Father Stafford. Anthony Hope

persons engaged in their lawful business, a man who makes for himself a position as a prominent champion of any view becomes, to a considerable extent, a public character; and Charles Stafford's career had excited much notice. Although still a young man but little past thirty, he was adored by a powerful body of followers, and received the even greater compliment of hearty detestation from all, both within and without the Church, to whom his views seemed dangerous and pernicious. He had administered a large parish with distinction; he had written a treatise of profound patristic learning and uncompromising sacerdotal pretensions. He had defended the institution of a celibate priesthood, and was known to have treated the Reformation with even less respect than it has been of late accustomed to receive. He had done more than all this: he had impressed all who met him with a character of absolute devotion and disinterestedness, and there were many who thought that a successor to the saints might be found in Stafford, if anywhere in this degenerate age. Yet though he was, or was thought to be, all this, his friends were yet loud in declaring—and ever foremost among them Eugene Lane—that a better, simpler, or more modest man did not exist. For the weakness of humanity, it may be added that Stafford's appearance gave him fully the external aspect most suitable to the part his mind urged him to play; for he was tall and spare; his fine-cut face, clean shaven, displayed the penetrating eyes, prominent nose, and large mobile mouth that the memory associates with pictures of Italian prelates who were also statesmen. These personal characteristics, combined with his attitude on Church matters, caused him to be familiarly known among the flippant by the nickname of the Pope.

      Eugene Lane stood upon his hearthrug, conversing with the Bishop of Bellminster and covertly regarding his betrothed out of the corner of an apprehensive eye. They had not met alone since the morning, and he was naturally anxious to find out whether that unlucky "Claudia" had been overheard. Claudia herself was listening to the conversation of Mr. Morewood, the well-known artist; and Stafford, who had only arrived just before dinner, was still busy in answering Mrs. Lane's questions about his health. Sir George Merton had failed at the last moment, "like a Radical," said Claudia.

      "I am extremely interested in meeting your friend Father Stafford," said the Bishop.

      "Well, he's a first-rate fellow," replied Eugene. "I'm sure you'll like him."

      "You young fellows call him the Pope, don't you?" asked his lordship, who was a genial man.

      "Yes. You don't mind, do you? It's not as if we called him the Archbishop of Canterbury, you know."

      "I shouldn't consider even that very personal," said the Bishop, smiling.

      Dinner was announced. Eugene gave the Bishop's wife his arm, whispering to Claudia as he passed, "Age before impudence"; and that young lady found that she had fallen to the lot of Stafford, whereat she was well pleased. Kate was paired with Haddington, and Mr. Morewood with Aunt Jane. The Bishop, of course, escorted the hostess.

      "And who," said he, almost as soon as he was comfortably settled to his soup, "is the young lady sitting by our friend the Father—the one, I mean, with dark hair, not Miss Bernard? I know her."

      "That's Lady Claudia Territon," said Mrs. Lane. "Very pretty, isn't she? and really a very good girl."

      "Do you say 'really' because, unless you did, I shouldn't believe it?" he asked, with a smile.

      Mrs. Lane had been moved by this idea, but not consciously and, a little distressed at suspecting herself of an unkindness, entertained the Bishop with an entirely fanciful catalogue of Claudia's virtues, which, being overheard by Bob Territon, who had no lady, and was at liberty to listen, occasioned him immense entertainment.

      Claudia, meanwhile, was drifting into a state of some annoyance. Stafford was very courteous and attentive, but he drank nothing, and apparently proposed to dine off dry bread. When she began to question him about his former parish, instead of showing the gratitude that might be expected, he smiled a smile that she found pleasure in describing as inscrutable, and said:

      "Please don't talk down to me, Lady Claudia."

      "I have been taught," responded Claudia, rather stiffly, "to talk about subjects in which my company is presumably interested."

      Stafford looked at her with some surprise. It must be admitted that he had become used to more submission than Claudia seemed inclined to give him.

      "I beg your pardon. You are quite right. Let us talk about it."

      "No, I won't. We will talk about you. You've been very ill, Father Stafford?"

      "A little knocked up."

      "I don't wonder!" she said, with an irritated glance at his plate, which was now furnished with a potato.

      He saw the glance.

      "It wasn't that," he said; "that suits me very well."

      Claudia knew that a pretty girl may say most things, so she said:

      "I don't believe it. You're killing yourself. Why don't you do as the Bishop does?"

      The Bishop, good man, was at this moment drinking champagne.

      "Men have different ways of living," he answered evasively.

      "I think yours is a very bad way. Why do you do it?"

      "I'm sure you will forgive me if I decline to discuss the question just now. I notice you take a little wine. You probably would not care to explain why."

      "I take it because I like it."

      "And I don't take it because I like it."

      Claudia had a feeling that she was being snubbed, and her impression was confirmed when Stafford, a moment afterward, turned to Kate Bernard, who sat on his left hand, and was soon deep in reminiscences of old visits to the Manor, with which Kate contrived to intermingle a little flattery that Stafford recognized only to ignore. They had known one another well in earlier days, and Kate was immensely pleased at finding her playfellow both famous and not forgetful.

      Eugene looked on from his seat at the foot of the table with silent wonder. Here was a man who might and indeed ought to talk to Claudia, and yet was devoting himself to Kate.

      "I suppose it's on the same principle that he takes water instead of champagne," he thought; but the situation amused him, and he darted at Claudia a look that conveyed to that young lady the urgent idea that she was, as boys say, "dared" to make Father Stafford talk to her. This was quite enough. Helped by the unconscious alliance of Haddington, who thought Miss Bernard had let him alone quite long enough, she seized her opportunity, and said in the softest voice:

      "Father Stafford?"

      Stafford turned his head, and found fixed upon him a pair of large, dark eyes, brimming over with mingled contrition and admiration.

      "I am so sorry—but—but I thought you looked so ill."

      Stafford was unpleasantly conscious of being human. The triumph of wickedness is a spectacle from which we may well avert our eyes. Suffice it to say that a quarter of an hour later Claudia returned Eugene's glance with a look of triumph and scorn.

      Meanwhile, trouble had arisen between the Bishop and Mr. Morewood. Morewood was an artist of great ability, originality, and skill; and if he had not attained the honors of the Academy, it was perhaps more of his own fault than that of the exalted body in question, as he always treated it with an ostentatious contumely. After all, the Academy must be allowed its feelings. Moreover, his opinions on many subjects were known to be extreme, and he was not chary of displaying them. He was sitting on Mrs. Lane's left, opposite the Bishop, and the latter had started with his hostess a discussion of the relation between religion and art. All went harmoniously for a time; they agreed that religion had ceased to inspire art, and that it was a very regrettable thing; and there, one would have thought the subject—not being a new one—might well have been left. Suddenly, however, Mr. Morewood broke in:

      "Religion has ceased to inspire art because it has lost its own inspiration, and having so ceased, it has lost its only use."

      The Bishop