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