The Last of the Mortimers: A Story in Two Voices — John Shaqi
The Last of the Mortimers: A Story in Two VoicesOliphant, Mrs. (Margaret)
General
The Last of the Mortimers: A Story in Two Voices
Oliphant, Mrs. (Margaret)
Fiction
Just when that good Jem had gone on--such a fellow he is, too! keeps his
old father like a prince!--another sort of a figure appeared before the
light; and, bless me, to think I should have forgotten that
circumstance!--of course it was the same figure that started so suddenly
past me that evening when I stood looking for Sarah at the gate. He took
off his hat to me, in the half light, and stopped. I stopped also, I
cannot tell why. So far as I could see, a handsome young man, not so
dark as one expects to see an Italian, and none of that sort of French
showman look--you know what I mean--that these sort of people generally
have: on the contrary, a look very much as if he were a gentleman; only,
if I may say it, more innocent, more like a child in his ways than the
young men are now-a-days. I did not see all this just in a moment, you
may be sure. Indeed, I rather felt annoyed and displeased when the
stranger stopped me on the road--my own road, that seemed to belong to
me as much as the staircase or corridor at home. If he had not been
possessed of a kind of ingratiating, conciliatory sort of manner, as
these foreigners mostly have, I should scarcely have given him a civil
answer, I do believe.
“Pardon, Madame”--not _Madam_, you perceive, which is the stiffest,
ugliest word that can be used in English--and I can’t make out how, by
putting an e to the end of it, and laying the emphasis on the last
syllable, it can be made so deferential and full of respect as the
French word sounds to English ears--“pardon, Madame; I was taking the
liberty to make inquiries in your village, and when I am so fortunate as
to make an encounter with yourself, I think it a very happy accident.
Will Madame permit me to ask her a question; only one,--it is very
important to me?”
“Sir,” said I, being a little struck with his language, and still more
with his voice, which seemed to recall to me some other voice I had once
known, “you speak very good English.”
His hat was off again, of course, in a moment to acknowledge the
compliment; but dark as it was, I could neither overlook nor could I in
the least understand, the singular, half pathetic, melancholy look he
gave me as he answered. “I had an English mother,” said the young
foreigner; and he looked at me in the darkness, and in my complete
ignorance of him, as if somehow I, plain Millicent Mortimer, a single
woman over fifty, and living among my own people, either knew something
about his mother, or had done her an injury, or was hiding her up
somewhere, or I don’t know what. I could not tell anybody how utterly
confounded and thunderstruck I was. I had nearly screamed out: “I? What
do I know about your mother?” so much impression did it have on me.
After all it is wonderful how these foreigners do talk in this underhand
sort of way with their eyes. I declare I do not so much wonder at the
influence they often get over young creatures. That sort of thing is
wonderfully impressive to the imagination.
Public-domain text, read in full here on John Shaqi.
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