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 everything, the charm of Mrs. Wix's conveying that somehow, in her ugliness and her poverty, she was peculiarly and soothingly safe; safer than any one in the world, than papa, than mamma, than the lady with the arched eyebrows; safer even, though so much less beautiful, than Miss Overmore, on whose loveliness, as she supposed it, the little girl was faintly conscious that one couldn't rest with quite the same tucked-in and kissed-for-good-night feeling. Mrs. Wix was as safe as Clara Matilda, who was in heaven and yet, embarrassingly, also in Kensal Green, where they had been together to see her little huddled grave. It was from something in Mrs. Wix's tone, which in spite of caricature remained indescribable and inimitable, that Maisie, before her term with her mother was over, drew this sense of a support, like a breast-high banister in a place of "drops," that would never give way. If she knew her instructress was poor and queer she also knew she was not nearly so "qualified" as Miss Overmore, who could say lots of dates straight off (letting you hold the book yourself), state the position of Malabar, play six pieces without notes and, in a sketch, put in beautifully the trees and houses and difficult parts. Maisie herself could play more pieces than Mrs. Wix, who was moreover visibly ashamed of her houses and trees and could only, with the help of a smutty forefinger, of doubtful legitimacy in the field of art, do the smoke coming out of the chimneys. They dealt, the governess and her pupil, in "subjects," but there were many the governess put off from week to week and that they never got to at alclass="underline" she only used to say "We'll take that in its proper order." Her order was a circle as vast as the untravelled globe. She had not the spirit of adventure—the child could perfectly see how many subjects she was afraid of. She took refuge on the firm ground of fiction, through which indeed there curled the blue river of truth. She knew swarms of stories, mostly those of the novels she had read; relating them with a memory that never faltered and a wealth of detail that was Maisie's delight. They were all about love and beauty and countesses and wickedness. Her conversation was practically an endless narrative, a great garden of romance, with sudden vistas into her own life and gushing fountains of homeliness. These were the parts where they most lingered; she made the child take with her again every step of her long, lame course and think it beyond magic or monsters. Her pupil acquired a vivid vision of every one who had ever, in her phrase, knocked against her—some of them oh so hard!—every one literally but Mr. Wix, her husband, as to whom nothing was mentioned save that he had been dead for ages. He had been rather remarkably absent from his wife's career, and Maisie was never taken to see his grave.
V
The second parting from Miss Overmore had been bad enough, but this first parting from Mrs. Wix was much worse. The child had lately been to the dentist's and had a term of comparison for the screwed-up intensity of the scene. It was dreadfully silent, as it had been when her tooth was taken out; Mrs. Wix had on that occasion grabbed her hand and they had clung to each other with the frenzy of their determination not to scream. Maisie, at the dentist's, had been heroically still, but just when she felt most anguish had become aware of an audible shriek on the part of her companion, a spasm of stifled sympathy. This was reproduced by the only sound that broke their supreme embrace when, a month later, the "arrangement," as her periodical uprootings were called, played the part of the horrible forceps. Embedded in Mrs. Wix's nature as her tooth had been socketed in her gum, the operation of extracting her would really have been a case for chloroform. It was a hug that fortunately left nothing to say, for the poor woman's want of words at such an hour seemed to fall in with her want of everything. Maisie's alternate parent, in the outermost vestibule—he liked the impertinence of crossing as much as that of his late wife's threshold—stood over them with his open watch and his still more open grin, while from the only corner of an eye on which something of Mrs. Wix's didn't impinge the child saw at the door a brougham in which Miss Overmore also waited. She remembered the difference when, six months before, she had been torn from the breast of that more spirited protectress. Miss Overmore, then also in the vestibule, but of course in the other one, had been thoroughly audible and voluble; her protest had rung out bravely and she had declared that something—her pupil didn't know exactly what—was a regular wicked shame. That had at the time dimly recalled to Maisie the far-away moment of Moddle's great outbreak: there seemed always to be "shames" connected in one way or another with her migrations. At present, while Mrs. Wix's arms tightened and the smell of her hair was strong, she further remembered how, in pacifying Miss Overmore, papa had made use of the words "you dear old duck!"—an expression which, by its oddity, had stuck fast in her young mind, having moreover a place well prepared for it there by what she knew of the governess whom she now always mentally characterised as the pretty one. She wondered whether this affection would be as great as before: that would at all events be the case with the prettiness Maisie could see in the face which showed brightly at the window of the brougham.