The Life of Thomas Hardy
tation as a model of the employment of the painter's eye by the artificer of words:
They entered the Belvedere. In the lower part it was formed of close woodwork nailed crosswise, and had openings in the upper by way of windows.
The scratch of a striking light was heard, and a bright glow radiated from the interior of the building. The light gave birth to dancing leaf-shadows, stem-shadows, lustrous streaks, dots, sparkles, and threads of silver sheen of all imaginable variety and transcience. It awakened gnats, which flew towards it, revealed shiny gossamer threads, disturbed earthworms. Stephen gave but little attention to these phenomena, and less time. He saw in the summer-house a strongly-illuminated picture.
First, the face of his friend and preceptor, Henry Knight, between whom and himself an estrangement had arisen, not from any definite causes beyond those of absence, increasing age, and diverging sympathies.
Next, his bright particular star, Elfride. The face of Elfride was more womanly than when she had called herself his, but as clear and healthy as ever. Her plenteous twines of beautiful hair were looking much as usual, with the exception of a slight modification in their arrangement in deference to changing fashion.
Their two foreheads were close together, almost touching, and both were looking down. Elfride was holding her watch, Knight was holding the light with one hand, his left arm being round her waist. Part of the scene reached Stephen's eyes through the horizontal bars of woodwork, which crossed their forms like the ribs of a skeleton.
Knight's arm stole still further round the waist of Elfride.
"It is half-past eight," she said in a low voice, which had a peculiar music in it, seemingly born of a thrill of pleasure at the new proof that she was beloved.
The flame dwindled down, died away, and all was wrapped in a darkness to which the gloom before the illumination bore no[112]
