Free Romola by George Eliot Page A

of the `Dionysiaca,' introduces Actreon exclaiming that he calls Teiresias happy, since, without dying, and with the loss of his eyesight merely, he had beheld Minerva unveiled, and thus, though blind, could for evermore carry her image in his soul."
    At this point in the reading, the daughter's hand slipped from the back of the chair and met her father's, which he had that moment uplifted; but she had not looked round, and was going on, though with a voice a little altered by some suppressed feeling, to read the Greek quotation from Nonnus, when the old man said—
    "Stay, Romola; reach me my own copy of Nonnus. It is a more correct copy than any in Poliziano's hands, for I made emendations in it which have not yet been communicated to any man. I finished it in 1477, when my sight was fast failing me."
    Romola walked to the farther end of the room, with the queenly step which was the simple action of her tall, finely–wrought frame, without the slightest conscious adjustment of herself.
    "Is it in the right place, Romola?" asked Bardo, who was perpetually seeking the assurance that the outward fact continued to correspond with the image which lived to the minutest detail in his mind.
    "Yes, father; at the west end of the room, on the third shelf from the bottom, behind the bust of Hadrian, above Apollonius Rhodius and Callimachus, and below Lucan and Silius Italious."
    As Romola said this, a fine ear would have detected in her clear voice and distinct utterance, a faint suggestion of weariness struggling with habitual patience. But as she approached her father and saw his arms stretched out a little with nervous excitement to seize the volume, her hazel eyes filled with pity; she hastened to lay the book on his lap, and kneeled down by him, looking up at him as if she believed that the love in her face must surely make its way through the dark obstruction that shut out everything else. At that moment the doubtful attractiveness of Romola's face, in which pride and passion seemed to be quivering in the balance with native refinement and intelligence, was transfigured to the most lovable womanliness by mingled pity and affection: it was evident that the deepest fount of feeling within her had not yet wrought its way to the less changeful features, and only found its outlet through her eyes.
    But the father, unconscious of that soft radiance, looked flushed and agitated as his hand explored the edges and back of the large book.
    "The vellum is yellowed in these thirteen years, Romola."
    "Yes, father," said Romola, gently; "but your letters at the back are dark and plain still—fine Roman letters; and the Greek character," she continued, laying the book open on her father's knee, "is more beautiful than that of any of your bought manuscripts."
    "Assuredly, child," said Bardo, passing his finger across the page, as if he hoped to discriminate line and margin. "What hired amanuensis can be equal to the scribe who loves the words that grow under his hand, and to whom an error or indistinctness in the text is more painful than a sudden darkness or obstacle across his path? And even these mechanical printers who threaten to make learning a base and vulgar thing—even they must depend on the manuscript over which we scholars have bent with that insight into the poet's meaning which is closely akin to the
mens divinior
of the poet himself; unless they would flood the world with grammatical falsities and inexplicable anomalies that would turn the very fountain of Parnassus into a deluge of poisonous mud. But find the passage in the fifth book, to which Poliziano refers—I know it very well."
    Seating herself on a low stool, close to her father's knee, Romola took the book on her lap and read the four verses containing the exclamation of Actreon.
    "It is true, Romola," said Bardo, when she had finished; "it is a true conception of the poet; for what is that grosser, narrower light by which men behold merely the petty scene around