grammars in Christminster? He might slip a letter inside the case of the instrument, and it would be sure to reach the desired eyes. Why not ask him to send any old second-hand copies, which would have the charm of being mellowed by the university atmosphere?
To tell his aunt of his intention would be to defeat it. It was necessary to act alone.
After a further consideration of a few days he did act, and on the day of the piano's departure, which happened to be his next birthday, clandestinely placed the letter inside the packing-case, directed to his much-admired friend, being afraid to reveal the operation to his aunt Drusilla, lest she should discover his motive, and compel him to abandon his scheme.
The piano was despatched, and Jude waited days and weeks, calling every morning at the cottage post-office before his great-aunt was stirring. At last a packet did indeed arrive at the village, and he saw from the ends of it that it contained two thin books. He took it away into a lonely place, and sat down on a felled elm to open it.
Ever since his first ecstasy or vision of Christminster and its possibilities, Jude had meditated much and curiously on the probable sort of process that was involved in turning the expressions of one language into those of another. He concluded that a grammar of the required tongue would contain, primarily, a rule, prescription, or clew of the nature of a secret cipher, which, once known, would enable him, by merely applying it, to change at will all words of his own speech into those of the foreign one. His childish idea was, in fact, a pushing to the extremity of mathematical precision what is everywhere known as Grimm's Law—an aggrandizement of rough rules to ideal completeness. Thus he assumed that the words of the required language were always to be found somewhere latent in the words of the given language by those who had the art to uncover them, such art being furnished by the books aforesaid.
