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 obscure, still more than I hate what is false. Falsehood may at least approach to that degree of grandeur which belongs to crime; but obscurity is always mean, always seeking some subterfuge, always belonging to art."

Again she stopt; but Ellis, uncertain whether this remark were meant to introduce her confidence, or to censure her own secresy, waited an explanation in silence. Elinor was evidently, however, embarrassed, though anxious to persuade herself, as well as Ellis, that she was perfectly at her ease. She walked a quick pace up and down the room; then stopt, seemed pausing, hemmed to clear her voice for speech; and then walked backwards and forwards before the window, which she frequently opened and shut, without seeming to know that she touched it; till, at length, seized with sudden indignation against herself, for this failure of courage, she energetically exclaimed, "How paltry is shame where there can be no disgrace! —I disdain it!