He was beginning to feel on Mirah's behalf something of what he had felt for himself in his seraphic boyish time, when Sir Hugo asked him if he would like to be a great singer--an indignant dislike to her being remarked on in a free and easy way, as if she were an imported commodity disdainfully paid for by the fashionable public, and he winced the more because Mordecai, he knew, would feel that the name "Jewess" was taken as a sort of stamp like the lettering of Chinese silk. In this susceptible mood he saw the Grandcourts enter, and was immediately appealed to by Hans about "that Vandyke duchess of a beauty." Pray excuse Deronda that in this moment he felt a transient renewal of his first repulsion from Gwendolen, as if she and her beauty and her failings were to blame for the undervaluing of Mirah as a woman--a feeling something like class animosity, which affection for what is not fully recognized by others, whether in persons or in poetry, rarely allows us to escape. To Hans admiring Gwendolen with his habitual hyperbole, he answered, with a sarcasm that was not quite good-natured-"I thought you could admire no style of woman but your Berenice."
"That is the style I worship--not admire," said Hans. "Other styles of women I might make myself wicked for, but for Berenice I could make myself--well, pretty good, which is something much more difficult."
"Hush," said Deronda, under the pretext that the singing was going to begin. He was not so delighted with the answer as might have been expected, and was relieved by Hans's movement to a more advanced spot.
Deronda had never before heard Mirah sing "O patria mia." He knew well Leopardi's fine Ode to Italy (when Italy sat like a disconsolate mother in chains, hiding her face on her knees and weeping), and the few selected words were filled for him with the grandeur of the whole, which seemed to breath an inspiration through the music. Mirah singing this, made Mordecai more than ever one presence with her. Certain words not included in the song nevertheless rang within Deronda as harmonies from the invisible-"Non ti difende Nessun dè tuoi! L'armi, qua l'armi: io solo Combatteró, procomberó sol io"-- [Footnote: Do none of thy children defend thee? Arms! bring me arms! alone I will fight, alone I will fall.] they seemed the very voice of that heroic passion which is falsely said to devote itself in vain when it achieves the god-like end of manifesting unselfish love. And that passion was present to Deronda now as the vivid image of a man dying helplessly away from the possibility of battle.