'He says I have brains. It ends in a compliment.'
Altogether her Tony's conversation proved to Emma that her perusal of the model of THE YOUNG MINISTER OF STATE was an artist's, free, open, and not discoloured by the personal tincture. Her heart plainly was free and undisturbed. She had the same girl's love of her walks where wildflowers grew; if possible, a keener pleasure. She hummed of her happiness in being at Copsley, singing her Planxty Kelly and The Puritani by turns. She stood on land: she was not on the seas. Emma thought so with good reason.
She stood on land, it was true, but she stood on a cliff of the land, the seas below and about her; and she was enabled to hoodwink her friend because the assured sensation of her firm footing deceived her own soul, even while it took short flights to the troubled waters. Of her firm footing she was exultingly proud. She stood high, close to danger, without giddiness. If at intervals her soul flew out like lightning from the rift (a mere shot of involuntary fancy, it seemed to her), the suspicion of instability made her draw on her treasury of impressions of the mornings at Lugano--her loftiest, purest, dearest; and these reinforced her. She did not ask herself why she should have to seek them for aid. In other respects her mind was alert and held no sly covers, as the fiction of a perfect ignorant innocence combined with common intelligence would have us to suppose that the minds of women can do. She was honest as long as she was not directly questioned, pierced to the innermost and sanctum of the bosom. She could honestly summon bright light to her eyes in wishing the man were married. She did not ask herself why she called it up. The remorseless progressive interrogations of a Jesuit Father in pursuit of the bosom's verity might have transfixed it and shown her to herself even then a tossing vessel as to the spirit, far away from that firm land she trod so bravely.
Descending from the woody heights upon London, Diana would have said that her only anxiety concerned young Mr. Arthur Rhodes, whose position she considered precarious, and who had recently taken a drubbing for venturing to show a peep of his head, like an early crocus, in the literary market. Her ANTONIA'S last book had been reviewed obediently to smart taps from the then commanding baton of Mr. Tonans, and Mr. Whitmonby's choice picking of specimens down three columns of his paper. A Literary Review (Charles Rainer's property) had suggested that perhaps 'the talented authoress might be writing too rapidly'; and another, actuated by the public taste of the period for our 'vigorous homely Saxon' in one and two syllable words, had complained of a 'tendency to polysyllabic phraseology.' The remainder, a full majority, had sounded eulogy with all their band-instruments, drum, trumpet, fife, trombone. Her foregoing work had raised her to Fame, which is the Court of a Queen when the lady has beauty and social influence, and critics are her dedicated courtiers, gaping for the royal mouth to be opened, and reserving the kicks of their independent manhood for infamous outsiders, whom they hoist in the style and particular service of pitchforks. They had fallen upon a little volume of verse, 'like a body of barn-door hens on a stranger chick,' Diana complained; and she chid herself angrily for letting it escape her forethought to propitiate them on the author's behalf. Young Rhodes was left with scarce a feather; and what remained to him appeared a preposterous ornament for the decoration of a shivering and welted poet. He laughed, or tried the mouth of laughter. ANTONIA's literary conscience was vexed at the different treatment she had met and so imperatively needed that the reverse of it would have threatened the smooth sailing of her costly household. A merry-go-round of creditors required a corresponding whirligig of receipts.