and Lakes—an awfully good thing. He got it last year.”
Mr. Longdon—but not too grossly—wondered. “How did he get it?”
Vanderbank laughed. “Well, SHE got it.”
His friend remained grave. “And about how much now—?”
“Oh twelve hundred—and lots of allowances and boats and things. To do the work!” Vanderbank, still with a certain levity, added.
“And what IS the work?”
The young man had a pause. “Ask HIM. He’ll like to tell you.”
“Yet he seemed to have but little to say.” Mr. Longdon exactly measured it again.
“Ah not about that. Try him.”
He looked more sharply at his host, as if vaguely suspicious of a trap; then not less vaguely he sighed. “Well, it’s what I came up for—to try you all. But do they live on that?” he continued.
Vanderbank once more debated. “One doesn’t quite know what they live on. But they’ve means—for it was just that fact, I remember, that showed Brookenham’s getting the place wasn’t a job. It was given, I mean, not to his mere domestic need, but to his notorious efficiency. He has a property—an ugly little place in Gloucestershire—which they sometimes let. His elder brother has the better one, but they make up an income.”
Mr. Longdon for an instant lost himself. “Yes, I remember—one heard of those things at the time. And SHE must have had something.”
“Yes indeed, she had something—and she always has her intense cleverness. She knows thoroughly how. They do it tremendously well.”
“Tremendously well,” Mr. Longdon intelligently echoed. “But a house in Buckingham Crescent, with the way they seem to have built through to all sorts of other places—?”
“Oh they’re all right,” Vanderbank soothingly dropped.
“One likes to feel that of people with whom one has dined. There are four children?” his friend went on.
“The older boy, whom you saw and who in his way is a wonder, the older girl, whom you must see, and two youngsters, male and female, whom you mustn’t.”
There might by this time, in the growing interest of their talk, have been almost nothing too uncanny for Mr. Longdon to fear it. “You mean the youngsters are—unfortunate?”
“No—they’re only, like all the modern young, I think, mysteries, terrible little baffling mysteries.” Vanderbank had found amusement again—it flickered so from his friend’s face that, really at moments to the point of alarm, his explanations deepened darkness. Then with more interest he harked back. “I know the thing you just mentioned—the thing that strikes you as odd.” He produced his knowledge quite with elation. “The talk.” Mr. Longdon on this only looked at him in silence and harder, but he went on with assurance: “Yes, the talk—for we do talk, I think.” Still his guest left him without relief, only fixing him and his suggestion with a suspended judgement. Whatever the old man was on the point of saying, however, he disposed of in a curtailed murmur; he had already turned afresh to the series of portraits, and as he glanced at another Vanderbank spoke afresh.
“It was very interesting to me to hear from you there, when the ladies had left us, how many old threads you were prepared to pick up.”
Mr. Longdon had paused. “I’m an old boy who remembers the mothers,” he at last replied.
“Yes, you told me how well you remember Mrs. Brookenham’s.”
“Oh, oh!”—and he arrived at a new subject. “This must be your sister Mary.”
“Yes; it’s very bad, but as she’s dead—”
“Dead? Dear, dear!”
“Oh long ago”—Vanderbank eased him off. “It’s delightful of you,” this informant went on, “to have known also such a lot of MY people.”
Mr. Longdon turned from his contemplation with a visible effort. “I feel obliged to you for taking it so; it mightn’t—one never knows—have amused you. As I told you there, the first thing I did was to ask Fernanda about the company; and when she mentioned your name I immediately said: ‘Would he like me to speak to him?’”
“And what did Fernanda say?”
Mr. Longdon stared. “Do YOU call her Fernanda?”
Vanderbank felt ever so much more guilty than he would have expected. “You think it too much in the manner we just mentioned?”
His friend hesitated; then with a smile a trifle strange: “Pardon me; I didn’t mention—”
“No, you didn’t; and your scruple was magnificent. In point of fact,” Vanderbank pursued, “I DON’T call Mrs. Brookenham by her Christian name.”
Mr. Longdon’s clear eyes were searching. “Unless in speaking of her to others?” He seemed really to wish to know.
Vanderbank was but too ready to satisfy him. “I dare say we seem to you a vulgar lot of people. That’s not the way, I can see, you speak of ladies at Beccles.”
“Oh if you laugh at me—!” And his visitor turned off.
“Don’t threaten me,” said Vanderbank, “or I WILL send away the cab. Of course I know what you mean. It will be tremendously interesting to hear how the sort of thing we’ve fallen into—oh we HAVE fallen in!—strikes your fresh, your uncorrupted ear. Do have another cigarette. Sunk as I must appear to you it sometimes strikes even mine. But I’m not sure as regards Mrs. Brookenham, whom I’ve known a long time.”
Mr. Longdon again took him up. “What do you people call a long time?”
Vanderbank considered. “Ah there you are! And now we’re ‘we people’! That’s right—give it to us. I’m sure that in one way or another it’s all earned. Well, I’ve known her ten years. But awfully well.”
“What do you call awfully well?”
“We people?” Vanderbank’s enquirer, with his continued restless observation, moving nearer, the young man had laid on his shoulder the lightest of friendly hands. “Don’t you perhaps ask too much? But no,” he added quickly and gaily, “of course you don’t: if I don’t look out I shall have exactly the effect on you I don’t want. I dare say I don’t know HOW well I know Mrs. Brookenham. Mustn’t that sort of thing be put in a manner to the proof? What I meant to say just now was that I wouldn’t—at least I hope I shouldn’t—have named her as I did save to an old friend.”
Mr. Longdon looked promptly satisfied and reassured. “You probably heard me address her myself.”
“I did, but you’ve your rights, and that wouldn’t excuse me. The only thing is that I go to see her every Sunday.”
Mr. Longdon pondered and then, a little to Vanderbank’s surprise, at any rate to his deeper amusement, candidly asked: “Only Fernanda? No other lady?”
“Oh yes, several other ladies.”
Mr. Longdon appeared to hear this with pleasure. “You’re quite right. We don’t make enough of Sunday at Beccles.”
“Oh we make plenty of it in London!” Vanderbank said. “And I think it’s rather in my interest I should mention that Mrs. Brookenham calls ME—”
His visitor covered him now with an attention that just operated as a check. “By your Christian name?”
Before Vanderbank could in any degree attenuate “What IS your Christian name?” Mr. Longdon asked.
Vanderbank felt of a sudden almost guilty—as if his answer could only impute extravagance to the lady. “My Christian name”—he blushed it out—“is Gustavus.”
His friend took a droll conscious leap. “And she calls you Gussy?”
“No, not even Gussy. But I scarcely think I ought to tell you,” he pursued, “if she herself gave you no glimpse of the fact. Any implication that she consciously avoided it might make you see deeper depths.”
He spoke with pointed levity, but his companion showed him after an instant a face just covered—and a little painfully—with the vision of the possibility brushed away by the joke. “Oh I’m not so bad as that!” Mr. Longdon modestly ejaculated.
“Well, she doesn’t do it always,” Vanderbank laughed, “and it’s nothing moreover to what some people are called. Why, there was a fellow there—” He pulled up, however, and, thinking better of it, selected another instance. “The Duchess—weren’t you introduced to the Duchess?—never calls me anything but ‘Vanderbank’ unless she calls me ‘caro mio.’ It wouldn’t have taken much to make her appeal to YOU with an ‘I say, Longdon!’ I can quite hear her.”
Mr. Longdon, focussing the effect of the sketch, pointed its moral with an indulgent: “Oh well, a FOREIGN duchess!” He could make his distinctions.
“Yes, she’s invidiously, cruelly foreign,” Vanderbank agreed: “I’ve never indeed seen a woman avail herself so cleverly, to make up for the obloquy of that state, of the benefits and immunities it brings with it. She has bloomed in the hot-house of her widowhood—she’s a Neapolitan hatched by an incubator.”
“A Neapolitan?”—Mr. Longdon seemed all civilly to wish he had only known it.
“Her husband was one; but I believe that dukes at Naples are as thick as princes at Petersburg. He’s dead, at any rate, poor man, and she has come back here to live.”
“Gloomily, I should think—after Naples?” Mr. Longdon threw out.
“Oh it would take more than even a Neapolitan past—! However”—and the young man caught himself up—“she lives not in what’s behind her, but in what’s before—she lives in her precious little Aggie.”
“Little Aggie?” Mr. Longdon risked a cautious interest.
“I don’t take a liberty there,” Vanderbank smiled: “I speak only of the young Agnesina, a little girl, the Duchess’s niece, or rather I believe her husband’s, whom she has adopted—in the place of a daughter early lost—and has brought to England to marry.”
“Ah to some great man of course!”
Vanderbank thought. “I don’t know.” He gave a vague but expressive sigh. “She’s rather lovely, little Aggie.”
Mr. Longdon looked conspicuously subtle. “Then perhaps YOU’RE the man!”
“Do I look like a ‘great’ one?” Vanderbank broke in.
His visitor, turning away from him, again embraced the room. “Oh dear, yes!”
“Well then, to show how right you are, there’s the young lady.” He pointed to an object on one of the tables, a small photograph with a very wide border of something that looked like crimson fur.
Mr. Longdon took up the picture; he was serious now. “She’s very beautiful—but she’s not a little girl.”
“At Naples they develop early. She’s only seventeen or eighteen, I suppose; but I never know how old—or at least how young—girls are, and I’m not sure. An aunt, at any rate, has of course nothing to conceal. She IS extremely pretty—with extraordinary red hair and a complexion to match; great rarities I believe, in that race and latitude. She gave me the portrait—frame and all. The frame is Neapolitan enough and little Aggie’s charming.” Then Vanderbank subjoined: “But not so charming as little Nanda.”