"I'll give up the house if they'll let me take what I require!" That, on the morrow, was what Mrs. Gereth's stifled night had qualified her to say, with a tragic face, at breakfast. Fleda reflected that what she "required" was simply every object that surrounded them. The poor woman would have admitted this truth and accepted the conclusion to be drawn from it, the reduction to the absurd of her attitude, the exaltation of her revolt. The girl's dread of a scandal, of spectators and critics, diminished the more she saw how little vulgar avidity had to do with this rigor. It was not the crude love of possession; it was the need to be faithful to a trust and loyal to an idea. The idea was surely noble: it was that of the beauty Mrs. Gereth had so patiently and consummately wrought. Pale but radiant, with her back to the wall, she rose there like a heroine guarding a treasure. To give up the ship was to flinch from her duty; there was something in her eyes that declared she would die at her post. If their difference should become public the shame would be all for the others. If Waterbath thought it could afford to expose itself, then Waterbath was welcome to the folly. Her fanaticism gave her a new distinction, and Fleda perceived almost with awe that she had never carried herself so well. She trod the place like a reigning queen or a proud usurper; full as it was of splendid pieces, it could show in these days no ornament so effective as its menaced mistress. "No, but he has told you. That's better still!" laughed Mrs. Gereth. "My dear child," she went on with an air that affected the girl as a sort of blind profanity, "don't try to make yourself out better than you are. I know what you are. I haven't lived with you so much for nothing. You're not quite a saint in heaven yet. Lord, what a creature you'd have thought me in my good time! But you do like it, fortunately, you idiot. You're pale with your passion, you sweet thing. That's exactly what I wanted to see. I can't for the life of me think where the shame comes in." Then with a finer significance, a look that seemed to Fleda strange, she added: "It's all right."!
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"You've simply, in your extremity, made a delight of her." Fleda took the highest line and the upper hand, and as Mrs. Gereth, challenging her cheerfulness, turned again a lustreless eye over the contents of the place, she broke into a rapture that was unforced, but that she was conscious of an advantage in being able to feel. She moved, as she had done on the previous occasion, from one piece to another, with looks of recognition and hands that lightly lingered, but she was as feverishly jubilant now as she had formerly been anxious and mute. "Ah, the little melancholy, tender, tell-tale things: how can they not speak to you and find a way to your heart? It's not the great chorus of Poynton; but you're not, I'm sure, either so proud or so broken as to be reached by nothing but that. This is a voice so gentle, so human, so feminine—a faint, far-away voice with the little quaver of a heart-break. You've listened to it unawares; for the arrangement and effect of everything—when I compare them with what we found the first day we came down—shows, even if mechanically and disdainfully exercised, your admirable, infallible hand. It's your extraordinary genius; you make things 'compose' in spite of yourself. You've only to be a day or two in a place with four sticks for something to come of it!" There was a high contempt in this which was for Owen quite as much, and in the light of which Fleda felt that her effort at plausibility had been mere groveling. She rose from the sofa with an humiliated sense of rising from ineffectual knees. That discomfort, however, lived but an instant: it was swept away in a rush of loyalty to the absent. She herself could bear his mother's scorn; but to avert it from his sweet innocence she broke out with a quickness that was like the raising of an arm. "Don't blame him—don't blame him: he'd do anything on earth for me! It was I," said Fleda, eagerly, "who sent him back to her; I made him go; I pushed him out of the house; I declined to have anything to say to him except on another footing."
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"You've simply, in your extremity, made a delight of her." Fleda took the highest line and the upper hand, and as Mrs. Gereth, challenging her cheerfulness, turned again a lustreless eye over the contents of the place, she broke into a rapture that was unforced, but that she was conscious of an advantage in being able to feel. She moved, as she had done on the previous occasion, from one piece to another, with looks of recognition and hands that lightly lingered, but she was as feverishly jubilant now as she had formerly been anxious and mute. "Ah, the little melancholy, tender, tell-tale things: how can they not speak to you and find a way to your heart? It's not the great chorus of Poynton; but you're not, I'm sure, either so proud or so broken as to be reached by nothing but that. This is a voice so gentle, so human, so feminine—a faint, far-away voice with the little quaver of a heart-break. You've listened to it unawares; for the arrangement and effect of everything—when I compare them with what we found the first day we came down—shows, even if mechanically and disdainfully exercised, your admirable, infallible hand. It's your extraordinary genius; you make things 'compose' in spite of yourself. You've only to be a day or two in a place with four sticks for something to come of it!" From her step she looked down into his raised face. "Ah, you see it's not true that you're free!" She seemed almost to exult. "It's not true—it's not true!" Her interlocutress was silent a little. "And that he has no feeling on his side?"
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