But others of the sons and daughters of London were regretting her prolonged absence. The great and exclusive Whitmonby, who had dined once at Lady Wathin's table, and vowed never more to repeat that offence to his patience, lamented bitterly to Henry Wilmers that the sole woman worthy of sitting at a little Sunday evening dinner with the cream of the choicest men of the time was away wasting herself in that insane modern chase of the picturesque! He called her a perverted Celimene.

Redworth had less to regret than the rest of her male friends, as he was receiving at intervals pleasant descriptive letters, besides manuscript sheets of ANTONIA'S new piece of composition, to correct the proofs for the press, and he read them critically, he thought. He read them with a watchful eye to guard them from the critics. ANTONIA, whatever her faults as a writer, was not one of the order whose Muse is the Public Taste. She did at least draw her inspiration from herself, and there was much to be feared in her work, if a sale was the object. Otherwise Redworth's highly critical perusal led him flatly to admire. This was like her, and that was like her, and here and there a phrase gave him the very play of her mouth, the flash of her eyes. Could he possibly wish, or bear, to, have anything altered? But she had reason to desire an extended sale of the work. Her aim, in the teeth of her independent style, was at the means of independence—a feminine method of attempting to conciliate contraries; and after despatching the last sheets to the printer, he meditated upon the several ways which might serve to, assist her; the main way running thus in his mind:—We have a work of genius. Genius is good for the public. What is good for the public should be recommended by the critics. It should be. How then to come at them to, get it done? As he was not a member of the honourable literary craft, and regarded its arcana altogether externally, it may be confessed of him that he deemed the Incorruptible corruptible;—not, of course, with filthy coin slid into sticky palms. Critics are human, and exceedingly, beyond the common lot, when touched; and they are excited by mysterious hints of loftiness in authorship; by rumours of veiled loveliness; whispers, of a general anticipation; and also Editors can jog them. Redworth was rising to be a Railway King of a period soon to glitter with rails, iron in the concrete, golden in the visionary. He had already his Court, much against his will. The powerful magnetic attractions of those who can help the world to fortune, was exercised by him in spite of his disgust of sycophants. He dropped words to right and left of a coming work by ANTONIA. And who was ANTONIA?—Ah! there hung the riddle.—An exalted personage?—So much so that he dared not name her even in confidence to ladies; he named the publishers. To men he said he was at liberty to speak of her only as the most beautiful woman of her time. His courtiers of both sexes were recommended to read the new story, THE PRINCESS EGERIA.

Oddly, one great lady of his Court had heard a forthcoming work of this title spoken of by Percy Dacier, not a man to read silly fiction, unless there was meaning behind the lines: that is, rich scandal of the aristocracy, diversified by stinging epigrams to the address of discernible personages. She talked of THE PRINCESS EGERIA: nay, laid her finger on the identical Princess. Others followed her. Dozens were soon flying with the torch: a new work immediately to be published from the pen of the Duchess of Stars!—And the Princess who lends her title to the book is a living portrait of the Princess of Highest Eminence, the Hope of all Civilization.—Orders for copies of THE PRINCESS EGERIA reached the astonished publishers before the book was advertized.

Speaking to editors, Redworth complimented them with friendly intimations of the real authorship of the remarkable work appearing. He used a certain penetrative mildness of tone in saying that 'he hoped the book would succeed': it deserved to; it was original; but the originality might tell against it. All would depend upon a favourable launching of such a book. 'Mrs. Warwick? Mrs. Warwick?' said the most influential of editors, Mr. Marcus Tonans; 'what! that singularly handsome woman? . . The Dannisburgh affair? . . . She's Whitmonby's heroine. If she writes as cleverly as she talks, her work is worth trumpeting.' He promised to see that it went into good hands for the review, and a prompt review—an essential point; none of your long digestions of the contents.

Diana's indefatigable friend had fair assurances that her book would be noticed before it dropped dead to the public appetite for novelty. He was anxious next, notwithstanding his admiration of the originality of the conception and the cleverness of the writing, lest the Literary Reviews should fail 'to do it justice': he used the term; for if they wounded her, they would take the pleasure out of success; and he had always present to him that picture of the beloved woman kneeling at the fire-grate at The Crossways, which made the thought of her suffering any wound his personal anguish, so crucially sweet and saintly had her image then been stamped on him. He bethought him, in consequence, while sitting in the House of Commons; engaged upon the affairs of the nation, and honestly engaged, for he was a vigilant worker—that the Irish Secretary, Charles Raiser, with whom he stood in amicable relations, had an interest, to the extent of reputed ownership, in the chief of the Literary Reviews. He saw Raiser on the benches, and marked him to speak for him. Looking for him shortly afterward, the man was gone. 'Off to the Opera, if he's not too late for the drop,' a neighbour said, smiling queerly, as though he ought to know; and then Redworth recollected current stories of Raiser's fantastical devotion to the popular prima donna of the angelical voice.—He hurried to the Opera and met the vomit, and heard in the crushroom how divine she had been that night. A fellow member of the House, tolerably intimate with Raiser, informed him, between frightful stomachic roulades of her final aria, of the likeliest place where Raiser might be found when the Opera was over: not at his Club, nor at his chambers: on one of the bridges—Westminster, he fancied.

There was no need for Redworth to run hunting the man at so late an hour, but he was drawn on by the similarity in dissimilarity of this devotee of a woman, who could worship her at a distance, and talk of her to everybody. Not till he beheld Raiser's tall figure cutting the bridge- parapet, with a star over his shoulder, did he reflect on the views the other might entertain of the nocturnal solicitation to see 'justice done' to a lady's new book in a particular Review, and the absurd outside of the request was immediately smothered by the natural simplicity and pressing necessity of its inside.

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