Arminell: A Social Romance, Vol. 2Baring-Gould, S. (Sabine)
General
Arminell: A Social Romance, Vol. 2
Baring-Gould, S. (Sabine)
English fiction -- 19th century
That he was doing wrong in telling the girl a secret, about which he had
no right to let a hint fall without her father’s knowledge and consent
could hardly be hid from his conscience, but he refused to listen, and
excused himself on grounds satisfactory to his vanity. It was good for
Arminell herself to know the relationship, that she might be able to
lean on him without reserve. Giles Inglett Saltren had been very
solitary in Orleigh. He had not, indeed, been debarred the use of his
mother-tongue; but he had been unable to give utterance to his thoughts;
and of what profit is the gift of speech to a man, if he may not speak
out what is on his mind? The young are possessed with eager desire to
turn themselves inside out, and to show every one their internal
organisation. A polypus has the same peculiarity. It becomes weary of
exposing one surface to the tide, and so frankly and capriciously
inverts itself, so that what was coat of stomach becomes external
tissue, and the outer skin accommodates itself to the exercise of
digestive functions. Young people do the same, and do it publicly, in
society, in a drawing-room, in unsympathetic company. As we grow older
we acquire reserve, and gradually withdraw our contents within
ourselves, and never dream of allowing any other surface to become
exposed to the general eye, but that furnished us by nature as our
proper external envelope.
The young tutor had his own crude, indigested notions, a mind in
ferment, and an inflamed and irritable internal tissue, and he naturally
and eagerly embraced the only opportunity he had of inverting himself.
Then, again, a still mightier temptation operated on Jingles, the
temptation which besets every man to assume the rôle of somebody, who
has been condemned to play the part of nobody, when an opening is given.
There is a poem in Percy’s Reliques, that represents the grievances of
the common Englishman at the time of the Reformation, who dislikes the
change that is going on about him, the introduction of novelties, the
greed that masqueraded under the name of religion: and every verse ends
with the burden, “But I am little John Nobody, and durst not speak.”
Jingles had been unable to express his opinion, to appear to have any
opinion at all; he had been in the house, at table, everywhere, a little
John Nobody who durst not speak. Now the _rôle_ of little John Nobody is
a _rôle_ distasteful to every one, especially to one who has a good
opinion of himself. Imagine the emotions of an actor who has been doomed
for years to be a walking gentleman, to whom has been suddenly offered
the part of Hamlet. Would he not embrace the chance with avidity?
Public-domain text, read in full here on John Shaqi.
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