wrong movement of any sort would break the charm, cause the curtain to fall upon the play. This was especially the case when his senses oscillated back from the objects that sprang up by the way, every one of which was a rich image of something he had longed for, to the most beautiful woman in England, who sat there, close to him, as completely for his benefit as if he had been a painter engaged to make her portrait. More than once he saw everything through a mist; his eyes were full of tears.
That evening they sat in the drawing-room after dinner, as the Princess had promised, or, as he was inclined to consider it, threatened him. The force of the threat was in his prevision that the ladies would make themselves fine, and that in contrast with the setting and company he should feel dingier than ever; having already on his back the only tolerably decent coat he possessed, and being unable to exchange it for a garment of the pattern that civilised people (so much he knew, if he couldn't emulate them), put on about eight o'clock. The ladies, when they came to dinner, looked festal indeed; but Hyacinth was able to make the reflection that he was more pleased to be dressed as he was dressed, meanly and unsuitably as it was, than he should have been to present such a figure as Madame Grandoni, in whose toggery there was something comical. He was coming more and more round to the sense that if the Princess didn't mind his poorness, in every way, he had no call to mind it himself. His present circumstances were not of his seeking—they had been forced upon him; they were not the fruit of a disposition to push. How little the Princess minded—how much, indeed, she enjoyed the consciousness that in having him about her in that manner she
