What Maisie Knew. Генри Джеймс
impression on the child—her declaration for instance that when her pupil should get older she'd understand better just how "dreadfully bold" a young lady, to do exactly what she had done, had to be.
"Fortunately your papa appreciates it; he appreciates it immensely"—that was one of the things Miss Overmore also said, with a striking insistence on the adverb. Maisie herself was no less impressed with what this martyr had gone through, especially after hearing of the terrible letter that had come from Mrs. Farange. Mamma had been so angry that, in Miss Overmore's own words, she had loaded her with insult—proof enough indeed that they must never look forward to being together again under mamma's roof. Mamma's roof, however, had its turn, this time, for the child, of appearing but remotely contingent, so that, to reassure her, there was scarce a need of her companion's secret, solemnly confided—the probability there would be no going back to mamma at all. It was Miss Overmore's private conviction, and a part of the same communication, that if Mr. Farange's daughter would only show a really marked preference she would be backed up by "public opinion" in holding on to him. Poor Maisie could scarcely grasp that incentive, but she could surrender herself to the day. She had conceived her first passion, and the object of it was her governess. It hadn't been put to her, and she couldn't, or at any rate she didn't, put it to herself, that she liked Miss Overmore better than she liked papa; but it would have sustained her under such an imputation to feel herself able to reply that papa too liked Miss Overmore exactly as much. He had particularly told her so. Besides she could easily see it.
IV
All this led her on, but it brought on her fate as well, the day when her mother would be at the door in the carriage in which Maisie now rode on no occasions but these. There was no question at present of Miss Overmore's going back with her: it was universally recognised that her quarrel with Mrs. Farange was much too acute. The child felt it from the first; there was no hugging nor exclaiming as that lady drove her away—there was only a frightening silence, unenlivened even by the invidious enquiries of former years, which culminated, according to its stern nature, in a still more frightening old woman, a figure awaiting her on the very doorstep. "You're to be under this lady's care," said her mother. "Take her, Mrs. Wix," she added, addressing the figure impatiently and giving the child a push from which Maisie gathered that she wished to set Mrs. Wix an example of energy. Mrs. Wix took her and, Maisie felt the next day, would never let her go. She had struck her at first, just after Miss Overmore, as terrible; but something in her voice at the end of an hour touched the little girl in a spot that had never even yet been reached. Maisie knew later what it was, though doubtless she couldn't have made a statement of it: these were things that a few days' talk with Mrs. Wix quite lighted up. The principal one was a matter Mrs. Wix herself always immediately mentioned: she had had a little girl quite of her own, and the little girl had been killed on the spot. She had had absolutely nothing else in all the world, and her affliction had broken her heart. It was comfortably established between them that Mrs. Wix's heart was broken. What Maisie felt was that she had been, with passion and anguish, a mother, and that this was something Miss Overmore was not, something (strangely, confusingly) that mamma was even less.
So it was that in the course of an extraordinarily short time she found herself as deeply absorbed in the image of the little dead Clara Matilda, who, on a crossing in the Harrow Road, had been knocked down and crushed by the cruellest of hansoms, as she had ever found herself in the family group made vivid by one of seven. "She's your little dead sister," Mrs. Wix ended by saying, and Maisie, all in a tremor of curiosity and compassion, addressed from that moment a particular piety to the small accepted acquisition. Somehow she wasn't a real sister, but that only made her the more romantic. It contributed to this view of her that she was never to be spoken of in that character to any one else—least of all to Mrs. Farange, who wouldn't care for her nor recognise the relationship: it was to be just an unutterable and inexhaustible little secret with Mrs. Wix. Maisie knew everything about her that could be known, everything she had said or done in her little mutilated life, exactly how lovely she was, exactly how her hair was curled and her frocks were trimmed. Her hair came down far below her waist—it was of the most wonderful golden brightness, just as Mrs. Wix's own had been a long time before. Mrs. Wix's own was indeed very remarkable still, and Maisie had felt at first that she should never get on with it. It played a large part in the sad and strange appearance, the appearance as of a kind of greasy greyness, which Mrs. Wix had presented on the child's arrival. It had originally been yellow, but time had turned that elegance to ashes, to a turbid sallow unvenerable white. Still excessively abundant, it was dressed in a manner of which the poor lady appeared not yet to have recognised the supersession, with a glossy braid, like a large diadem, on the top of the head, and behind, at the nape of the neck, a dingy rosette like a large button. She wore glasses which, in humble reference to a divergent obliquity of vision, she called her straighteners, and a little ugly snuff-coloured dress trimmed with satin bands in the form of scallops and glazed with antiquity. The straighteners, she explained to Maisie, were put on for the sake of others, whom, as she believed, they helped to recognise the bearing, otherwise doubtful, of her regard; the rest of the melancholy garb could only have been put on for herself. With the added suggestion of her goggles it reminded her pupil of the polished shell or corslet of a horrid beetle. At first she had looked cross and almost cruel; but this impression passed away with the child's increased perception of her being in the eyes of the world a figure mainly to laugh at. She was as droll as a charade or an animal toward the end of the "natural history"—a person whom people, to make talk lively, described to each other and imitated. Every one knew the straighteners; every one knew the diadem and the button, the scallops and satin bands; every one, though Maisie had never betrayed her, knew even Clara Matilda.
It was on account of these things that mamma got her for such low pay, really for nothing: so much, one day when Mrs. Wix had accompanied her into the drawing-room and left her, the child heard one of the ladies she found there—a lady with eyebrows arched like skipping-ropes and thick black stitching, like ruled lines for musical notes on beautiful white gloves—announce to another. She knew governesses were poor; Miss Overmore was unmentionably and Mrs. Wix ever so publicly so. Neither this, however, nor the old brown frock nor the diadem nor the button, made a difference for Maisie in the charm put forth through everything, the charm of Mrs. Wix's conveying that somehow, in her ugliness and her poverty, she was peculiarly and soothingly safe; safer than any one in the world, than papa, than mamma, than the lady with the arched eyebrows; safer even, though so much less beautiful, than Miss Overmore, on whose loveliness, as she supposed it, the little girl was faintly conscious that one couldn't rest with quite the same tucked-in and kissed-for-good-night feeling. Mrs. Wix was as safe as Clara Matilda, who was in heaven and yet, embarrassingly, also in Kensal Green, where they had been together to see her little huddled grave. It was from something in Mrs. Wix's tone, which in spite of caricature remained indescribable and inimitable, that Maisie, before her term with her mother was over, drew this sense of a support, like a breast-high banister in a place of "drops," that would never give way. If she knew her instructress was poor and queer she also knew she was not nearly so "qualified" as Miss Overmore, who could say lots of dates straight off (letting you hold the book yourself), state the position of Malabar, play six pieces without notes and, in a sketch, put in beautifully the trees and houses and difficult parts. Maisie herself could play more pieces than Mrs. Wix, who was moreover visibly ashamed of her houses and trees and could only, with the help of a smutty forefinger, of doubtful legitimacy in the field of art, do the smoke coming out of the chimneys. They dealt, the governess and her pupil, in "subjects," but there were many the governess put off from week to week and that they never got to at all: she only used to say "We'll take that in its proper order." Her order was a circle as vast as the untravelled globe. She had not the spirit of adventure—the child could perfectly see how many subjects she was afraid of. She took refuge on the firm ground of fiction, through which indeed there curled the blue river of truth. She knew swarms of stories, mostly those of the novels she had read; relating them with a memory that never faltered and a wealth of detail that was Maisie's delight. They were all about love and beauty and countesses and wickedness. Her conversation was practically an endless narrative, a great garden of romance, with sudden vistas into her own life and gushing fountains of homeliness. These were the parts where they most lingered; she made the child take with her again every step of her long, lame course and think it beyond magic or monsters. Her pupil acquired a vivid