g Redworth ask her when
her next book might be expected. He appeared to have an eagerness in
hurrying her to produce, and she had to say that she was not a nimble
writer. His flattering impatience was vexatious. He admired her work, yet
he did his utmost to render it little admirable. His literary taste was
not that of young Arthur Rhodes, to whom she could read her chapters,
appearing to take counsel upon them while drinking the eulogies: she
suspected him of prosaic ally wishing her to make money, and though her
exchequer was beginning to know the need of it, the author's lofty mind
disdained such sordidness: to be excused, possibly, for a failing
productive energy. She encountered obstacles to imaginative composition.
With the pen in her hand, she would fall into heavy musings; break a
sentence to muse, and not on the subject. She slept unevenly at night,
was drowsy by day, unless the open air was about her, or animating
friends. Redworth's urgency to get her to publish was particularly
annoying when she felt how greatly THE YOUNG MINISTER OF STATE would have
been improved had she retained the work to brood over it, polish,
re-write passages, perfect it. Her musings embraced long dialogues of
that work, never printed; they sprang up, they passed from memory;
leaving a distaste for her present work: THE CANTATRICE: far more
poetical than the preceding, in the opinion of Arthur Rhodes; and the
story was more romantic; modelled on a Prima Donna she had met at the
musical parties of Henry Wilmers, after hearing Redworth tell of Charles
Rainer's quaint passion for the woman, or the idea of the woman. Diana
had courted her, studied and liked her. The picture she was drawing of
the amiable and gifted Italian, of her villain Roumanian husband, and of
the eccentric, high-minded, devoted Englishman, was good in a fashion;
but considering the theme, she had reasonable apprehension that her
CANTATRICE would not repay her for the time and labour bestowed on it. No
clever transcripts of the dialogue of the day occurred; no hair-breadth
'scapes, perils by sea and land, heroisms of the hero, fine shrieks of
the heroine; no set scenes of catching pathos and humour; no
distinguishable points of social satire--equivalent to a smacking of the
public on the chaps, which excites it to grin with keen discernment of
the author's intention. She did not appeal to the senses nor to a
superficial discernment. So she had the anticipatory sense of