Little Mexican and Other Stories, by Aldous Huxley

SOME people I know can look back over the long series of their childish holidays and see in their memory always a different landscape—chalk downs or Swiss mountains; a blue and sunny sea or the grey, ever-troubled fringe of the ocean; heathery moors under the cloud with far away a patch of sunlight on the hills, golden as happiness and, like happiness, remote, precarious, impermanent, or the untroubled waters of Como, the cypresses and the Easter roses.

I envy them the variety of their impressions. For it is good to have seen something of the world with childish eyes, disinterestedly and uncritically, observing not what is useful or beautiful and interesting, but only such things as, to a being less than four feet high and having no knowledge of life or art, seem immediately significant. It is the beggars, it is the green umbrellas under which the cabmen sit when it rains, not Brunelleschi’s dome, not the extortions of the hotel-keeper, not the tombs of the Medici that impress the childish traveller.[2] Such impressions, it is true, are of no particular value to us when we are grown up. (The famous wisdom of babes, with those childish intimations of immortality and all the rest, never really amounted to very much; and the man who studies the souls of children in the hope of finding out something about the souls of men is about as likely to discover something important as the man who thinks he can explain Beethoven by referring him to the savage origins of music or religion by referring it to the sexual instincts.) None the less, it is good to have had such childish impressions, if only for the sake of comparing (so that we may draw the philosophic moral) what we saw of a place when we were six or seven with what we see again at thirty.

My holidays had no variety. From the time when I first went to my preparatory school to the time when my parents came back for good from India—I was sixteen or seventeen then, I suppose—they were all passed with my Uncle Spencer. For years the only places on the earth’s surface of which I had any knowledge were Eastbourne, where I was at school; Dover (and that reduced itself to the harbour and[3] station), where I embarked; Ostend, where Uncle Spencer met me; Brussels, where we changed trains; and finally Longres in Limburg, where my Uncle Spencer owned the sugar factory, which his mother, my grandmother, had inherited in her turn from her Belgian father, and had his home.

Hanging over the rail of the steamer as it moved slowly, stern foremost, through the narrow gullet of Ostend harbour, I used to strain my eyes, trying to pick out from among the crowd at the quay’s edge the small, familiar figure. And always there he was, waving his coloured silk handkerchief, shouting inaudible greetings and advice, getting in the way of the porters and ticket-collectors, fidgeting with a hardly controllable impatience behind the barrier, until at last, squeezed and almost suffocated amongst the grown men and women—whom the process of disembarkation transformed as though by some malevolent Circean magic into brute beasts, reasonless and snarling—I struggled to shore, clutching in one hand my little bag and with the other holding to my head, if it was summer, a speckled straw, gaudy with the school colours;[4] if winter, a preposterous bowler, whose eclipsing melon crammed over my ears made me look like a child in a comic paper pretending to be grown up.

“Well, here you are, here you are,” my Uncle Spencer would say, snatching my bag from me. “Eleven minutes late.” And we would dash for the custom-house as though our lives depended on getting there before the other trans-beasted passengers.

My Uncle Spencer was a man of about forty when first I came from my preparatory school to stay with him. Thin he was, rather short, very quick, agile, and impulsive in his movements, with small feet and small, delicate hands. His face was narrow, clear-cut, steep, and aquiline; his eyes dark and extraordinarily bright, deeply set under overhanging brows; his hair was black, and he wore it rather long, brushed back from his forehead. At the sides of his head it had already begun to go grey, and above his ears, as it were, two grey wings were folded against his head, so that, to look at him, one was reminded of Mercury in his winged cap.

“Hurry up!” he called. And I scampered after him. “Hurry up!”[5] But of course there was no use whatever in our hurrying; for even when we had had my little hand-bag examined, there was always the registered trunk to wait for; and that, for my Uncle Spencer, was agony. For though our places in the Brussels express were reserved, though he knew that the train would not in any circumstances start without us, this intellectual certainty was not enough to appease his passionate impatience, to allay his instinctive fears.

“Terribly slow,” he kept repeating. “Terribly slow.” And for the hundredth time he looked at his watch. “Dites-moi,” he would say, yet once more, to the sentry at the door of the customs-house, “le grand bagage...?” until in the end the fellow, exasperated by these questions which it was not his business to answer, would say something rude; upon which my Uncle Spencer, outraged, would call him mal élevé and a grossier personnage—to the fury of the sentry but correspondingly great relief of his own feelings; for after such an outburst he could wait in patience for a good five minutes, so far forgetting his anxiety about the trunk that he actually began[6] talking to me about other subjects, asking how I had got on this term at school, what was my batting average, whether I liked Latin, and whether Old Thunderguts, which was the name we gave to the headmaster on account of his noble baritone, was still as ill-tempered as ever.

But at the end of the five minutes, unless the trunk had previously appeared, my Uncle Spencer began looking at his watch again.

“Scandalously slow,” he said. And addressing himself to another official, “Dites-moi, monsieur, le grand bagage...?”

But when at last we were safely in the train and there was nothing to prevent him from deploying all the graces and amiabilities of his character, my Uncle Spencer, all charm and kindness now, devoted himself wholeheartedly to me.

“Look!” he said; and from the pocket of his overcoat he pulled out a large and dampish parcel of whose existence my nose had long before made me aware. “Guess what’s in here.”

And prawns it was, a whole kilo of them. And there we sat in opposite[7] corners of our first-class carriage, with the little folding table opened out between us and the pink prawns on the table, eating with infinite relish and throwing the rosy carapaces, the tails, and the sucked heads out of the window. And the Flemish plain moved past us; the long double files of poplars, planted along the banks of the canals, along the fringes of the high roads, moving as we moved, marched parallel with our course or presented, as we crossed them at right angles, for one significant flashing moment the entrance to Hobbema’s avenue. And now the belfries of Bruges beckoned from far off across the plain; a dozen more shrimps and we were roaring through its station, all gloom and ogives in honour of Memling and the Gothic past. By the time we had eaten another hectogram of prawns, the modern quarter of Ghent was reminding us that art was only five years old and had been invented in Vienna. At Alost the factory chimneys smoked; and before we knew where we were, we were almost on the outskirts of Brussels, with two or three hundred grammes of sea-fruit still intact on the table before us.

[8]“Hurry up!” cried my Uncle Spencer, threatened by another access of anxiety. “We must finish them before we get to Brussels.”

And during the last five miles we ate furiously, shell and all; there was hardly time even to spit out the heads and tails.

“Nothing like prawns,” my Uncle Spencer never failed to say, as the express drew slowly into the station at Brussels, and the last tails and whiskers with the fishy paper were thrown out of the window. “Nothing like prawns when the brain is tired. It’s the phosphorus, you know. After all your end-of-term examinations you need them.” And then he patted me affectionately on the shoulder.

How often since then have I repeated in all earnestness my Uncle Spencer’s words. “It’s the phosphorus,” I assure my fagged friends, as I insist that they shall make their lunch off shellfish. The words come gushing spontaneously out of me; the opinion that prawns and oysters are good for brain-fag is very nearly one of my fundamental and, so to say, instinctive beliefs. But sometimes, as I say the words, suddenly I think of[9] my Uncle Spencer. I see him once more sitting opposite me in a corner of the Brussels express, his eyes flashing, his thin face expressively moving as he talks, while his quick, nervous fingers pick impatiently at the pink carapaces or with a disdainful gesture drop a whiskered head into the Flemish landscape outside the open window. And remembering my Uncle Spencer, I find myself somehow believing less firmly than I did in what I have been saying. And I wonder with a certain sense of disquietude how many other relics of my Uncle Spencer’s spirit I still carry, all unconsciously, about with me.

How many of our beliefs—more serious even than the belief that prawns revive the tired brain—come to us haphazardly from sources far less trustworthy than my Uncle Spencer! The most intelligent men will be found holding opinions about certain things, inculcated in them during their childhood by nurses or stable-boys. And up to the very end of our adolescence, and even after, there are for all of us certain admired beings, whose words sink irresistibly into our minds, generating there[10] beliefs which reason does not presume to question, and which though they may be quite out of harmony with all our other opinions persist along with them without our ever becoming aware of the contradictions between the two sets of ideas. Thus an emancipated young man, whose father happens to have been a distinguished Indian civilian, is an ardent apostle of liberty and self-determination; but insists that the Indians are and for ever will be completely incapable of governing themselves. And an art critic, extremely sound on Vlaminck and Marie Laurencin, will praise as masterly and in the grand manner—and praise sincerely, for he genuinely finds them so—the works of an artist whose dim pretentious paintings of the Tuscan landscape used to delight, because they reminded her of her youth, an old lady, now dead, but whom as a very young man he greatly loved and admired.

My Uncle Spencer was for me, in my boyhood, one of these admired beings, whose opinions possess a more than earthly value for the admiring listener. For years my most passionately cherished beliefs were his. Those opinions which[11] I formed myself, I held more diffidently, with less ardour; for they, after all, were only the fruits of my own judgment and observation, superficial rational growths; whereas the opinions I had taken from my Uncle Spencer—such as this belief in the curative properties of prawns—had nothing to do with my reason, but had been suggested directly into the sub-rational depths, where they seemed to attach themselves, like barnacles, to the very keel and bottom of my mind. Most of them, I hope, I have since contrived to scrape off; and a long, laborious, painful process it has been. But there are still, I dare say, a goodly number of them left, so deeply ingrained and grown in, that it is impossible for me to be aware of them. And I shall go down to my grave making certain judgments, holding certain opinions, regarding certain things and actions in a certain way—and the way, the opinions, the judgments will not be mine, but my Uncle Spencer’s; and the obscure chambers of my mind will to the end be haunted by his bright, erratic, restless ghost.

There are some people whose habits of thought a boy or a young man might,[12] with the greatest possible advantage to himself, make his own. But my Uncle Spencer was not one of them. His active mind darted hither and thither too wildly and erratically for it to be a safe guide for an inexperienced understanding. It was all too promptly logical to draw conclusions from false premises, too easily and enthusiastically accepted as true. Living as he did in solitude—in a mental solitude; for though he was no recluse and took his share in all social pleasures, the society of Longres could not offer much in the way of high intellectual companionship—he was able to give free play to the native eccentricity of his mind. Having nobody to check or direct him, he would rush headlong down intellectual roads that led nowhere or into morasses of nonsense. When, much later, I used to amuse myself by listening on Sunday afternoons to the speakers at Marble Arch, I used often to be reminded of my Uncle Spencer. For they, like Uncle Spencer, lived in solitude, apart from the main contemporary world of ideas, unaware, or so dimly aware that it hardly counted, of the very existence of organised and systematic science, not knowing[13] even where to look for the accumulated stores of human knowledge. I have talked in the Park to Bible students who boasted that during the day they cobbled or sold cheese, while at night they sat up learning Hebrew and studying the critics of the Holy Book. And I have been ashamed of my own idleness, ashamed of the poor use I have made of my opportunities. These humble scholars heroically pursuing enlightenment are touching and noble figures—but how often, alas, pathetically ludicrous too! For the critics my Bible students used to read and meditate upon were always at least three-quarters of a century out of date—exploded Tübingen scholars or literal inspirationalists; their authorities were always books written before the invention of modern historical research; their philology was the picturesque lucus a non lucendo, bloody from by-our-Lady type; their geology had irrefutable proofs of the existence of Atlantis; their physiology, if they happened to be atheists, was obsoletely mechanistic, if Christians, merely providential. All their dogged industry, all their years of heroic striving, had been completely[14] wasted—wasted, at any rate, so far as the increase of human knowledge was concerned, but not for themselves, since the labour, the disinterested ambition, had brought them happiness.

My Uncle Spencer was spiritually a cousin of these Hyde Park orators and higher critics. He had all their passion for enlightenment and profound ideas, but not content with concentrating, like them, on a single subject such as the Bible, he allowed himself to be attracted by everything under the sun. The whole field of history, of science (or rather what my Uncle Spencer thought was science), of philosophy, religion, and art was his province. He had their industry too—an industry, in his case, rather erratic, fitful, and inconstant; for he would start passionately studying one subject, to turn after a little while to another whose aspect seemed to him at the moment more attractive. And like them he displayed—though to a less pronounced degree, since his education had been rather better than theirs (not much better, however, for he had never attended any seat of learning but one of our oldest and most hopeless public[15] schools)—he displayed a vast unawareness of contemporary thought and an uncritical faith in authorities which to a more systematically educated man would have seemed quite obviously out of date; coupled with a profound ignorance of even the methods by which one could acquire a more accurate or at any rate a more “modern” and fashionable knowledge of the universe.

My Uncle Spencer had views and information on almost every subject one cared to mention; but the information was almost invariably faulty and the judgments he based upon it fantastic. What things he used to tell me as we sat facing one another in the corners of our first-class carriage, with the prawns piled up in a little coralline mountain on the folding table between us! Fragments of his eager talk come back to me.

“The human race is descended from African pygmies. Adam was black and only four feet high....”

“Similia similibus curantur. Have you gone far enough with your Latin to know what that means?” (My Uncle Spencer[16] was an enthusiastic homœopathist, and the words of Hahnemann were to him as a mystic formula, a kind of Om mani padme hum, the repetition of which gave him an immense spiritual satisfaction.)

And once, I remember, as we were passing through the fabulous new station of Ghent—that station which fifteen or sixteen years later I was to see all smashed and gutted by the departing invaders—he began, apropos of a squad of soldiers standing on the platform, to tell me how a German professor had proved, mathematically, using the theories of ballistics and probabilities, that war was now impossible, modern quick-firing rifles and machine-guns being so efficient that it was, as my Uncle Spencer put it, “sci-en-tif-ic-ally impossible” for any body of men to remain alive within a mile of a sufficient number of mitrailleuses, moving backwards and forwards through the arc of a circle and firing continuously all the time. I passed my boyhood in the serene certainty that war was now a thing of the past.

Sometimes he would talk to me earnestly across the prawns of the cosmogonies of Boehme or Swedenborg.[17] But all this was so exceedingly obscure that I never took it in at all. In spite of my Uncle Spencer’s ascendancy over my mind I was never infected by his mystical enthusiasms. These mental dissipations had been my Uncle Spencer’s wild oats. Reacting from the rather stuffily orthodox respectability of his upbringing, he ran into, not vice, not atheism, but Swedenborg. He had preserved—a legacy from his prosperous nineteenth-century youth—an easy optimism, a great belief in progress and the superiority of modern over ancient times, together with a convenient ignorance of the things about which it would have been disquieting to think too much. This agreeable notion of the world I sucked in easily and copiously with my little crustaceans; my views about the universe and the destinies of man were as rosy in those days as the prawns themselves.

It was not till seven or eight o’clock in the evening that we finally got to our destination. My Uncle Spencer’s carriage—victoria or brougham, according to the season and the state of the weather—would be waiting for us at the station[18] door. In we climbed and away we rolled on our rubbered wheels in a silence that seemed almost magical, so deafeningly did common carts and the mere station cabs go rattling over the cobbles of the long and dismal Rue de la Gare. Even in the winter, when there was nothing to be seen of it but an occasional green gas-lamp, with a little universe of pavement, brick wall and shuttered window dependent upon it and created by it out of the surrounding darkness, the Rue de la Gare was signally depressing, if only because it was so straight and long. But in summer, when the dismal brick houses by which it was flanked revealed themselves in the evening light, when the dust and the waste-paper came puffing along it in gusts of warm, stale-smelling wind, then the street seemed doubly long and disagreeable. But, on the other hand, the contrast between its sordidness and the cool, spacious Grand’ Place into which, after what seemed a carefully studied preparatory twisting and turning among the narrow streets of the old town, it finally debouched, was all the more striking and refreshing. Like a ship floating out from between the jaws of a[19] canyon into a wide and sunlit lake, our carriage emerged upon the Grand’ Place. And the moment was solemn, breathlessly anticipated and theatrical, as though we were gliding in along the suspended calling of the oboes and bassoons, and the violins trembling with amorous anxiety all around us, rolling silently and with not a hitch in the stage carpentry on to some vast and limelit stage where, as soon as we had taken up our position well forward and in the centre, something tremendous, one imagined, would suddenly begin to happen—a huge orchestral tutti from contrabass trombone to piccolo, from bell instrument to triangle, and then the tenor and soprano in such a duet as had never in all the history of opera been heard before.

But when it came to the point, our entrance was never quite so dramatic as all that. One found, when one actually got there, that one had mistaken one’s opera; it wasn’t Parsifal or Rigoletto; it was Pelléas or perhaps the Village Romeo and Juliet. For there was nothing grandiosely Wagnerian, nothing Italian and showy about the Grand’ Place at Longres. The last light was rosy on[20] its towers, the shadows of the promenaders stretched half across the place, and in the vast square the evening had room to be cool and quiet. The Gothic Church had a sharp steeple and the seminary by its side a tower, and the little seventeenth-century Hôtel de Ville, with its slender belfry, standing in the middle of that open space as though not afraid to let itself be seen from every side, was a miracle of gay and sober architecture; and the houses that looked out upon it had faces simple indeed, burgess and ingenuous, but not without a certain nobility, not without a kind of unassuming provincial elegance. In, then, we glided, and the suspended oboeings of our entrance, instead of leading up to some grand and gaudy burst of harmony, fruitily protracted themselves in this evening beauty, exulted quietly in the rosy light, meditated among the lengthening shadows; and the violins, ceasing to tremble with anticipation, swelled and mounted, like light and leaping towers, into the serene sky.

And if the clock happened to strike at the moment that we entered, how charmingly the notes of the mechanical[21] carillon harmonised with this imaginary music! At the hours, the bells in the high tower of the Hôtel de Ville played a minuet and trio, tinkly and formal like the first composition of an infant Boccherini, which lasted till fully three minutes past. At the half-hours it was a patriotic air of the same length. But at the quarters the bells no more than began a tune. Three or four bars and the music broke off, leaving the listener wondering what was to have followed, and attributing to this fragmentary stump of an air some rich outflowering in the pregnant and musical silence, some subtle development which should have made the whole otherwise enchanting than the completed pieces that followed and preceded, and whose charm, indeed, consisted precisely in their old-fashioned mediocrity, in the ancient, cracked, and quavering sweetness of the bells that played them, and the defects in the mechanism, which imparted to the rhythm that peculiar and unforeseeable irregularity which the child at the piano, tongue between teeth, eyes anxiously glancing from printed notes to fingers and back again, laboriously introduces[22] into the flawless evenness of “The Merry Peasant.”

This regular and repeated carillonage was and indeed still is—for the invaders spared the bells—an essential part of Longres, a feature like the silhouette of its three towers seen from far away between the poplars across the wide, flat land, characteristic and recognisable.

It is with a little laugh of amused delight that the stranger to Longres first hears the jigging airs and the clashes of thin, sweet harmony floating down upon him from the sky, note succeeding unmuted note, so that the vibrations mingle in the air, surrounding the clear outlines of the melody with a faint quivering halo of discord. After an hour or two the minuet and trio, the patriotic air, become all too familiar, while with every repetition the broken fragments at the quarters grow more and more enigmatic, pregnant, dubious, and irritating. The pink light fades from the three towers, the Gothic intricacies of the church sink into a flat black silhouette against the night sky; but still from high up in the topless darkness floats down, floats up and out over the house-tops,[23] across the flat fields, the minuet and trio. The patriotic air continues still, even after sunset, to commemorate the great events of 1830; and still the fragments between, like pencillings in the notebook of a genius, suggest to the mind in the scribble of twenty notes a splendid theme and the possibility of fifteen hundred variations. At midnight the bells are still playing; at half-past one the stranger starts yet again out of his sleep; re-evoked at a quarter to four his speculations about the possible conclusions of the unfinished symphony keep him awake long enough to hear the minuet and trio at the hour and to wonder how any one in Longres manages to sleep at all. But in a day or two he answers the question himself by sleeping unbrokenly through the hints from Beethoven’s notebook, and the more deliberate evocations of Boccherini’s childhood and the revolution of 1830. The disease creates its own antidote, and the habit of hearing the carillon induces gradually a state of special mental deafness in which the inhabitants of Longres permanently live.

Even as a small boy, to whom insomnia was a thing unknown, I found the bells,[24] for the first night or two after my arrival in Longres, decidedly trying. My Uncle Spencer’s house looked on to the Grand’ Place itself, and my window on the third floor was within fifty yards of the belfry of the Hôtel de Ville and the source of the aerial music. Three-year-old Boccherini might have been in the room with me whenever the wind came from the south, banging his minuet in my ears. But after the second night he might bang and jangle as much as he liked; there was no bell in Longres could wake me.

What did wake me, however—every Saturday morning at about half-past four or five—was the pigs coming into market. One had to have spent a month of Saturdays in Longres before one could acquire the special mental deafness that could ignore the rumbling of cart-wheels over the cobbles and the squealing and grunting of two or three thousand pigs. And when one looked out what a sight it was! All the Grand’ Place was divided up by rails into a multitude of pens and pounds, and every pound was seething with pink naked pigs that looked from above like so much Bergsonian élan vital[25] in a state of incessant agitation. Men came and went between the enclosures, talking, bargaining, critically poking potential bacon or ham with the point of a stick. And when the bargain was struck, the owner would step into the pen, hunt down the victim, and, catching it up by one leather ear and its thin bootlace of a tail, carry it off amid grunts that ended in the piercing, long-drawn harmonics of a squeal to a netted cart or perhaps to some other pen a little farther down the line. Brought up in England to regard the infliction of discomfort upon an animal as being, if anything, rather more reprehensible than cruelty to my fellow-humans, I remember being horrified by this spectacle. So, too, apparently was the German army of occupation. For between 1914 and 1918 no pig in the Longres market might be lifted by tail or ear, the penalty for disobedience being a fine of twenty marks for the first offence, a hundred for the second, and after that a term of forced labour on the lines of communication. Of all the oppressive measures of the invader there was hardly one which more profoundly irritated the Limburgian[26] peasantry. Nero was unpopular with the people of Rome, not because of his crimes and vices, not because he was a tyrant and a murderer, but for having built in the middle of the city a palace so large that it blocked the entrance to several of the main roads. If the Romans hated him, it was because his golden house compelled them to make a circuit of a quarter of a mile every time they wanted to go shopping. The little customary liberties, the right to do in small things what we have always done, are more highly valued than the greater, more abstract, and less immediate freedoms. And, similarly, most people will rather run the risk of catching typhus than take a few irksome sanitary precautions to which they are not accustomed. In this particular case, moreover, there was the further question: How is one to carry a pig except by its tail and ears? One must either throw the creature on its back and lift it up by its four cloven feet—a process hardly feasible, since a pig’s centre of gravity is so near the ground that it is all but impossible to topple him over. Or else—and this is what the people of Longres found themselves disgustedly[27] compelled to do—one must throw one’s arms round the animal and carry it clasped to one’s bosom as though it were a baby, at the risk of being bitten in the ear and with the certainty of stinking like a hog for the rest of the day.

The first Saturday after the departure of the German troops was a bad morning for the pigs. To carry a pig by the tail was an outward and visible symbol of recovered liberty; and the squeals of the porkers mingled with the cheers of the population and the trills and clashing harmonies of the bells awakened by the carilloneur from their four years’ silence.

By ten o’clock the market was over. The railings of the pens had been cleared away, and but for the traces on the cobbles—and those too the municipal scavengers were beginning to sweep up—I could have believed that the scene upon which I had looked from my window in the bright early light had been a scene in some agitated morning dream.

But more dream-like and fantastical was the aspect of the Grand’ Place when, every year during the latter part of August, Longres indulged in its traditional kermesse.[28] For then the whole huge square was covered with booths, with merry-go-rounds turning and twinkling in the sun, with swings and switchbacks, with temporary pinnacles rivalling in height with the permanent and secular towers of the town, and from whose summits one slid, whooping uncontrollably with horrified delight, down a polished spiral track to the ground below. There was bunting everywhere, there were sleek balloons and flags, there were gaudily painted signs. Against the grey walls of the church, against the whitewashed house-fronts, against the dark brickwork of the seminary and the soft yellow stucco of the gabled Hôtel de Ville, a sea of many colours beat tumultuously. And an immense and featureless noise that was a mingling of the music of four or five steam organs, of the voices of thousands of people, of the blowing of trumpets and whistles, the clashing of cymbals, the beating of drums, of shouting, of the howling of children, of enormous rustic laughter, filled the space between the houses from brim to brim—a noise so continuous and so amorphous that hearkening from my high window it was almost, after a time, as[29] though there were no noise at all, but a new kind of silence, in which the tinkling of the infant Boccherini’s minuet, the patriotic air, and the fragmentary symphonies had become for some obscure reason utterly inaudible.

And after sunset the white flares of acetylene and the red flares of coal-gas scooped out of the heart of the night a little private day, in which the fun went on more noisily than ever. And the gaslight striking up on to the towers mingled half-way up their shafts with the moonlight from above, so that to me at my window the belfries seemed to belong half to the earth, half to the pale silence overhead. But gradually, as the night wore on, earth abandoned its claims; the noise diminished; one after another the flares were put out, till at last the moon was left in absolute possession, with only a few dim greenish gas-lamps here and there, making no attempt to dispute her authority. The towers were hers down to the roots, the booths and the hooded roundabouts, the Russian mountains, the swings—all wore the moon’s livery of silver and black; and audible once more the bells seemed in[30] her honour to sound a sweeter, clearer, more melancholy note.

But it was not only from my window that I viewed the kermesse. From the moment that the roundabouts began to turn, which was as soon as the eleven o’clock Mass on the last Sunday but one in August was over, to the moment when they finally came to rest, which was at about ten or eleven on the night of the following Sunday, I moved almost unceasingly among the delights of the fair. And what a fair it was! I have never seen its like in England. Such splendour, such mechanical perfection in the swings, switchbacks, merry-go-rounds, towers, and the like! Such astonishing richness and variety in the side-shows! And withal such marvellous cheapness.

When one was tired of sliding and swinging, of being whirled and jogged, one could go and see for a penny the man who pulled out handfuls of his skin, to pin it up with safety-pins into ornamental folds and pleats. Or one could see the woman with no arms who opened a bottle of champagne with her toes and drank your health, lifting her glass to her lips with the same members. And[31] then in another booth, over whose entry there waved—a concrete symbol of good faith—a pair of enormous female pantaloons, sat the Fat Woman—so fat that she could (and would, you were told, for four sous extra), in the words of the Flemish notice at the door, which I prefer to leave in their original dialectical obscurity, “heur gezicht bet heur tiekes wassen.”

Next to the Fat Woman’s hutch was a much larger tent in which the celebrated Monsieur Figaro, with his wife and seven children, gave seven or eight times daily a dramatic version of the Passion of Our Saviour, at which even the priesthood was authorised to assist. The Figaro family was celebrated from one end of the country to another, and had been for I do not know how many years—forty or fifty at least. For there were several generations of Figaros; and if seven charming and entirely genuine children did indeed still tread the boards, it was not that the seven original sons and daughters of old M. Figaro had remained by some miracle perpetually young; but that marrying and becoming middle-aged they had produced little Figaros of their own, who in their turn gave rise to more,[32] so that the aged and original M. Figaro could count among the seven members of his suppositious family more than one of his great-grandchildren. So celebrated was M. Figaro that there was even a song about him, of which unfortunately I can remember only two lines:

But on what grounds and in what remote epoch of history he had been called “Le plus comique de la Belgique,” I was never able to discover. For the only part I ever saw the venerable old gentleman play was that of Caiaphas in the Passion of Our Saviour, which was one of the most moving, or at any rate one of the most harrowingly realistic, performances I ever remember to have seen; so much so, that the voices of the actors were often drowned by sobs and sometimes by the piercing screams of a child who thought that they were really and genuinely driving nails into the graceful young Figaro of the third generation, who played the part of the Saviour.

Not a day of my first kermesses passed without my going at least once, and[33] sometimes two or three times, to see the Figaros at their performance; partly, no doubt, because, between the ages of nine and thirteen, I was an extremely devout broad churchman, and partly because the rôle of the Magdalene was played by a little girl of twelve or thereabouts, with whom I fell in love, wildly, extravagantly, as one only can love when one is a child. I would have given fortunes and years of my life to have had the courage to go round to the back after the performance and talk to her. But I did not dare; and to give an intellectual justification for my cowardice, I assured myself that it would have been unseemly on my part to intrude upon a privacy which I invested with all the sacredness of the Magdalene’s public life, an act of sacrilege like going into church with one’s hat on. Moreover, I comforted myself, I should have profited little by meeting my inamorata face to face, since in all likelihood she spoke nothing but Flemish, and besides my own language I only spoke at that time a little French, with enough Latin to know what my Uncle Spencer meant when he said, “Similia similibus curantur.” My passion[34] for the Magdalene lasted through three kermesses, but waned, or rather suddenly came to an end, when, rushing to the first of the Figaros’ performances at the fourth, I saw that the little Magdalene, who was now getting on for sixteen, had become, like so many young girls in their middle teens, plump and moony almost to the point of grossness. And my love after falling to zero in the theatre was turned to positive disgust when I saw her, a couple of mornings later before the performance began, walking about the Grand’ Place in a dark blue blouse with a sailor collar, a little blue skirt down to her knees, and a pair of bright yellow boots lacing high up on her full-blown calves, which they compressed so tightly that the exuberant flesh overflowed on to the leather. The next year one of old M. Figaro’s great-grandchildren, who could hardly have been more than seven or eight, took her place on the stage. My Magdalene had left it—to get married, no doubt. All the Figaros married early: it was important that there should be no failure in the supply of juvenile apostles and holy women. But by that time I had ceased to take the slightest interest[35] either in her, her family, or their sacred performance; for it was about the time of my fifth kermesse, if I remember rightly, that my period of atheism began—an atheism, however, still combined with all my Uncle Spencer’s cheerful optimism about the universe.

My Uncle Spencer, though it would have annoyed him to hear any one say so, enjoyed the kermesse almost as much as I did. In all the year, August was his best month; it contained within its thirty-one days less cause for anxiety, impatience, or irritation than any other month; so that my Uncle Spencer, left in peace by the malignant world, was free to be as high-spirited, as gay and kind-hearted as he possibly could be. And it was astonishing what a stock of these virtues he possessed. If he could have lived on one of those happy islands where nature provides bananas and cocoanuts enough for all and to spare, where the sun shines every day and a little tattooing is all the raiment one needs, where love is easy, commerce unknown, and neither sin nor progress ever heard of—if he could have lived on one of these carefree islands, how entirely happy and[36] how uniformly a saint my Uncle Spencer would have been! But cares and worldly preoccupations too often overlaid his gaiety, stopped up the vents of his kindness; and his quick, nervous, and impulsive temperament—in the Augusts of his life a bubbling source of high spirits—boiled up in a wild impatience, in bilious fountains of irritation, whenever he found himself confronted by the passive malignity of matter, the stupidity or duplicity of man.

He was at his worst during the Christmas holidays; for the season of universal goodwill happened unfortunately to coincide with the season of sugar-making. With the first frosts the beetroots were taken out of the ground, and every day for three or four months three hundred thousand kilograms of roots went floating down the labyrinth of little canals that led to the washing-machines and the formidable slicers of my Uncle Spencer’s factory. From every vent of the huge building issued a sickening smell of boiled beetroot, mingled with the more penetrating stink of the waste products of the manufacture—the vegetable fibre drained of its juice, which was converted[37] on the upper floors of the building into cattle food and in the backyard into manure. The activity during those few months of the beetroot season was feverish, was delirious. A wild orgy of work, day and night, three shifts in the twenty-four hours. And then the factory was shut up, and for the rest of the year it stood there, alone, in the open fields beyond the fringes of the town, desolate as a ruined abbey, lifeless and dumb.

During the beetroot season my Uncle Spencer was almost out of his mind. Rimmed with livid circles of fatigue, his eyes glittered like the eyes of a madman; his thin face was no more than pale skin stretched over the starting bones. The slightest contrariety set him cursing and stamping with impatience; it was a torture for him to sit still. One Christmas holidays, I remember, something went wrong with the machinery at the factory, and for nearly five hours the slicers, the churning washers were still. My Uncle Spencer was almost a lost man when he got back to the Grand’ Place for dinner that evening. It was as though a demon had possessed him, and had only been cast out as the result of a horrible labour.[38] If the breakdown had lasted another hour, I really believe he would have gone mad.

No, Christmas at Uncle Spencer’s was never very cheerful. But by the Easter holidays he was beginning to recover. The frenzied making of sugar had given place to the calmer selling of it. My Uncle Spencer’s good nature began to have a chance of reasserting itself. By August, at the end of a long, calm summer, he was perfect; and the kermesse found him at his most exquisitely mellow. But with September a certain premonitory anxiety began to show itself; the machinery had to be overhauled, the state of the labour market examined, and when, about the twentieth of the month, I left again for school, it was a frowning, melancholy, and taciturn Uncle Spencer who travelled with me from Longres to Brussels, from Brussels to Ostend, and who, preoccupied with other thoughts, waved absent-mindedly from the quay, while the steamer slowly slid out through the false calm of the harbour mouth towards a menacing and equinoctial Channel.

But at the kermesse, as I have said, my Uncle Spencer was at his richest and[39] ripest. Enjoying it all as much as I did myself, he would spend long evenings with me, loitering among the attractions of the Grand’ Place. He was sad, I think, that the dignity of his position as one of the leading citizens of Longres did not permit him to mount with me on the roundabouts, the swings, and the mountain railways. But a visit to the side-shows was not inconsistent with his gravity; we visited them all. While professing to find the exhibition of freaks and monsters a piece of deplorable bad taste, my Uncle Spencer never failed to take me to look at all of them. It was a cardinal point in his theory of education that the young should be brought as early as possible into contact with what he called the Realities of Life. And as nothing, it was obvious, could be more of a Reality than the armless woman or the man who pinned up his skin with safety-pins, it was important that I should make an early acquaintance with them, in spite of the undoubtedly defective taste of the exhibition. It was in obedience to the same educational principle that my Uncle Spencer took me, one Easter holidays, to see the Lunatic Asylum. But the impression[40] made upon me by the huge prison-like building and its queer occupants—one of whom, I remember, gambolled playfully around me wherever I went, patting my cheeks or affectionately pinching my legs—was so strong and disagreeable, that for several nights I could not sleep; or if I did, I was oppressed by hideous nightmares that woke me, screaming and sweating in the dark. My Uncle Spencer had to renounce his intention of taking me to see the anatomy room in the hospital.

Scattered among the monsters, the rifle-ranges, and the games of skill were little booths where one could buy drink and victuals. There was one vendor, for instance, who always did a roaring trade by selling, for two sous, as many raw mussels as any one could eat without coughing. Torn between his belief in the medicinal qualities of shellfish and his fear of typhoid fever, my Uncle Spencer hesitated whether he ought to allow me to spend my penny. In the end he gave his leave. (“It’s the phosphorus, you know.”) I put down my copper, took my mussel, bit, swallowed, and violently coughed. The fish were[41] briny as though they had come out of the Dead Sea. The old vendor did an excellent business. Still, I have seen him sometimes looking anxious; for not all his customers were as susceptible as I. There were hardy young peasants who could put down half a pound of this Dead Sea fruit without turning a hair. In the end, however, the brine did its work on even the toughest gullet.

More satisfactory as food were the apple fritters, which were manufactured by thousands in a large temporary wooden structure that stood under the shade of the Hôtel de Ville. The Quality, like Uncle Spencer and myself, ate their fritters in the partial privacy of a number of little cubicles arranged like loose-boxes along one side of the building. My Uncle Spencer walked resolutely to our appointed box without looking to the left hand or to the right; and I was bidden to follow his example and not to show the least curiosity respecting the occupants of the other loose-boxes, whose entrances we might pass on the way to our own. There was a danger, my Uncle Spencer explained to me, that some of the families eating apple fritters in the[42] loose-boxes might be Blacks—Blacks, I mean, politically, not ethnically—while we were Liberals or even, positively, Freemasons. Therefore—but as a mere stranger to Longres I was never, I confess, quite able to understand the force of this conclusion—therefore, though we might talk to male Blacks in a café, have business relations and even be on terms of friendship with them, it was impossible for us to be known by the female Blacks, even under a booth and over the ferial apple fritters; so that we must not look into the loose-boxes for fear that we might see there a dear old friend who would be in the embarrassing situation of not being able to introduce us to his wife and daughters. I accepted, without understanding, this law; and it seemed to be a perfectly good law until the day came when I found that it forbade me to make the acquaintance of even a single one of the eleven ravishing daughters of M. Moulle. It seemed to me then a stupid law.

In front of the booths where they sold sweets my Uncle Spencer never cared to linger. It was not that he was stingy; on the contrary, he was extremely[43] generous. Nor that he thought it bad for me to eat sweets; he had a professional belief in the virtues of sugar. The fact was that the display in the booths embarrassed him. For already at the kermesse one began to see a sprinkling of those little objects in chocolate which, between the Feast of St. Nicholas and the New Year, fill the windows of every confectioner’s shop in Belgium. My Uncle Spencer had passed a third of a lifetime at Longres, but even after all these years he was still quite unable to excuse or understand the innocent coprophily of its inhabitants. The spectacle, in a sweet-shop window, of a little pot de chambre made of chocolate brought the blush of embarrassment to his cheeks. And when at the kermesse I asked him to buy me some barley-sugar or a few bêtises de Cambrai, he pretended not to have heard what I asked, but walked hastily on; for his quick eyes had seen, on one of the higher shelves of the confectioner’s booth, a long line of little brown pots, on whose equivocal aspect it would have been an agony to him if, standing there and waiting for the barley-sugar to be weighed out, I[44] had naively commented. Not that I ever should have commented upon them; for I was as thoroughly English as my Uncle Spencer himself—more thoroughly, indeed, as being a generation further away from the Flemish mother, the admixture of whose blood, however, had availed nothing against my uncle’s English upbringing. Me, too, the little brown pots astonished and appalled by their lack of reticence. If my companion had been another schoolboy of my own age, I should have pointed at the nameless things and sniggered. But since I was with my Uncle Spencer, I preserved with regard to them an eloquent and pregnant silence; I pretended not to have seen them, but so guiltily that my ignoring of them was in itself a comment that filled my poor Uncle Spencer with embarrassment. If we could have talked about them, if only we could have openly deplored them and denounced their makers, it would have been better. But obviously, somehow, we could not.

In the course of years, however, I learned, being young and still malleable, to be less astonished and appalled by the little chocolate pots and the other[45] manifestations of the immemorial Flemish coprophily. In the end I took them almost for granted, like the natives themselves, till finally, when St. Nicholas had filled the shops with these scatological symbols, I could crunch a pot or two between meals as joyously and with as little self-consciousness as any Belgian child. But I had to eat my chocolate, when it was moulded in this particular form, out of my Uncle Spencer’s sight. He, poor man, would have been horrified if he had seen me on these occasions.

On these occasions, then, I generally took refuge in the housekeeper’s room—and in any case, at this Christmas season, when the sugar was being made, it was better to sit in the cheerful company of Mlle Leeauw than with my gloomy, irritable, demon-ridden Uncle Spencer. Mlle Leeauw was almost from the first one of my firmest and most trusted friends. She was a woman of, I suppose, about thirty-five when I first knew her, rather worn already by a life of active labour, but still preserving a measure of that blonde, decided, and regular beauty which had been hers in girlhood. She was the daughter of a small[46] farmer near Longres, and had received the usual village education, supplemented, however, in recent years by what she had picked up from my Uncle Spencer, who occupied himself every now and then, in his erratic and enthusiastic way, with the improvement of her mind, lent her books from his library, and delivered lectures to her on the subjects that were at the moment nearest to his heart. Mlle Leeauw, unlike most women of her antecedents, felt an insatiable curiosity with regard to all that mysterious and fantastic knowledge which the rich and leisured keep shut up in their libraries; and not only in their books, as she had seen herself (for as a girl had she not served as nursery-maid in the house of that celebrated collector, the Comte de Zuitigny?) not only in their books, but in their pictures too—some of which, Mlle Leeauw assured me, a child could have painted, so badly drawn they were, so unlike life (and yet the count had given heaven only knew how much for them), in their Chinese pots, in the patterns of the very carpets on the floor. Whatever my Uncle Spencer gave her she read with eagerness, she listened attentively[47] to what he said; and there emerged, speck-like in the boundless blank ocean of her ignorance, a few little islands of strange knowledge. One, for example, was called homœopathy; another the Construction-of-Domes (a subject on which my Uncle Spencer was prepared to talk with a copious and perverse erudition for hours at a time; his thesis being that any mason who knew how to turn the vaulted roof of an oven could have built the cupolas of St. Peter’s, St. Paul’s, and Santa Maria del Fiore, and that therefore the praises lavished on Michelangelo, Wren, and Brunelleschi were entirely undeserved). A third was called Anti-Vivisection. A fourth Swedenborg....

The result of my Uncle Spencer’s teaching was to convince Mlle Leeauw that the knowledge of the rich was something even more fantastic than she had supposed—something unreal and utterly remote from life as it is actually lived, artificial and arbitrary, like the social activities of these same rich, who pass their time in one another’s houses, eating at one another’s expense, and being bored.

[48]This conviction of the complete futility of knowledge did not make her any the less eager to learn what my Uncle Spencer, whom she regarded as a mine and walking compendium of all human learning, could offer her. And she enchanted him by her respectful attentiveness, by the quickness of her understanding—for she was a woman of very great natural intelligence—and her eagerness for every fresh enlightenment. She did not confide to him her real opinion of knowledge, which was that it was a kind of curious irrelevant joke on the margin of life, worth learning for precisely the same reasons as it is worth learning to handle the fork at table—because it is one of the secrets of the rich. Admiring my Uncle Spencer sincerely, she yet took nothing that he taught her seriously, and though, when with him, she believed in millionth-of-a-grain doses and high spiritual potencies, she continued, when she felt out of sorts or I had overeaten, to resort to the old tablespoonful of castor-oil; though with him she was a convinced Swedenborgian, in church she was entirely orthodox; though in his presence she thought vivisection monstrous, she would tell me[49] with gusto of those happy childish days on the farm, when her father cut the pig’s throat, her mother held the beast by the hind-legs, her sister danced on the body to make the blood flow, and she held the pail under the spouting artery.

If to my Uncle Spencer his housekeeper appeared as he liked to see her, and not as at ordinary times she really was, it was not that she practised with him a conscious insincerity. Hers was one of those quick, sensitive natures that adapt themselves almost automatically to the social atmosphere in which at the moment they happen to be. Thus with well-bred people she had beautiful manners; but the peasants from whose stock she had sprung found her as full of a hearty Flemish gusto, as grossly and innocently coarse as themselves. The core of her being remained solidly peasant; but the upper and conscious part of her mind was, so to speak, only loosely fastened to the foundation, so that it could turn freely this way and that, without strain or difficulty, according to changing circumstances. My Uncle Spencer valued her, not only as a competent, intelligent[50] woman, which she always was in every company, but also because she was, considering her class and origins, so remarkably well-mannered and refined, which, except with him and his likes, she was not.

With me, however, Mlle Leeauw was thoroughly natural and Flemish. With her quick and, I might say, instinctive understanding of character, she saw that my abashed reaction to coprology, being of so much more recent date than that of my Uncle Spencer, was much less strong, less deeply rooted. At the same time, she perceived that I had no great natural taste for grossness, no leaning to what I may call Flemishism; so that in my presence she could be her natural Flemish self and thus correct an absurd acquired delicacy without running the risk of encouraging to any undue or distressing degree a congenital bias in the opposite direction. And I noticed that whenever Matthieu (or Tcheunke, as they called him), her cousin’s boy, came into town and paid a call on her, Mlle Leeauw became almost as careful and refined as she was with my Uncle Spencer. Not that Tcheunke shared[51] my uncle’s susceptibilities. On the contrary, he took such an immoderate delight in everything that was excrementitious that she judged it best not in any way to indulge him in his taste, just as she judged it best not to indulge my national prejudice in favour of an excessive reticence about these and similar matters. She was right, I believe, in both cases.

Mlle Leeauw had an elder sister, Louise—Louiseke, in the language of Longres, where they put the symbol of the diminutive after almost every name. Louiseke, like her sister, had never married; and considering the ugliness of the woman—for she resembled Mlle Leeauw as a very mischievous caricature resembles its original, that is to say, very closely and at the same time hardly at all, the unlikeness being emphasised in this case by the fact that nature had, for the shaping of certain features, drawn on other ancestral sources, and worse ones, than those from which her sister’s face had been made up—considering her ugliness, I repeat, it was not surprising. Though considering her dowry, perhaps it was. Louiseke was by no means rich; but she had the[52] five hundred francs a year, or thereabouts, which her sister also had, after their father died and the farm was sold, together with another two hundred inherited from an old aunt of her mother’s. This was a sufficient income to allow her to live without working in a leisure principally occupied by the performance of religious exercises.

On the outskirts of Longres there stands a small béguinage, long since abandoned by its Béguines, who are now all over Belgium a diminishing and nearly extinct community, and inhabited by a colony of ordinary poor folk. The little old gabled houses are built round the sides of a large grassy square, in the centre of which stands an abandoned church. Louiseke inhabited one of these houses, partly because the rent was very low, but also because she liked the religious associations of the place. There, in her peaked high house, looking out across the monastic quadrangle to the church, she could almost believe herself a genuine Béguine. Every morning she went out to hear early Mass, and on Sundays and days of festival she was assiduous in church almost to the point of supererogation.

[53]At my Uncle Spencer’s we saw a great deal of her; on her way to church, on her way home again, she never failed to drop in for a word with her sister Antonieke. Sometimes, I remember, she brought with her—hurrying on these occasions across the Grand’ Place with the quick, anxious tread, the frightened, suspicious glances to left and right, of a traveller crossing a brigand-haunted moor—a large bag of green baize, full of strange treasures: the silver crown and sceptre of Our Lady, the gilded diadem of the Child, St. Joseph’s halo, the jewelled silver book of I forget which Doctor of the Church, St. Dominick’s lilies, and a mass of silver hearts with gilded flames coming out of them. Louiseke, whose zeal was noted and approved of by M. le Curé, had the rare privilege of being allowed to polish the jewellery belonging to the images in the church. A few days before each of the important feasts the painted plaster saints were stripped of their finery and the spoil handed over to Louiseke, who, not daring to walk with her precious burden under her arm as far as her own house in the béguinage, slipped across the Grand’ Place to my Uncle[54] Spencer’s. There, on the table in Antonieke’s room, the green baize bag was opened, and the treasures, horribly dirty and tarnished after their weeks or months of neglect, were spread out in the light. A kind of paste was then made out of French chalk mixed with gin, which the two sisters applied to the crowns and hearts with nail-brushes, or if the work was fine and intricate, with an old toothbrush. The silver was then wiped dry with a cloth and polished with a piece of leather.

A feeling of manly pride forbade me to partake in what I felt to be a womanish labour; but I liked to stand by with my hands in my pockets, watching the sisters at work among these regal and sacred symbols, and trying to understand, so far as my limited knowledge of Flemish and my almost equally limited knowledge of life would admit, the gossip which Louiseke poured out incessantly in a tone of monotonous and unvarying censoriousness.

I myself always found Louiseke a little forbidding. She lacked the charm and the quality, which I can only call mellowness, of her sister; to me she seemed[55] harsh, sour-tempered, and rather malevolent. But it is very possible that I judged her unfairly; for, I confess, I could never quite get over her ugliness. It was a sharp, hooky, witch-like type of ugliness, which at that time I found particularly repulsive.

How difficult it is, even with the best will in the world, even for a grown and reasonable man, to judge his fellow-beings without reference to their external appearance! Beauty is a letter of recommendation which it is almost impossible to ignore; and we attribute too often the ugliness of the face to the character. Or, to be more precise, we make no attempt to get beyond the opaque mask of the face to the realities behind it, but run away from the ugly at sight without even trying to find out what they are really like. That feeling of instinctive dislike which ugliness inspires in a grown man, but which he has reason and strength enough of will to suppress, or at least conceal, is uncontrollable in a child. At three or four years old a child will run screaming from the room at the aspect of a certain visitor whose face strikes him as disagreeable. Why? Because the ugly[56] visitor is “naughty,” is a “bad man.” And up to a much later age, though we have succeeded in preventing ourselves from screaming when the ugly visitor makes his appearance, we do our best—at first, at any rate, or until his actions have strikingly proved that his face belies his character—to keep out of his way. So that if I always disliked Louiseke, it may be that she was not to blame, and that my own peculiar horror of ugliness made me attribute to her unpleasant characteristics which she did not in reality possess. She seemed to me, then, harsh and sour-tempered; perhaps she wasn’t; but, in any case, I thought so. And that accounts for the fact that I never got to know her, never tried to know her, as I knew her sister. Even after the extraordinary event which, a year or two after my first visit to Longres, was to alter completely the whole aspect of her life, I still made no effort to understand Louiseke’s character. How much I regret my remissness now! But, after all, one cannot blame a small boy for failing to have the same standards as a man. To-day, in retrospect, I find Louiseke’s character and actions in the highest degree[57] curious and worthy of study. But twenty years ago, when I knew her, her ugliness at first appalled me, and always, even after I had got over my disgust, surrounded her, for me, with a kind of unbreathable atmosphere, through which I could never summon the active interest to penetrate. Moreover, the event which now strikes me as so extraordinary, seemed to me then almost normal and of no particular interest. And since she died before my opinion about it had had time to change, I can only give a child’s impression of her character and a bald recital of the facts so far as I knew them.

It was, then, at my second or third kermesse that a side-show, novel not only for me (to whom indeed everything—fat women, fire-swallowers, elastic men, and down to the merest dwarfs and giants—was a novelty), but even to the oldest inhabitants of Longres, who might have been expected to have seen, in their time, almost everything that the world had ever parturated of marvels, rarities, monsters, and abortions, made its appearance on the Grand’ Place. This was a troupe of devil dancers, self-styled Tibetan for the sake of the name’s high-sounding[58] and mysterious ring; but actually made up of two expatriated Hindus and a couple of swarthy meridional Frenchmen, who might pass at a pinch as the Aryan compatriots of these dark Dravidians. Not that it mattered much what the nationality or colour of the dancers might be; for on the stage they wore enormous masks—huge false heads, grinning, horned, and diabolic, which, it was claimed in the announcement, were those in which the ritual dances were performed before the Dalai Lama in the principal convent of Lhassa. Comparing my memories of them with such knowledge of oriental art as I now possess, I imagine that they came in reality from the shop of some theatrical property maker in Marseilles, from which place the devil dancers had originally started. But they were none the less startling and bloodcurdling for that; just as the dances themselves were none the less salaciously symbolical, none the less typically and conventionally “oriental” for having been in great measure invented by the Frenchmen, who provided all the plot and dramatic substance of the ballets, while the astonished and admiring Indians contributed[59] only a few recollections of Siva worship and the cult of the beneficent linga. This co-operation between East and West was what ensured the performance its success; the western substance satisfied by its perfect familiarity, while the eastern detail gave to the old situations a specious air of novelty and almost a new significance.

Charmed by the prospect of seeing what he supposed would be a few characteristic specimens of the religious rites of the mysterious East, and ambitious to improve my education by initiating me into the secrets of this Reality, my Uncle Spencer took me to see the dancers. But the dramatic pantomime of the Frenchmen represented a brand of Reality that my uncle did not at all approve of. He got up abruptly in the middle of the first dance, saying that he thought the circus would be more amusing; which, for me, it certainly was. For I was not of an age to appreciate either the plastic beauty or the peculiar moral significance of the devil dancers’ performance.

“Hinduism,” said my Uncle Spencer, as we threaded our way between the booths and the whirling machines, “has[60] sadly degenerated from its original Brahmanistic purity.” And he began to expound to me, raising his voice to make itself heard through the noise of the steam organs, the principles of Brahmanism. My Uncle Spencer had a great weakness for oriental religions.

“Well,” asked Mlle Leeauw, when we got back for dinner, “and how did you enjoy the dancers?”

I told her that my Uncle Spencer had thought that I should find the circus more amusing. Antonieke nodded with a significant air of understanding. “Poor man,” she said, and she went on to wonder how Louiseke, who was going to see the dancers that evening, would enjoy the show.

I never knew precisely what happened; for a mystery and, as it were, a zone of silence surrounded the event, and my curiosity about everything to do with Louiseke was too feeble to carry me through it. All I know is that, two or three days later, near the end of the kermesse, young Albert Snyders, the lawyer’s son, came up to me in the street and asked, with the gleeful expression of one who says something which he is sure[61] his interlocutor will find disagreeable: “Well, and what do you think of your Louiseke and her carryings on with the black man?”

I answered truthfully that I had heard nothing about any such thing, and that in any case Louiseke wasn’t our Louiseke, and that I didn’t care in the least what she did or what might happen to her.

“Not heard about it?” said young Snyders incredulously. “But the black man goes to her house every evening, and she gives him gin, and they sing together, and people see their shadows dancing on the curtains. Everybody’s talking about it.”

I am afraid that I disappointed young Snyders. He had hoped to get a rise out of me, and he miserably failed. His errors were two: first, to have supposed that I regarded Louiseke as our Louiseke, merely because her sister happened to be my Uncle Spencer’s housekeeper; and, secondly, to have attributed to me a knowledge of the world sufficient to allow me to realise the scandalousness of Louiseke’s conduct. Whereas I disliked Louiseke, took no interest in her actions, and could, moreover, see nothing[62] out of the ordinary in what she was supposed to have done.

Confronted by my unshakable calm, young Snyders retired, rather crestfallen. But he revenged himself before he went by telling me that I must be very stupid and, what I found more insulting, a great baby not to understand.

Antonieke, to whom I repeated young Snyders’s words, merely said that the boy ought to be whipped, specifying with a wealth of precise detail and a gusto that were entirely Flemish how, with what instrument, and where the punishment ought to be applied. I thought no more about the incident. But I noticed after the kermesse was over and the Grand’ Place had become once more the silent and empty Grand’ Place of ordinary days, I noticed loitering aimlessly about the streets a stout, coffee-coloured man, whom the children of Longres, like those three rude boys in Struwwelpeter, pursued at a distance, contorting themselves with mirth. That year I went back to England earlier than usual; for I had been invited to spend the last three weeks of my holidays with a school friend (alas, at Hastings, so that my[63] knowledge of the earth’s surface was not materially widened by the visit). When I returned to Longres for the Christmas holidays I found that Louiseke was no longer mere Louiseke, but the bride of a coffee-coloured husband. Madame Alphonse they called her; for nobody could bother with the devil dancer’s real name: it had an Al- in it somewhere—that was all that was known. Monsieur and Madame Alphonse. But the news when I heard it did not particularly impress me.

And even if I had been curious to know more, dense silence continued to envelop the episode. Antonieke never spoke to me of it; and lacking all interest in this kind of Reality, disapproving of it even, my Uncle Spencer seemed to take it silently for granted. That the subject was copiously discussed by the gossips of Longres I do not doubt; and remembering Louiseke’s own censorious anecdotage, I can imagine how. But in my hearing it was never discussed; expressly, I imagine—for I lived under the protection of Antonieke, and people were afraid of Antonieke. So it came about that the story remained for me no more remarkable[64] than that story recorded by Edward Lear of the

And perhaps, after all, that is the best way of regarding such incidents—unquestioningly, without inquisitiveness. For we are all much too curious about the affairs of our neighbours. Particularly about the affairs of an erotic nature. What an itch we have to know whether Mr. Smith makes love to his secretary, whether his wife consoles herself, whether a certain Cabinet Minister is really the satyr he is rumoured to be. And meanwhile the most incredible miracles are happening all round us: stones, when we lift them and let them go, fall to the ground; the sun shines; bees visit the flowers; seeds grow into plants, a cell in nine months multiplies its weight a few thousands of thousands of time, and is a child; and men think, creating the world they live in. These things leave us almost perfectly indifferent.

But concerning the ways in which[65] different individuals satisfy the cravings of one particular instinct we have, in spite of the frightful monotony of the situation, in spite of the one well-known, inevitable consummation, an endless and ever-fresh curiosity. Some day, perhaps, we may become a little tired of books whose theme is always this particular instinct. Some day, it may be, the successful novelist will write about man’s relation to God, to nature, to his own thoughts and the obscure reality on which they work, not about man’s relation with woman. Meanwhile, however....

By what stages the old maid passed from her devoutness and her censorious condemnation of love to her passion for the Dravidian, I can only guess. Most likely there were no stages at all, but the conversion was sudden and fulgurating, like that upon the road to Damascus—and like that, secretly and unconsciously prepared for, long before the event. It was the sheer wildness, no doubt, the triumphant bestiality and paganism of the dances that bowled her over, that irresistibly broke down the repressive barriers behind which, all too human, Louiseke’s nature had so long chafed.[66] As to Alphonse himself, there could be no question about his motives. Devil dancing, he had found, was an exhausting, precarious, and not very profitable profession. He was growing stout, his heart was not so strong as it had been, he was beginning to feel himself middle-aged. Louiseke and her little income came as a providence. What did her face matter? He did not hesitate.

Monsieur and Madame Alphonse took a little shop in the Rue Neuve. Before he left India and turned devil dancer, Alphonse had been a cobbler in Madras—and as such was capable of contaminating a Brahman at a distance of twenty-four feet; now, having become an eater of beef and an outcast, he was morally infectious at no less than sixty-four feet. But in Longres, luckily, there were no Brahmans.

He was a large, fat, snub-faced, and shiny man, constantly smiling, with a smile that reminded me of a distended accordion. Many a pair of boots I took to him to be soled—for Antonieke, though she was horrified at having what she called a negro for her brother-in-law, though she had quarrelled with her sister[67] about her insane and monstrous folly, and would hardly be reconciled to her, Antonieke insisted that all our custom should go to the new cobbler. That, as she explained, “owed itself.” The duty of members of one family to forward one another’s affairs overrode, in her estimation, the mere personal quarrels that might arise between them.

My Uncle Spencer was a frequent caller at the cobbler’s shop, where he would sit for hours, while M. Alphonse tapped away at his last, listening to mythological anecdotes out of the “Ramayana” or “Mahabharata,” and discussing the Brahmanistic philosophy, of which, of course, he knew far more than a poor Sudra like Alphonse. My Uncle Spencer would come back from these visits in the best of humours.

“A most interesting man, your brother-in-law,” he would say to Antonieke. “We had a long talk about Siva this afternoon. Most interesting!”

But Antonieke only shrugged her shoulders. “Mais c’est un nègre,” she muttered. And my Uncle Spencer might assure her as much as he liked that Dravidians were not negroes and that[68] Alphonse very likely had good Aryan blood in his veins. It was useless. Antonieke would not be persuaded, would not even listen. It was all very well for the rich to believe things like that, but a negro, after all, was a negro; and that was all about it.

M. Alphonse was a man of many accomplishments; for besides all the rest, he was an expert palmist and told fortunes from the hand with a gravity, a magisterial certainty, that were almost enough in themselves to make what he said come true. This magian and typically oriental accomplishment was learnt on the road between Marseilles and Longres from a charlatan in the travelling company of amusement makers with whom he had come. But he did the trick in the grand prophetic style, so that people credited his cheiromancy with all the magical authority of the mysterious East. But M. Alphonse could not be persuaded to prophesy for every comer. It was noticed that he selected his subjects almost exclusively from among his female customers, as though he were only interested in the fates of women. I could hint as much as I liked that I should like[69] to have my fortune told, I could ask him outright to look at my hand; but in vain. On these occasions he was always too busy to look, or was not feeling in the prophetic mood. But if a young woman should now come into the shop, time immediately created itself, the prophetic mood came back. And without waiting for her to ask him, he would seize her hand, pore over it, pat and prod the palm with his thick brown fingers, every now and then turning up towards his subject those dark eyes, made the darker and more expressive by the brilliance of the bluish whites in which they were set, and expanding his accordion smile. And he would prophesy love—a great deal of it—love with superb dark men, and rows of children; benevolent dark strangers and blond villains; unexpected fortunes, long life—all, in fact, that the heart could desire. And all the time he squeezed and patted the hand—white between his dark Dravidian paws—from which he read these secrets; he rolled his eyes within their shiny blue enamel setting, and across all the breadth of his fat cheeks the accordion of his smile opened and shut.

[70]My pride and my young sense of justice were horribly offended on these occasions. The inconsistency of a man who had no time to tell my fortune, but an infinite leisure for others, seemed to me abstractly reprehensible and personally insulting. I professed, even at that age, not to believe in palmistry; that is to say, I found the fortunes which M. Alphonse prophesied for others absurd. But my interest in my own personality and my own fate was so enormous that it seemed to me, somehow, that everything said about me must have a certain significance. And if M. Alphonse had taken my hand, looked at it, and said, “You are generous; your head is as large as your heart; you will have a severe illness at thirty-eight, but your life after that will be healthy into extreme old age; you will make a large fortune early in your career, but you must beware of fair-haired strangers with blue eyes,” I should have made an exception and decided for the nonce that there must be something in it. But, alas, M. Alphonse never did take my hand; he never told me anything. I felt most cruelly offended, and I felt astonished too. For[71] it seemed to me a most extraordinary thing that a subject which was so obviously fascinating and so important as my character and future should not interest M. Alphonse as much as it did me. That he should prefer to dabble in the dull fates and silly insignificant characters of a lot of stupid young women seemed to me incredible and outrageous.

There was another who, it seemed, shared my opinion. That was Louiseke. If ever she came into the shop from the little back sitting-room—and she was perpetually popping out through the dark doorway like a cuckoo on the stroke of noon from its clock—and found her husband telling the fortune of a female customer, her witch-like face would take on an expression more than ordinarily malevolent.

And Alphonse dropped his subject’s hand, looked round towards the door, and, rolling his enamelled eyes, creasing his fat cheeks in a charming smile, flashing his ivory teeth, would say something amiable.

[72]“If you must tell somebody’s fortune,” she said, when the customer had left the shop, “why don’t you tell the little gentleman’s?” pointing to me. “I’m sure he would be only too delighted.”

But instead of being grateful to Louiseke, instead of saying, “Oh, of course I’d like it,” and holding out my hand, I always perversely shook my head. “No, no,” I said. “I don’t want to worry M. Alphonse.” But I longed for Alphonse to insist on telling me about my exquisite and marvellous self. In my pride, I did not like to owe my happiness to Louiseke, I did not want to feel that I was taking advantage of her irritation and Alphonse’s desire to mollify her. And besides pride, I was actuated by that strange nameless perversity, which so often makes us insist on doing what we do not want to do—such as making love to a woman we do not like and whose intimacy, we know, will bring us nothing but vexation—or makes us stubbornly decline to do what we have been passionately desiring, merely because the opportunity of doing what we wanted has not presented itself in exactly the way we anticipated, or because the person who[73] offered to fulfil our desires has not been sufficiently insistent with his offers. Alphonse, on these occasions, having no curiosity about my future and taking no pleasure in kneading my small and dirty hand, always took my refusals quite literally and finally, and began to work again with a redoubled ardour. And I would leave the shop, vexed with myself for having let slip the opportunity when it was within my grasp; furious with Louiseke for having presented it in such a way that the seizing of it would be humiliating, and with Alphonse for his obtuseness in failing to observe how much I desired that he should look at my hand, and his gross discourtesy for not insisting even in the teeth of my refusal.

Years passed; my holidays and the seasons succeeded one another with regularity. Summer and the green poplars and my Uncle Spencer’s amiability gave place to the cold season of sugar-making, to scatological symbols in chocolate, to early darkness and the moral gloom of my Uncle Spencer’s annual neurasthenia. And half-way between the two extremes came the Easter holidays, pale green and hopefully burgeoning, tepid with[74] temperate warmth and a moderate amiability. There were terms, too, as well as holidays. Eastbourne knew me no more; my knowledge of the globe expanded; I became a public schoolboy.

At fifteen, I remember, I entered upon a period of priggishness which made me solemn beyond my years. There are many boys who do not know how young they are till they have come of age, and a young man is often much less on his dignity than a growing schoolboy, who is afraid of being despised for his callowness. It was during this period that I wrote from Longres a letter to one of my school friends, which he fortunately preserved, so that we were able to re-read it, years later, and to laugh and marvel at those grave, academic old gentlemen we were in our youth. He had written me a letter describing his sister’s marriage, to which I replied in these terms:

The horrors of death made more show in my sonorous antitheses than they did in my life. For though the event made a certain impression upon me—for it was the first thing of the kind that had happened within my own personal orbit—I cannot pretend that I was very seriously moved when Louiseke died, too old to have attempted the experiment, in giving birth to a half-Flemish, half-Dravidian daughter, who died with her. My Uncle Spencer, anxious to introduce me to the Realities of Life, took me to see the corpse. Death had a little tempered Louiseke’s ugliness. In the presence of that absolute repose I suddenly felt ashamed of having always disliked Louiseke so much. I wanted to be able to explain to her that, if only I had known she was going to die, I would have been nicer to her, I would have tried to like her more. And all at once I found myself crying.

Downstairs in the back parlour M.[76] Alphonse was crying too, noisily, lamentably, as was his duty. Three days later, when his duty had been sufficiently done and the conventions satisfied, he became all at once exceedingly philosophic about his loss. Louiseke’s little income was now his; and adding to it what he made by his cobbling, he could live in almost princely style. A week or two after the funeral the kermesse began. His old companions, who had danced several times backwards and forwards across the face of Europe since they were last in Longres, re-appeared unexpectedly on the Grand’ Place. Alphonse treated himself to the pleasure of playing the generous host, and every evening when their show was over the devils unhorned themselves, and over the glasses in the little back parlour behind Alphonse’s shop they talked convivially of old times, and congratulated their companion, a little enviously, on his prodigious good fortune.

In the years immediately preceding the war I was not often in Longres. My parents had come back from India; my holidays were passed with them. And when holidays transformed themselves into university vacations and I was old[77] enough to look after myself, I spent most of my leisure in travelling in France, Italy, or Germany, and it was only rarely and fleetingly—on the way to Milan, on my way back from Cologne, or after a fortnight among the Dutch picture galleries—that I now revisited the house on the Grand’ Place, where I had passed so many, and on the whole such happy, days. I liked my Uncle Spencer still, but he had ceased to be an admired being, and his opinions, instead of rooting themselves and proliferating within my mind, as once they did, seemed mostly, in the light of my own knowledge and experience, too fantastic even to be worth refuting. I listened to him now with all the young man’s intolerance of the opinions of the old (and my Uncle Spencer, though only fifty, seemed to me utterly fossilised and antediluvian), acquiescing in all that he said with a smile in which a more suspicious and less single-hearted man would have seen the amused contempt. My Uncle Spencer was leaning during these years more and more towards the occult sciences. He talked less of the construction of domes and more of Hahnemann’s mystic high potentials, more of Swedenborg,[78] more of Brahmanistic philosophy, in which he had by this time thoroughly indoctrinated M. Alphonse; and he was enthusiastic now about a new topic—the calculating horses of Elberfeld, which, at that time, were making a great noise in the world by their startling ability to extract cube roots in their heads. Strong in the materialistic philosophy, the careless and unreflecting scepticism which were, in those days, the orthodoxy of every young man who thought himself intelligent, I found my Uncle Spencer’s mystical and religious preoccupations marvellously ludicrous. I should think them less ridiculous now, when it is the easy creed of my boyhood that has come to look rather queer. Now it is possible—it is, indeed, almost necessary—for a man of science to be also a mystic. But there were excuses then for supposing that one could only combine mysticism with the faulty knowledge and the fantastic mental eccentricity of an Uncle Spencer. One lives and learns.

With Mlle Leeauw, on these later visits, I felt, I must confess, not entirely at my ease. Antonieke saw me as essentially the same little boy who had come so[79] regularly all those years, holiday after holiday, to Longres. Her talk with me was always of the joyous events of the past—of which she had that extraordinarily accurate and detailed memory which men and women, whose minds are not exercised by intellectual preoccupations and who do not read much, always astonish their more studious fellows by possessing. Plunged as I then was in all the newly discovered delights of history, philosophy, and art, I was too busy to take more than a very feeble interest in my childish past. Had there been skating on the canals in 1905? Had I been bitten by a horse-fly, the summer before, so poisonously that my cheek swelled up like a balloon and I had to go to bed? Possibly, possibly; now that I was reminded of these things I did, dimly, remember. But of what earthly interest were facts such as these when I had Plato, the novels of Dostoievsky, the frescoes of Michelangelo to think of? How entirely irrelevant they were to, shall we say, David Hume! How insipid compared with the sayings of Zarathustra, the Coriolan overture, the poetry of Arthur Rimbaud! But for poor Antonieke[80] they were all her life. I felt all the time that I was not being as sympathetic with her as I ought to have been. But was it my fault? Could I rebecome what I had been, or make her suddenly different from what she was?

At the beginning of August 1914 I was staying at Longres on my way to the Ardennes, where I meant to settle down quietly for a month or so with two or three friends, to do a little solid reading before going south to Italy in September. Strong in the faith of the German professor who had proved, by the theories of ballistics and probabilities, that war was now out of the question, my Uncle Spencer paid no attention to the premonitory rumbles. It was just another little Agadir crisis and would lead to nothing. I too—absorbed, I remember, in the reading of William James’s Varieties of Religious Experience—paid no attention; I did not even look at the papers. At that time, still, my Uncle Spencer’s convictions about the impossibility of war were also mine; I had had no experience to make me believe them unfounded, and, besides, they fitted in very well with my hopes, my aspirations, my political creed—for[81] at that time I was an ardent syndicalist and internationalist.

My Uncle Spencer, however, remained perfectly optimistic. After a week of fighting, he prophesied, the German professor would be proved right and they would have to stop. My own feeling, I remember, was one of a rather childish exhilaration; my excitement was much more powerful than my shock of horror. I felt rather as I had felt on the eve of the kermesse when, looking from my window, I gazed down at the mountebanks setting up their booths and engines in the square below. Something was really going to happen. That childish sense of excitement is, I suppose, the prevailing emotion at the beginning of a war. An intoxicating Bank Holiday air seems to blow through the streets. War is always popular, at the beginning.

I did not return immediately to England, but lingered for a few days at Longres, in the vague hope that I might “see something,” or that perhaps my Uncle Spencer might really—as I still believed—be right, and that, perhaps,[82] the whole thing would be over in a few days. My hope that I should “see something” was fulfilled. But the something was not one of those brilliant and romantic spectacles I had imagined. It consisted of a few little troops of refugees from the villages round Liége—unshaven men, and haggard women with long tear-marks on their dusty cheeks, and little boys and girls tottering along as though in their sleep, dumb and stupid with fatigue. My Uncle Spencer took a family of them into his house. “In a few days,” he said, “when everything’s over, they’ll be able to go home again.” And when indignantly Antonieke repeated to him their stories of burnings and shootings, he wouldn’t believe them.

“After all,” he said, “this is the twentieth century. These things don’t happen nowadays. These poor people are too tired and frightened to know exactly what they are saying.”

In the second week of August I went back to England. My Uncle Spencer was quite indignant when I suggested that he should come back with me. To begin with, he said, it would all be over so very soon. In the second place, this[83] was the twentieth century—which was what the Cretans said, no doubt, when in 1500 B.C., after two thousand years of peace, prosperity, and progressive civilisation, they were threatened by the wild men from the north. In the third place, he must stay at Longres to look after his interests. I did not press him any further; it would have been useless.

“Good-bye, dear boy,” he said, and there was an unaccustomed note of emotion in his voice, “good-bye.”

The train slowly moved away. Looking out of the window, I could see him standing on the platform, waving his hat. His hair was white all over now, but his face was as young, his eyes as darkly bright, his small spare body as straight and agile as when I had known him first.

Louvain was burnt on the 19th of August. The Germans entered Brussels on the 20th. Longres, though farther east than Louvain, was not occupied till two or three days later—for the town lay off the direct route to Brussels and[84] the interior. One of the first acts of the German commandant was to put my Uncle Spencer and M. Alphonse under arrest. It was not that they had done anything; it was merely to their existence that he objected. The fact that they were British subjects was in itself extremely incriminating.

“Aber wir sind,” my Uncle Spencer protested in his rather rudimentary German, “im zwanzigsten jahrhunderd. Und der—or is it das?—krieg wird nicht lang....” he stammered, searched hopelessly for the word, “well, in any case,” he concluded, relapsing into his own language and happy to be able to express his astonished protest with fluency, “it won’t last a week.”

“So we hope,” the commandant replied in excellent English, smiling. “But meanwhile I regret....”

My Uncle Spencer and his fellow-Briton were locked up for the time being in the lunatic asylum. A few days later they were sent under escort to Brussels. Alphonse, my Uncle Spencer told me afterwards, bore his misfortune with exemplary and oriental patience. Mute, uncomplaining, obedient, he stayed where[85] his captors put him, like a large brown bundle left by the traveller on the platform, while he goes to the buffet for a drink and a sandwich. And more docile than a mere bundle, mutely, obediently, he followed wherever he was led.

“I wish I could have imitated him,” said my Uncle Spencer. “But I couldn’t. My blood fairly boiled.”

And from what I remembered of him in the sugar-making season I could imagine the depth, the fury of my Uncle Spencer’s impatience and irritation.

“But this is the twentieth century,” he kept repeating to the guards. “And I have nothing to do with your beastly war. And where the devil are you taking us? And how much longer are we to wait in this damned station without our lunch?” He spoke as a rich man, accustomed to being able to buy every convenience and consideration. The soldiers, who had the patience of poor men and were well used to being ordered hither and thither, to waiting indefinitely in the place where they were told to wait, could not understand this wild irritation against what they regarded as the natural order of things. My Uncle Spencer[86] first amused them; then, as his impatience grew greater instead of less, he began to annoy them.

In the end, one of his guards lost patience too, and gave him a great kick in the breech to make him hold his tongue. My Uncle Spencer turned round and rushed at the man; but another soldier tripped him up with his rifle, and he tumbled heavily to the ground. Slowly he picked himself up; the soldiers were roaring with laughter. Alphonse, like a brown package, stood where they had put him, motionless, expressionless, his eyes shut.

In the top floor of the Ministry of the Interior the German authorities had established a sort of temporary internment camp. All suspicious persons—dubious foreigners, recalcitrant natives, any one suspected by the invaders of possessing a dangerous influence over his neighbours—were sent to Brussels and shut up in the Ministry of the Interior, to remain there until the authorities should have time to go into their case. It was into this makeshift prison that my Uncle Spencer and his Dravidian compatriot were ushered, one sweltering afternoon towards[87] the end of August. In an ordinary year, my Uncle Spencer reflected, the kermesse at Longres would now be in full swing. The fat woman would be washing her face with her bosom, the Figaros would be re-enacting amid sobs the Passion of Our Saviour, the armless lady would be drinking healths with her toes, the vendor of raw mussels would be listening anxiously for the first hoarse sound that might be taken for a cough. Where were they all this year, all these good people? And where was he himself? Incredulously he looked about him.

In the attics of the Ministry of the Interior the company was strange and mixed. There were Belgian noblemen whom the invaders considered it unsafe to leave in their châteaux among their peasantry. There were a Russian countess and an anarchist, incarcerated on account of their nationality. There was an opera singer, who might be an international spy. There was a little golden-haired male impersonator, who had been appearing at a music-hall in Liége, and whose offence, like that of my Uncle Spencer and the Dravidian, was to have been a British subject. There were a number[88] of miscellaneous Frenchmen and Frenchwomen, caught on the wrong side of the border. There was an organ-grinder, who had gone on playing the “Brabançonne” when told to stop, and a whole collection of other Belgians, of all classes and both sexes, from every part of the country, who had committed some crime or other, or perhaps had contrived merely to look suspicious, and who were now waiting to have their fate decided, as soon as the authorities should have time to pay attention to them.

Into this haphazardly assembled society my Uncle Spencer and the Dravidian were now casually dropped. The door closed behind them; they were left, like new arrivals in hell, to make the best of their situation.

The top floor of the Ministry of the Interior was divided up into one very large and a number of small rooms, the latter lined, for the most part, with pigeon-holes and filing cabinets in which were stored the paper products of years of bureaucratic activity.

In the smaller chambers the prisoners had placed the straw mattresses allotted to them by their gaolers; the men slept[89] in the rooms at one end of the corridor, the women in those at the other end. The big room, which must once have housed the staff of the Ministry’s registry, still contained a number of desks, tables, and chairs; it served now as the prisoners’ drawing-room, dining-room, and recreation ground. There was no bathroom, and only one washing-basin and one chalet de nécessité, as my Uncle Spencer, with a characteristic euphemism, always called it. Life in the attics of the Ministry of the Interior was not particularly agreeable.

My Uncle Spencer noticed that those of the prisoners who were not sunk in gloom and a sickening anxiety for the future, preserved an almost too boisterous cheerfulness. You had, it seemed, either to take this sort of thing as a prodigious joke, or brood over it as the most horrible of nightmares. There seemed to be no alternative. In time, no doubt, the two extremes would level down to the same calm resignation. But confinement had still been too short for that; the situation was still too new, dream-like, and phantasmagorical, and fate too uncertain.

[90]The cheerful ones abounded in japes, loud laughter, and practical jokes. They had created in the prison a kind of private-school atmosphere. Those whose confinement was oldest (and some had been in the Ministry for nearly a week now, almost from the day of the German entry into Brussels) assumed the inalienable right of seniors to make the new arrivals feel raw and uncomfortable. Each freshman was subjected to a searching cross-examination, like that which awaits the new boy at his first school. Sometimes, if the latest victim seemed particularly ingenuous, they would play a little practical joke on him.

The leader of the cheerful party was a middle-aged Belgian journalist—a powerful, stout man, with carroty red moustaches and a high crimson complexion, a huge roaring voice and a boundless gift for laughter and genial Rabelaisian conversation. At the appearance of the meek Dravidian he had fairly whooped with delight. So great, indeed, was his interest in Alphonse that my Uncle Spencer escaped with the most perfunctory examination and the minimum of playful “ragging.” It was perhaps for the best;[91] my Uncle Spencer was in no mood to be trifled with, even by a fellow-sufferer.

Round poor Alphonse the journalist immediately improvised a farce. Sitting like a judge at one of the desks in the large room, he had the Dravidian brought before him, giving him to understand that he was the German commissary who had to deal with his case. Under cross-examination the Dravidian was made to tell his whole history. Born, Madras; profession, cobbler—a clerk took down all his answers as he delivered them. When he spoke of devil dancing, the judge made him give a specimen of his performance there and then in front of the desk. The question of his marriage with Louiseke was gone into in the most intimate detail. Convinced that his liberty and probably his life depended on his sincerity, Alphonse answered every question as truthfully as he possibly could.

In the end, the journalist, clearing his throat, gravely summed up and gave judgment. Innocent. The prisoner would forthwith be released. On a large sheet of official paper he wrote laissez passer, signed it Von der Golz, and, opening a drawer of the desk, selected from[92] among the numerous official seals it contained that with which, in happier times, certain agricultural diplomas were stamped. On the thick red wax appeared the figure of a prize shorthorn cow with, round it, the words: “Pour l’amélioration de la race bovine.”

“Here,” roared the journalist, handing him the sealed paper. “You may go.”

Poor Alphonse took his laissez passer and, bowing at intervals almost to the ground, retreated backwards out of the room. Joyously he picked up his hat and his little bundle, ran to the door, knocked and called. The sentry outside opened to see what was the matter. Alphonse produced his passport.

Alphonse pointed to the seal: for the amelioration of the bovine race; to the signature: Von der Golz. The sentry, thinking that it was he, not the Dravidian, who was the victim of the joke, became annoyed. He pushed Alphonse roughly back through the door; and when, protesting, propitiatively murmuring and smiling, the poor man advanced again to explain to the sentry his mistake, the soldier picked up his rifle and with the[93] butt gave him a prod in the belly, which sent him back, doubled up and coughing, along the corridor. The door slammed to. Vainly, when he had recovered, Alphonse hammered and shouted. It did not open again. My Uncle Spencer found him standing there—knocking, listening, knocking again. The tears were streaming down his cheeks; it was a long time before my Uncle Spencer could make him understand that the whole affair had been nothing but a joke. At last, however, Alphonse permitted himself to be led off to his mattress. In silence he lay down and closed his eyes. In his right hand he still held the passport—firmly, preciously between his thick brown fingers. He would not throw it away; not yet. Perhaps if he went to sleep this incident at the door would prove, when he woke up, to have been a dream. The paper would have ceased to be a joke, and when, to-morrow, he showed it again, who knew? the sentry would present arms and he would walk downstairs; and all the soldiers in the courtyard would salute and he would walk out into the sunny streets, waving the signature, pointing to the thick red seal.

[94]Quite still he lay there. His arm was crossed over his body. From between the fingers of his hand hung the paper. Bold, as only the signature of a conquering general could be, Von der Golz sprawled across the sheet. And in the bottom right-hand corner, stamped in the red wax, the image of the sacred cow was like a symbol of true salvation from across the separating ocean and the centuries. Pour l’amélioration de la race bovine. But might it not be more reasonable, in the circumstances, to begin with the human race?

My Uncle Spencer left him to go and expostulate with the journalist on the barbarity of his joke. He found the man sitting on the floor—for there were not enough chairs to go round—teaching the golden-haired male impersonator how to swear in French.

“And this,” he was saying, in his loud, jolly voice, “this is what you must say to Von der Golz if ever you see him.” And he let off a string of abusive words, which the little male impersonator carefully repeated, distorted by her drawling English intonation, in her clear, shrill voice: “Sarl esspayss de coshaw.” The[95] journalist roared with delighted laughter and slapped his thighs. “What comes after that?” she asked.

“Excuse me,” said my Uncle Spencer, breaking in on the lesson. He was blushing slightly. He never liked hearing this sort of language—and in the mouth of a young woman (a compatriot too, it seemed) it sounded doubly distressing. “Excuse me.” And he begged the journalist not to play any more jokes on Alphonse. “He takes it too much to heart,” he explained.

At his description of the Dravidian’s despair, the little male impersonator was touched almost to tears. And the journalist, who, like all the rest of us, had a heart of gold whenever he was reminded of its existence—and, like all the rest of us, he needed pretty frequent reminders; for his own pleasures and interests prevented him very often from remembering it—the journalist was extremely sorry at what he had done, declared that he had no idea that Alphonse would take the little farce so seriously, and promised for the future to leave him in peace.

The days passed; the nightmare became[96] habitual, followed a routine. Three times a day the meagre supply of unappetising food arrived and was consumed. Twice a day an officer with a little squad of soldiers behind him made a tour of inspection. In the morning one waited for one’s turn to wash; but the afternoons were immense gulfs of hot time, which the prisoners tried to fill with games, with talk, with the reading of ancient dossiers from the files, with solitary brooding or with pacing up and down the corridor—twenty steps each way, up and down, up and down, till one had covered in one’s imagination the distance between one loved and familiar place and another. Up and down, up and down. My Uncle Spencer sometimes walked along the poplar-lined high road between Longres and Waret; sometimes from Charing Cross along the Strand, under the railway bridge and up the hill to St. Paul’s, and from St. Paul’s to the Bank, and from the Bank tortuously to the Tower of London, the river, and the ships. Sometimes he walked with his brother from Chamonix to the Montanvert; from Grenoble over the pass to the Grande Chartreuse. Sometimes,[97] less strenuously, he walked with his long-dead mother through the glades of Windsor Forest, where the grass is so green in early summer that it seems as though each blade were an emerald illumined from within; and here and there among the oak trees the dark-leaved rhododendrons light their innumerable rosy lamps.

In the evening the cheerful ones, with the journalist at their head, organised entertainments for the amusement of the company. The journalist himself recited poems of his own composition about the Kaiser. One of the Frenchmen did some amateur conjuring with packs of cards, handkerchiefs, and coins. The opera singer bawled out at the top of his prodigious tenor, “La donna è mobile,” “O sole mio,” and when something more serious was called for, César Franck’s “Dieu s’avance à travers la lande”; which last, however, he sang in so richly operatic a style that my Uncle Spencer, who was very fond of this particular song, could hardly recognise it. But the most popular turn was always that of “the celebrated diva, Emmy Wendle,” as the journalist called her, when he introduced[98] her to the company. The enthusiasm was tremendous when Emmy Wendle appeared—dressed in an Eton jacket, broad starched collar, striped trousers, and a top hat, and carrying in her hand a little cane—did two or three rattling clog dances and sang a song with the chorus:

And when, at the end of the turn, she took off her top hat, and, standing rigidly at attention, like a soldier, her childish snubby little face very grave, her blue eyes fixed on visions not of this world, sang in her tuneless street-urchin’s voice an astonishingly English version of the “Brabançonne,” then there was something more than enthusiasm. For men would suddenly feel the tears coming into their eyes, and women wept outright; and when it was over, everybody violently stamped and clapped and waved handkerchiefs, and laughed, and shouted imprecations against the Germans, and said,[99] “Vive la Belgique!” and ran to Emmy Wendle, and took her hand, or slapped her on the back as though she had really been a boy, or kissed her—but as though she were not a girl, and dressed in rather tight striped trousers at that—kissed her as though she were a symbol of the country, a visible and charming personification of their own patriotism and misfortunes.

When the evening’s entertainment was over, the company began to disperse. Stretched on their hard mattresses along the floor, the prisoners uneasily slept or lay awake through the sultry nights, listening to the steps of the sentries in the court below and hearing every now and then through the unnatural silence of the invaded town, the heavy beat, beat, beat of a regiment marching along the deserted street, the rumble and sharp, hoofy clatter of a battery on the move towards some distant front.

The days passed. My Uncle Spencer soon grew accustomed to the strange little hell into which he had been dropped. He knew it by heart. A huge, square room, low-ceilinged and stifling under the hot leads. Men in their shirt-sleeves[100] standing, or sitting, some on chairs, some on the corner of a desk or a table, some on the floor. Some leaned their elbows on the window-sill and looked out, satisfying their eyes with the sight of the trees in the park across the street, breathing a purer air—for the air in the room was stale, twice-breathed, and smelt of sweat, tobacco, and cabbage soup.

From the first the prisoners had divided themselves, automatically almost, into little separate groups. Equal in their misery, they still retained their social distinctions. The organ-grinder and the artisans and peasants always sat together in one corner on the floor, playing games with a greasy pack of cards, smoking and, in spite of expostulations, in spite of sincere efforts to restrain themselves, spitting on the floor all round them.

“Mine!” the organ-grinder would say triumphantly, and plank down his ace of hearts. “Mine!” And profusely, to emphasise his satisfaction, he spat. “Ah, pardon!” Remembering too late, he looked apologetically round the room. “Excuse me.” And he would get up, rub the gob of spittle into the floor with his boot, and going to the window would[101] lean out and spit again—not that he felt any need to, having spat only a moment before, but for the sake of showing that he had good manners and could spit out of the window and not on the floor when he thought of it.

Another separate group was that of the aristocracy. There was the little old count with a face like a teapot—such shiny round cheeks, such a thin, irrelevant nose; and the young count with the monocle—the one so exquisitely affable with every one and yet so remote and aloof under all his politeness; the other so arrogant in manner, but, one could see, so wistfully wishing that his social position would permit him to mingle with his spiritual equals. The old count politely laughed whenever the journalist or some other member of the cheerful party made a joke; the young count scowled, till the only smooth surface left in his corrugated face was the monocle. But he longed to be allowed to join in the horse-play and the jokes. With the two counts were associated two or three rich and important citizens, among them during the first days my Uncle Spencer. But other interests were to make him[102] abandon their company almost completely after a while.

On the fringes of their circle hovered occasionally the Russian countess. This lady spent most of the day in her sleeping apartment, lying on her mattress and smoking cigarettes. She had decided views about the respect that was due to her rank, and expected the wash-house to be immediately evacuated whenever she expressed a desire to use it. On being told that she must wait her turn, she flew into a rage. When she was bored with being alone, she would come into the living-room to find somebody to talk to. On one occasion she took my Uncle Spencer aside and told him at great length and with a wealth of intimate detail about the ninth and greatest love-affair of her life. In future, whenever my Uncle Spencer caught sight of her turning her large, dark, rather protruding eyes round the room, he took care to be absorbed in conversation with somebody else.

Her compatriot, the anarchist, was a Jewish-looking man with a black beard and a nose like the figure six. He associated himself with none of the little groups, was delighted by the war, which he gleefully[103] prophesied would destroy so-called civilisation, and made a point of being as disagreeable as he could to every one—particularly to the countess, whom he was able to insult confidentially in Russian. It was in obedience to the same democratic principles that he possessed himself of the only arm-chair in the prison—it must have been the throne of at least a sous chef de division—refusing to part with it even for a lady or an invalid. He sat in it immovably all day, put it between his mattress and the wall at night, and took it with him even into the wash-house and the chalet de nécessité.

The cheerful party grouped itself, planet fashion, round the radiant jollity of the journalist. His favourite amusement was hunting through the files for curious dossiers which he could read out, with appropriate comments and improvised emendations to the assembled group. But the most relished of all his jokes was played ritually every morning when he went through the papers of nobility of the whole Belgic aristocracy (discovered, neatly stowed away, in a cupboard in the corridor), selecting from among the noble names a few high-sounding[104] titles which he would carry with him to the chalet of necessity. His disciples included a number of burgesses, French and Belgian; a rather odious and spotty young English bank clerk caught on his foreign holiday; the Russian countess in certain moods; the male impersonator, on and off; and the opera singer.

With this last my Uncle Spencer, who was a great lover of music and even a moderately accomplished pianist, made frequent attempts to talk about his favourite art. But the opera singer, he found, was only interested in music in so far as it affected the tenor voice. He had consequently never heard of Bach or Beethoven. On Leoncavallo, however, on Puccini, Saint-Saëns, and Gounod he was extremely knowledgeable. He was an imposing personage, with a large, handsome face and the gracious, condescending smile of a great man who does not object to talking even with you. With ladies, as he often gave it to be understood, he had a great success. But his fear of doing anything that might injure his voice was almost as powerful as his lasciviousness and his vanity; he passed his life, like a monk of the Thebaid,[105] in a state of perpetual conflict. Outwardly and professedly a member of the cheerful party, the opera singer was secretly extremely concerned about his future. In private he discussed with my Uncle Spencer the horrors of the situation.

More obviously melancholy was the little grey-haired professor of Latin who spent most of the day walking up and down the corridor like a wolf in a cage, brooding and pining. Poor Alphonse, squatting with his back to the wall near the door, was another sad and solitary figure. Sometimes he looked thoughtfully about him, watching his fellow-prisoners at their various occupations with the air of an inhabitant of eternity watching the incomprehensible antics of those who live in time. Sometimes he would spend whole hours with closed eyes in a state of meditation. When some one spoke to him, he came back to the present as though from an immense distance.

But, for my Uncle Spencer, how remote, gradually, they all became! They receded, they seemed to lose light; and with their fading the figure of Emmy[106] Wendle came closer, grew larger and brighter. From the first moment he set eyes on her, sitting there on the floor, taking her lesson in vituperation from the journalist, my Uncle Spencer had taken particular notice of her. Making his way towards the pair of them, he had been agreeably struck by the childishness and innocence of her appearance—by the little snub nose, the blue eyes, the yellow hair, so stubbornly curly that she had to wear it cut short like a boy’s, for there was no oiling down or tying back a long mane of it; even in her private feminine life there was a hint—and it only made her seem the more childish—of male impersonation. And then, coming within earshot, it had been “sarl esspayss de coshaw” and a string besides of less endearing locutions proceeding from these lips. Startling, shocking. But a moment later, when he was telling them how hardly poor Alphonse had taken the joke, she said the most charming things and with such real feeling in her cockney voice, such a genuine expression of sympathy and commiseration on her face, that my Uncle Spencer wondered whether he had heard aright, or if that “sarl[107] coshaw” and all the rest could really have been pronounced by so delicate and sensitive a creature.

The state of agitation in which my Uncle Spencer had lived ever since his arrest, the astonishing and horrible novelty of his situation, had doubtless in some measure predisposed him to falling in love. For it frequently happens that one emotion—providing that it is not so powerful as to make us unconscious of anything but itself—will stimulate us to feel another. Thus danger, if it is not acute enough to cause panic, tends to attach us to those with whom we risk it, the feelings of compassion, sympathy, and even love being stimulated and quickened by apprehension. Grief, in the same way, often brings with it a need of affection and even, though we do not like to admit it to ourselves, even obscurely a kind of desire; so that a passion of sorrow will convert itself by scarcely perceptible degrees, or sometimes suddenly, into a passion of love. My Uncle Spencer’s habitual attitude towards women was one of extreme reserve. Once, as a young man, he had been in love and engaged to be married; but the[108] object of his affections had jilted him for somebody else. Since then, partly from a fear of renewing his disappointment, partly out of a kind of romantic fidelity to the unfaithful one, he had avoided women, or at least taken pains not to fall in love any more, living always in a state of perfect celibacy, which would have done credit to the most virtuous of priests. But the agitations of the last few days had disturbed all his habits of life and thought. Apprehension of danger, an indignation that was a very different thing from the recurrent irritability of the sugar-making season, profound bewilderment, and a sense of mental disorientation had left him without his customary defences and in a state of more than ordinary susceptibility; so that when he saw, in the midst of his waking nightmare, that charming childish head, when he heard those gentle words of sympathy for the poor Dravidian, he was strangely moved; and he found himself aware of Emmy Wendle as he had not been aware of any woman since the first unfaithful one of his youth had left him.

Everything conspired to make my Uncle Spencer take an interest in Emmy[109] Wendle—everything, not merely his own emotional state, but the place, the time, the outward circumstances. He might have gone to see her at the music-hall every night for a year; and though he might have enjoyed her turn—and as a matter of fact he would not, for he would have thought it essentially rather vulgar—though he might have found her pretty and charming, it would never have occurred to him to try to make her acquaintance or introduce himself into her history. But here, in this detestable makeshift prison, she took on a new significance, she became the personification of all that was gracious, sweet, sympathetic, of all that was not war. And at the end of her performance (still, it was true, in poorish taste, but more permissible, seeing that it was given for the comfort of the afflicted) how profoundly impressive was her singing of the “Brabançonne”! She had become great with the greatness of the moment, with the grandeur of the emotions to which she was giving utterance in that harsh guttersnipe’s voice of hers—singing of exultations, agonies, and man’s unconquerable mind. We attribute to the[110] symbol something of the sacredness of the thing or idea symbolised. Two bits of wood set cross-wise are not two ordinary bits of wood, and a divinity has hedged the weakest and worst of kings. Similarly, at any crisis in our lives, the most trivial object, or a person in himself insignificant, may become, for some reason, charged with all the greatness of the moment.

Even the “sarl coshaw” incident had helped to raise my Uncle Spencer’s interest in Emmy Wendle. For if she was gentle, innocent, and young, if she personified in her small, bright self all the unhappiness and all the courage of a country, of the whole afflicted world, she was also fallible, feminine, and weak; she was subject to bad influences, she might be led astray. And the recollection of those gross phrases, candidly, innocently, and openly uttered (as the most prudish can always utter them when they happen to be in an unfamiliar language, round whose words custom has not crystallised that wealth of associations which give to the native locutions their peculiar and, from age to age, varying significance), filled my Uncle Spencer[111] with alarm and with a missionary zeal to rescue so potentially beautiful and even grand a nature from corruption.

For her part, Emmy Wendle was charmed, at any rate during the first days of their acquaintance, with my Uncle Spencer. He was English, to begin with, and spoke her language; he was also—which the equally English and intelligible bank clerk was not—a gentleman. More important for Emmy, in her present mood, he did not attempt to flirt with her. Emmy wanted no admirers, at the moment. In the present circumstances she felt that it would have been wrong, uncomely, and rather disreputable to think of flirtation. She sang the “Brabançonne” with too much religious ardour for that; the moment was too solemn, too extraordinary. True, the solemnity of the moment and the ardour of her patriotic feelings might, if a suitable young man had happened to find himself with her in the attics of the Ministry of the Interior, have caused her to fall in love with a fervour having almost the religious quality of her other feelings. But no suitable young man, unfortunately, presented himself. The bank clerk had[112] spots on his face and was not a gentleman, the journalist was middle-aged and too stout. Both tried to flirt with her. But their advances had, for Emmy, all the impropriety of a flirtation in a sacred place. With my Uncle Spencer, however, she felt entirely safe. It was not merely that he had white hair; Emmy had lived long enough to know that that symbol was no guarantee of decorous behaviour—on the contrary; but because he was, obviously, such a gentleman, because of the signs of unworldliness and mild idealism stamped all over his face.

At first, indeed, it was only to escape from the tiresome and indecorous attentions of the bank clerk and the journalist that she addressed herself to Uncle Spencer. But she soon came to like his company for its own sake; she began to take an interest in what he said, she listened seriously to my Uncle Spencer’s invariably serious conversation—for he never talked except on profitable and intellectual themes, having no fund of ordinary small talk.

During the first days Emmy treated him with the respectful courtesy which, she[113] felt, was due to a man of his age, position, and character. But later, when he began to follow her with his abject adoration, she became more familiar. Inevitably; for one cannot expect to be treated as old and important by some one at whom one looks with the appealing eyes of a dog. She called him Uncle Spenny and ordered him about, made him carry and fetch as though he were a trained animal. My Uncle Spencer was only too delighted, of course, to obey her. He was charmed by the familiarities she took with him. The period of her pretty teasing familiarity (intermediate between her respectfulness and her later cruelty) was the happiest, so far as my Uncle Spencer was concerned, in their brief connection. He loved and felt himself, if not loved in return, at least playfully tolerated.

Another man would have permitted himself to take liberties in return, to be sportive, gallant, and importunate. But my Uncle Spencer remained gravely and tenderly himself. His only reprisal for “Uncle Spenny” and the rest was to call her by her Christian name instead of “Miss Wendle,” as he had always solemnly[114] done before. Yes, Emmy felt herself safe with Uncle Spenny; almost too safe, perhaps.

My Uncle Spencer’s conversations were always, as I have said, of a very serious cast. They were even more serious at this time than usual; for the catastrophe, and now his passion, had brought on in his mind a very severe fit of thinking. There was so much that, in the light of the happenings of the last few weeks, needed reconsidering. From the German professor’s theory to the problem of good and evil; from the idea of progress (for, after all, was not this the twentieth century?) to the austere theory and the strange new fact of love; from internationalism to God—everything had to be considered afresh. And he considered them out loud with Emmy Wendle. Goodness, for example, was that no more than a relative thing, an affair of social conventions, gauged by merely local and accidental standards? Or was there something absolute, ultimate, and fundamental about the moral idea? And God—could God be absolutely good? And was there such a vast difference between the twentieth and other centuries?[115] Could fact ever rhyme with ideal? All these disturbing questions had to be asked and answered to his own satisfaction once again.

It was characteristic of my Uncle Spencer that he answered them all—even after taking into consideration everything that had happened—on the hopeful side, just as he had done before the catastrophe; and what was more, with a deeper conviction. Before, he had accepted the cheerful idealistic view a little too easily. He had inherited it from the century in which he was born, had sucked it in from the respectable and ever-prospering elders among whom he had been brought up. Circumstances were now making that facile cheerfulness seem rather stupid. But it was precisely because he had to reconsider the objections to optimism, the arguments against hopefulness, not theoretically in the void, but practically and in the midst of personal and universal calamity (the latter very bearable if one is comfortably placed oneself, but real, but disturbing, if one is also suffering a little), that he now became convinced, more hardly but more profoundly, of the truth of what he had[116] believed before, but lightly and, as he now saw, almost accidentally. Events were shortly to disturb this new-found conviction.

Emmy listened to him with rapture. The circumstances, the time, the place, inclined her to the serious and reflective mood. My Uncle Spencer’s discourses were just what she needed at this particular moment. Naturally superstitious, she lived at all times under the protection of a small gold lucky pig and a coral cross which had once belonged to her mother. And when luck was bad, she went to church and consulted crystal gazers. That time she broke her leg and had to cancel that wonderful engagement to tour in Australia, she knew it was because she had been neglecting God in all the prosperous months before; she prayed and she promised amendment. When she got better, God sent her an offer from Cohen’s Provincial Alhambras Ltd., in token that her repentance was accepted and she was forgiven. And now, though she had seemed to belong to the cheerful party in the attics of the Ministry of the Interior, her thoughts had secretly been very grave. At night,[117] lying awake on her mattress, she wondered in the darkness what was the reason of all this—the war, her bad luck in getting caught by the Germans. Yes, what could the reason be? Why was God angry with her once again?

But of course she knew why. It was all that dreadful, dreadful business last June when she was working at Wimbledon. That young man who had waited for her at the stage door; and would she do him the honour of having supper with him? And she had said yes, though it was all against her rules. Yes: because he had such a beautiful voice, so refined, almost like a very high-class West End actor’s voice. “I came to see the marionettes,” he told her. “Marionettes never seem to get farther than the suburbs, do they? But I stayed for you.”

They drove in a taxi all the way from Wimbledon to Piccadilly. “Some day,” she said, pointing to the Pavilion, “you’ll see my name there, in big electric letters: EMMY WENDLE.” A hundred pounds a week and the real West End. What a dream!

He had such beautiful manners and he looked so handsome when you saw him[118] in the light. They had champagne for supper.

In the darkness, Emmy blushed with retrospective shame. She buried her face in the pillow as though she were trying to hide from some searching glance. No wonder God was angry. In an agony she kissed the coral cross. She pulled at the blue ribbon, at the end of which, between her two small breasts, hung the golden pig; she held the mascot in her hand, tightly, as though hoping to extract from it something of that power for happiness stored mysteriously within it, as the power to attract iron filings is stored within the magnet.

A few feet away the Russian countess heavily breathed. At the stertorous sound Emmy shuddered, remembering the wickedness that slumbered so near her. For if she herself had ceased to be, technically, a good girl, she was—now that her luck had turned—ashamed of it; she knew, from God’s anger, that she had done wrong. But the countess, if sleep had not overtaken her, would have gone on boasting all night about her lovers. To middle-class Emmy the countess’s frankness, her freedom from[119] the ordinary prejudices, her aristocratic contempt for public opinion, and her assumption—the assumption of almost all idle women and of such idle men as have nothing better to do or think about—that the only end of life is to make love, complicatedly, at leisure and with a great many people, seemed profoundly shocking. It didn’t so much matter that she wasn’t a good girl—or rather a good ripe widow. What seemed to Emmy so dreadful was that she should talk about it as though not being good were natural, to be taken for granted, and even positively meritorious. No wonder God was angry.

To Emmy my Uncle Spencer—or shall I call him now her Uncle Spenny?—came as a comforter and sustainer in her remorseful misery. His wandering speculations were not, it was true, always particularly relevant to her own trouble; nor did she always understand what he was talking about. But there was a certain quality in all his discourses, whatever the subject, which she found uplifting and sustaining. Thus my Uncle Spencer quoting Swedenborg to prove that, in spite of all present appearances to the contrary, things were probably all[120] right, was the greatest of comforts. There was something about him like a very high-class clergyman—a West End clergyman, so to say. When he talked she felt better and in some sort safer.

He inspired in her so much confidence that one day, while the journalist was playing some noisy joke that kept all the rest of the company occupied, she took him aside into the embrasure of one of the windows and told him all, or nearly all, about the episode on account of which God was now so angry. My Uncle Spencer assured her that God didn’t see things in quite the way she imagined; and that if He had decided that there must be a European War, it was not, in all human probability, to provide an excuse for getting Emmy Wendle—however guilty—locked up in the attics of the Ministry of the Interior at Brussels. As for the sin itself, my Uncle Spencer tried to make her believe that it was not quite so grave as she thought. He did not know that she only thought it grave because she was in prison and, naturally, depressed.

“No, no,” he said comfortingly, “you mustn’t take it to heart like that.”

[121]But the knowledge that this exquisite and innocent young creature had once—and if once, why not twice, why not (my Uncle Spencer left to his own midnight thoughts feverishly speculated), why not fifty times?—fallen from virtue distressed him. He had imagined her, it was true, surrounded by bad influences, like the journalist; but between being taught to say “sarl coshaw” and an actual lapse from virtue, there was a considerable difference. It had never occurred to my Uncle Spencer that Emmy could have got beyond the “coshaw” stage. And now he had it from her own lips that she had.

Celibate like a priest, my Uncle Spencer had not enjoyed the priest’s vicarious experience in the confessional. He had not read those astonishing handbooks of practical psychology, fruit of the accumulated wisdom of centuries, from which the seminarist learns to understand his penitents, to classify and gauge their sins, and, incidentally—so crude, bald, and uncompromising are the descriptions of human vice that they contain—to loathe the temptations which, when rosily and delicately painted, can seem so damnably alluring. His ignorance of human beings[122] was enormous. In his refinement he had preferred not to know; and circumstances, so far, had wonderfully conspired to spare him knowledge.

Years afterwards, I remember, when we met again, he asked me after a silence, and speaking with an effort, as though overcoming a repugnance, what I really thought about women and all “that sort of thing.” It was a subject about which at that time I happened to feel with the bitterness and mirthful cynicism of one who has been only too amply successful in love with the many in whom he took no interest, and lamentably and persistently unsuccessful with the one being, in whose case success would have been in the least worth while.

“You really think, then,” said my Uncle Spencer, when I paused for breath, “that a lot of that sort of thing actually does go on?”

He sighed and shut his eyes, as though to conceal their expression from me. He was thinking of Emmy Wendle. How passionately he had hoped that I should prove her, necessarily and a priori, virtuous!

[123]There are certain sensitive and idealistic people in whom the discovery that the world is what it is brings on a sudden and violent reaction towards cynicism. From soaring in spheres of ideal purity they rush down into the mud, rub their noses in it, eat it, bathe and wallow. They lacerate their own highest feelings and delight in the pain. They take pleasure in defiling the things which before they thought beautiful and noble; they pore with a disgusted attention over the foul entrails of the things whose smooth and lovely skin was what they had once worshipped.

Swift, surely, was one of these—the greatest of them. His type our islands still produce; and more copiously, perhaps, during the last two or three generations than ever before. For the nineteenth century specialised in that romantic, optimistic idealism which postulates that man is on the whole good and inevitably becoming better. The idealism of the men of the Middle Ages was more sensible; for it insisted, to begin with, that man was mostly and essentially bad, a sinner by instinct and heredity. Their ideals, their religion, were divine and unnatural[124] antidotes to original sin. They saw the worst first and could be astonished by no horror—only by the occasional miracle of sweetness and light. But their descendants of the romantic, optimistic, humanitarian century, in which my Uncle Spencer was born and brought up, vented their idealism otherwise. They began by seeing the best; they insisted that men were naturally good, spiritual, and lovely. A sensitive youth brought up in this genial creed has only to come upon a characteristic specimen of original sin to be astonished, shocked, and disillusioned into despair. Circumstances and temperament had permitted my Uncle Spencer to retain his romantic optimism very much longer than most men.

The tardy recognition of the existence of original sin disturbed my Uncle Spencer’s mind. But the effects of it were not immediate. At the moment, while he was in Emmy’s pretty and intoxicating presence, and while she was still kind, he could not believe that she too had her share of original sin. And even when he forced himself to do so, her childish ingenuous face was in itself[125] a complete excuse. It was later—and especially when he was separated from her—that the poison began slowly to work, embittering his whole spirit. At present Emmy’s confession only served to increase his passion for her. For, to begin with, it made her seem more than ever in need of protection. And next, by painfully satisfying a little of his curiosity about her life, it quickened his desire to know all, to introduce himself completely into her history. And at the same time it provoked a retrospective jealousy, together with an intense present suspiciousness and an agonised anticipation of future dangers. His passion became like a painful disease. He pursued her with an incessant and abject devotion.

Relieved, partly by my Uncle Spencer’s spiritual ministrations, partly by the medicating power of time, from her first access of remorse, depression, and self-reproach, Emmy began to recover her normal high spirits. My Uncle Spencer became less necessary to her as a comforter. His incomprehensible speculations began to bore her. Conversely, the jokes of the cheerful ones seemed more[126] funny, while the gallantries of the journalist and the bank clerk appeared less repulsive, because—now that her mood had changed—they struck her as less incongruous and indecorous. She was no longer, spiritually speaking, in church. In church, my Uncle Spencer’s undemonstrative and unimportunate devotion had seemed beautifully in place. But now that she was emerging again out of the dim religious into the brightly secular mood, she found it rather ridiculous and, since she did not return the adoration, tiresome.

“If you could just see yourself now, Uncle Spenny,” she said to him, “the way you look.”

And she drew down the corners of her mouth, then opened her eyes in a fishy, reverential stare. Then the grimace in which my Uncle Spencer was supposed to see his adoration truly mirrored, disintegrated in laughter; the eyes screwed themselves up, a little horizontal wrinkle appeared near the tip of the snub nose, the mouth opened, waves of mirth seemed to ripple out from it across the face, and a shrill peal of laughter mocked him into an attempted smile.

“You really do,” Emmy nodded. “Not a very cheerful thing to have staring at one day and night, is it?”

Sometimes—and this to my Uncle Spencer was inexpressibly painful—she would even bring in some third person to share the sport at his expense; she would associate the bank clerk, the opera singer, or the journalist in her mocking laughter. The teasing which, in the first days, had been so light and affectionate, became cruel.

Emmy would have been distressed, no doubt, if she had known how much she hurt him. But he did not complain. All she knew was that my Uncle Spencer was ridiculous. The temptation to say something smart and disagreeable about him was irresistible.

To my Uncle Spencer’s company she now preferred that of the journalist, the bank clerk, and the opera singer. With the bank clerk she talked about West End actors and actresses, music-hall artists, and cinema stars. True, he was not much of a gentleman; but on this absorbing subject he was extremely[128] knowledgeable. The singer revealed to her the gorgeous and almost unknown universe of the operatic stage—a world of art so awe-inspiringly high that it was above even the West End. The journalist told her spicy stories of the Brussels stage. My Uncle Spencer would sit at the fringes of the group, listening in silence and across a gulf of separation, while Emmy and the bank clerk agreed that Clarice Mayne was sweet, George Robey a scream, and Florence Smithson a really high-class artist. When asked for his opinion, my Uncle Spencer always had to admit that he had never seen the artist in question. Emmy and the bank clerk would set up a howl of derision; and the opera singer, with biting sarcasm, would ask my Uncle Spencer how a man who professed to be fond of music could have gone through life without even making an attempt to hear Caruso. My Uncle Spencer was too sadly depressed to try to explain.

The days passed. Sometimes a prisoner would be sent for and examined by the German authorities. The little old nobleman like a teapot was released a week after my Uncle Spencer’s arrival;[129] and a few days later the haughty and monocled one disappeared. Most of the peasants next vanished. Then the Russian anarchist was sent for, lengthily examined and sent back again, to find that his arm-chair was being occupied by the journalist.

In the fourth week of my Uncle Spencer’s imprisonment Alphonse fell ill. The poor man had never recovered from the effects of the practical joke that had been played upon him on the day of his arrival. Melancholy, oppressed by fears, the more awful for being vague and without a definite object (for he could never grasp why and by whom he had been imprisoned; and as to his ultimate fate—no one could persuade him that it was to be anything but the most frightful and lingering of deaths), he sat brooding by himself in a corner. His free pardon, signed Von der Golz and sealed with the image of the Sacred Cow, he still preserved; for though he was now intellectually certain that the paper was valueless, he still hoped faintly in the depths of his being that it might turn out, one day, to be a talisman; and, in any case, the image of the Cow was[130] very comforting. Every now and then he would take the paper out of his pocket, tenderly unfold it and gaze with large sad eyes at the sacred effigy: Pour l’amélioration de la race bovine—and tears would well up from under his eyelids, would hang suspended among the lashes and roll at last down his brown cheeks.

They were not so round now, those cheeks, as they had been. The skin sagged, the bright convex high-lights had lost their brilliance. Miserably he pined. My Uncle Spencer did his best to cheer him. Alphonse was grateful, but would take no comfort. He had lost all interest even in women; and when, learning from my Uncle Spencer that the Indian was something of a prophet, Emmy asked him to read her hand, he looked at her listlessly as though she had been a mere male and not a male impersonator, and shook his head.

One morning he complained that he was feeling too ill to get up. His head was hot, he coughed, breathed shortly and with difficulty, felt a pain in his right lung. My Uncle Spencer tried to think what Hahnemann would have prescribed in the circumstances, and came[131] to the conclusion that the thousandth of a grain of aconite was the appropriate remedy. Unhappily, there was not so much as a millionth of a grain of aconite to be found in all the prison. Inquiry produced only a bottle of aspirin tablets and, from the Russian countess, a packet of cocaine snuff. It was thought best to give the Dravidian a dose of each and wait for the doctor.

At his midday visit the inspecting officer was informed of Alphonse’s state, and promised to have the doctor sent at once. But it was not, in point of fact, till the next morning that the doctor came. My Uncle Spencer, meanwhile, constituted himself the Dravidian’s nurse. The fact that Alphonse was the widower of his housekeeper’s sister, and had lived in his city of adoption, made my Uncle Spencer feel somehow responsible for the poor Indian. Moreover, he was glad to have some definite occupation which would allow him to forget, if only partially and for an occasional moment, his unhappy passion.

From the first, Alphonse was certain that he was going to die. To my Uncle Spencer he foretold his impending extinction,[132] not merely with equanimity, but almost with satisfaction. For by dying, he felt, he would be spiting and cheating his enemies, who desired so fiendishly to put an end to him at their own time and in their own horrible fashion. It was in vain that my Uncle Spencer assured him that he would not die, that there was nothing serious the matter with him. Alphonse stuck to his assertion.

The doctor, when he came next day, diagnosed acute lobar pneumonia. Through the oppression of his fever, Alphonse smiled at my Uncle Spencer with a look almost of triumph. That night he was delirious and began to rave in a language my Uncle Spencer could not understand.

My Uncle Spencer listened in the darkness to the Dravidian’s incomprehensible chattering; and all at once, with a shudder, with a sense of terror he felt—in the presence of this man of another race, speaking in an unknown tongue words uttered out of obscure depths for[133] no man’s hearing and which even his own soul did not hear or understand—he felt unutterably alone. He was imprisoned within himself. He was an island surrounded on every side by wide and bottomless solitudes. And while the Indian chattered away, now softly, persuasively, cajolingly, now with bursts of anger, now loudly laughing, he thought of all the millions and millions of men and women in the world—all alone, all solitary and confined. He thought of friends, incomprehensible to one another and opaque after a lifetime of companionship; he thought of lovers remote in one another’s arms. And the hopelessness of his passion revealed itself to him—the hopelessness of every passion, since every passion aims at attaining to what, in the nature of things, is unattainable: the fusion and interpenetration of two lives, two separate histories, two solitary and for ever sundered individualities.

But the unattainableness of a thing was never a reason for ceasing to desire it. On the contrary, it tends to increase and even to create desire. Thus our love for those we know, and our longing to be[134] with them, are often increased by their death. And the impossibility of ever communicating with him again will actually create out of indifference an affection, a respect and esteem for some one whose company in life seemed rather tedious than desirable. So, for the lover, the realisation that what he desires is unattainable, and that every possession will reveal yet vaster tracts of what is unpossessed and unpossessable, is not a deterrent, is not an antidote to his passion; but serves rather to exacerbate his desire, sharpening it to a kind of desperation, and at the same time making the object of his desire seem more than ever precious.

The Indian chattered on, a ghost among the ghosts of his imagination, remote as though he were speaking from another world. And Emmy—was she not as far away, as unattainable? And being remote, she was the more desirable; being mysterious, she was the more lovely. A more brutal and experienced man than my Uncle Spencer would have devoted all his energies to seducing the young woman, knowing that after a time the satisfaction of his physical desire[135] would probably make him cease to take any interest in her soul or her history. But physical possession was the last thing my Uncle Spencer thought of, and his love had taken the form of an immense desire for the impossible union, not of bodies, but of minds and lives. True, what he had so far learned about her mind and history was not particularly encouraging. But for my Uncle Spencer her silliness, love of pleasure, and frivolity were strange and mysterious qualities—for he had known few women in his life and none, before, like Emmy Wendle—rather lovely still in their unfamiliarity, and if recognised as at all bad, excused as being the symptoms of a charming childishness and an unfortunate upbringing. Her solicitude, that first day, about poor Alphonse convinced him that she was fundamentally good-hearted; and if she had proved herself cruel since then towards himself, that was more by mistake and because of surrounding bad influences than from natural malignity. And, then, there was the way in which she sang the “Brabançonne.” It was noble, it was moving. To be able to sing like that one must have a fine and beautiful character.[136] In thinking like this, my Uncle Spencer was forgetting that no characteristic is incompatible with any other, that any deadly sin may be found in company with any cardinal virtue, even the apparently contradictory virtue. But unfortunately that is the kind of wisdom which one invariably forgets precisely at the moment when it might be of use to one. One learns it almost in the cradle; at any rate, I remember at my preparatory school reading, in Professor Oman’s Shorter History of England, of “the heroic though profligate Duke of Ormond,” and of a great English king who was none the less, “a stuttering, lolling pedant with a tongue too big for his mouth.” But though one knows well enough in theory that a duke can be licentious as well as brave, that majestic wisdom may be combined with pedantry and defective speech, yet in practice one continues to believe that an attractive woman is kind because she is charming, and virtuous because she rejects your first advances; without reflecting that the grace of her manner may thinly conceal an unyielding ruthlessness and selfishness, while the coyness in face of[137] insistence may be a mere device for still more completely ensnaring the victim. It is only in the presence of unsympathetic persons that we remember that the most odious actions are compatible with the most genuinely noble sentiments, and that a man or woman who does one thing, while professing another, is not necessarily a conscious liar or hypocrite. If only we could steadfastly bear this knowledge in mind when we are with persons whom we find sympathetic!

Desiring Emmy as passionately as he did, my Uncle Spencer would not have had much difficulty in persuading himself—even in spite of her recent cruelty towards him—that the spirit with which he longed to unite his own was on the whole a beautiful and interesting spirit; would indeed have had no difficulty at all, had it not been for that unfortunate confession of hers. This, though it flattered him as a token of her confidence in his discretion and wisdom, had sadly disturbed him and was continuing to disturb him more and more. For out of all her history—the history in which it was his longing to make himself entirely[138] at home as though he had actually lived through it with her—this episode was almost the only chapter he knew. Like a thin ray of light her confession had picked it out for him, from the surrounding obscurity. And what an episode! The more my Uncle Spencer reflected on it, the more he found it distressing.

The brutal practical man my Uncle Spencer was not would have taken this incident from the past as being of good augury for his own future prospects. But since he did not desire, consciously at any rate, the sort of success it augured, the knowledge of this incident brought him an unadulterated distress. For however much my Uncle Spencer might insist in his own mind on the guiltiness of external circumstance and of the other party, he could not entirely exonerate Emmy. Nor could he pretend that she had not in some sort, if only physically, taken part in her own lapse. And perhaps she had participated willingly. And even if she had not, the thought that she had been defiled, however reluctantly, by the obscene contact was unspeakably painful to him. And while the Indian raved, and through the long,[139] dark silences during which there was no sound but the unnaturally quick and shallow breathing, and sometimes a moan, and sometimes a dry cough, my Uncle Spencer painfully thought and thought; and his mind oscillated between a conviction of her purity and the fear that perhaps she was utterly corrupt. He saw in his imagination, now her childish face and the rapt expression upon it while she sang the “Brabançonne,” now the sweet, solicitous look while she commiserated on poor Alphonse’s unhappiness, and then, a moment later, endless embracements, kisses brutal and innumerable. And always he loved her.

Next day the Dravidian’s fever was still high. The doctor, when he came, announced that red hepatisation of both lungs was already setting in. It was a grave case which ought to be at the hospital; but he had no authority to have the man sent there. He ordered tepid spongings to reduce the fever.

In the face of the very defective sanitary arrangements of the prison, my Uncle Spencer did his best. He had a crowd of willing assistants; everybody was anxious to do something helpful.[140] Nobody was more anxious than Emmy Wendle. The forced inaction of prison life, even when it was relieved by the jokes of the cheerful ones, by theatrical discussions and the facetious gallantry of the bank clerk and the journalist, was disagreeable to her. And the prospect of being able to do something, and particularly (since it was war-time, after all) of doing something useful and charitable, was welcomed by her with a real satisfaction. She sat by the Dravidian’s mattress, talked to him, gave him what he asked for, did the disagreeable jobs that have to be done in the sick-room, ordered my Uncle Spencer and the others about, and seemed completely happy.

For his part, my Uncle Spencer was delighted by what he regarded as a reversion to her true self. There could be no doubt about it now: Emmy was good, was kind, a ministering angel, and therefore (in spite of the professor’s heroic though profligate duke), therefore pure, therefore interesting, therefore worthy of all the love he could give her. He forgot the confession, or at least he ceased to attach importance to it; he[141] was no longer haunted by the odious images which too much brooding over it evoked in his mind. What convinced him, perhaps, better than everything of her essential goodness, was the fact that she was once more kind to him. Her young energy, fully occupied in practical work (which was not, however, sufficiently trying to overtax the strength or set the nerves on edge), did not have to vent itself in laughter and mockery, as it had done when she recovered from the mood of melancholy which had depressed it during the first days of her imprisonment. They were fellow-workers now.

The Dravidian, meanwhile, grew worse and worse, weaker and weaker every day. The doctor was positively irritated.

“The man has no business to be so ill as he is,” he grumbled. “He’s not old, he isn’t an alcoholic or a syphilitic, his constitution is sound enough. He’s just letting himself die. At this rate he’ll never get past the crisis.”

At this piece of news Emmy became grave. She had never seen death at close quarters—a defect in her education which my Uncle Spencer, if he had had the bringing up of her, would have remedied.[142] For death was one of those Realities of Life with which, he thought, every one ought to make the earliest possible acquaintance. Love, on the other hand, was not one of the desirable Realities. It never occurred to him to ask himself the reason for this invidious distinction. Indeed, there was no reason; it just was so.

“Tell me, Uncle Spenny,” she whispered, when the doctor had gone, “what does really happen to people when they die?”

Charmed by this sign of Emmy’s renewed interest in serious themes, my Uncle Spencer explained to her what Alphonse at any rate thought would happen to him.

At midday, over the repeated cabbage soup and the horrible boiled meat, the bank clerk, with characteristically tasteless facetiousness, asked, “How’s our one little nigger boy?”

Emmy looked at him with disgust and anger. “I think you’re perfectly horrible,” she said. And, lowering her voice reverently, she went on, “The doctor says he’s going to die.”

The bank clerk was unabashed. “Oh,[143] he’s going to kick the bucket, is he? Poor old blacky!”

Emmy made no answer; there was a general silence. It was as though somebody had started to make an unseemly noise in a church.

Afterwards, in the privacy of the little room, where, among the filing cabinets and the dusty papers, the Dravidian lay contentedly dying, Emmy turned to my Uncle Spencer and said, “You know, Uncle Spenny, I think you’re a wonderfully decent sort. I do, really.”

My Uncle Spencer was too much overcome to say anything but “Emmy, Emmy,” two or three times. He took her hand and, very gently, kissed it.

That afternoon they went on talking about all the things that might conceivably happen after one were dead. Emmy told my Uncle Spencer all that she had thought when she got the telegram—two years ago it was, and she was working in a hall at Glasgow, one of her first engagements, too—saying that her father had suddenly died. He drank too much, her father did; and he wasn’t kind to mother when he wasn’t himself. But she had been very[144] fond of him, all the same; and when that telegram came she wondered and wondered....

My Uncle Spencer listened attentively, happy in having this new glimpse of her past; he forgot the other incident, which the beam of her confession had illumined for him.

Late that evening, after having lain for a long time quite still, as though he were asleep, Alphonse suddenly stirred, opened his large black eyes, and began to talk, at first in the incomprehensible language which came from him in delirium, then, when he realised that his listeners did not understand him, more slowly and in his strange pidgin-French.

“All that is going to happen. I have seen that this war will last a long time—a long time. More than fifty months.” And he prophesied enormous calamities.

My Uncle Spencer, who knew for certain that the war couldn’t possibly last more than three months, was incredulous. But Emmy, who had no preconceived ideas on war and a strong faith[145] in oracles, stopped him impatiently when he wanted to bring the Dravidian to silence.

“Tell me,” she said, “what’s going to happen to us.” She had very little interest in the fate of civilisation.

My Uncle Spencer made certain deprecating little noises. “No, no,” he protested.

The Indian paid no attention to him. “I am going to die,” he repeated. “And you,” he said to my Uncle Spencer, “you will be let go and then again be put into prison. But not here. Somewhere else. A long way off. For a long time—a very long time. You will be very unhappy.” He shook his head. “I cannot help it; even though you have been so good to me. That is what I see. But the man who deceived me”—he meant the journalist—“he will very soon be set free and he will live in freedom, all the time. In such freedom as there will be here. And he who sits in the chair will at last go back to his own country. And he who sings will go free like the man who deceived me. And the small grey man will be sent to another prison in[146] another country. And the fat woman with a red mouth will be sent to another country; but she will not be in prison. I think she will be married there—again.” The portraits were recognisably those of the Russian countess and the professor of Latin. “And the man with carbuncles on his face” (this was the bank clerk, no doubt) “will be sent to another prison in another country; and there he will die. And the woman in black who is so sad....”

But Emmy could bear to wait no longer. “What about me?” she asked. “Tell me what you see about me.”

The Dravidian closed his eyes and was silent for a moment. “You will be set free,” he said. “Soon. And some day,” he went on, “you will be the wife of this good man.” He indicated my Uncle Spencer. “But not yet; not for a long time; till all this strife is at an end. You will have children ... good fortune....” His words grew fainter; once more he closed his eyes. He sighed as though utterly exhausted. “Beware of fair strangers,” he murmured, reverting to the old familiar formula. He said no more.

My Uncle Spencer slept that night, or rather did not sleep, in the living-room. The corpse lay alone among the archives. The words of the Indian continued to echo and re-echo in his mind: “Some day you will be the wife of this kind man.” Perhaps, he thought, on the verge of death, the spirit already begins to try its wings in the new world. Perhaps already it has begun to know the fringes, as it were, of secrets that are to be revealed to it. To my Uncle Spencer there was nothing repugnant in the idea. There was room in his universe for what are commonly and perhaps wrongly known as miracles. Perhaps the words were a promise, a statement of future fact. Lying on his back, his eyes fixed on the dark blue starry sky beyond the open window, he meditated on that problem of fixed fate and free will, with which the devils in Milton’s hell wasted their infernal leisure. And like a refrain the words repeated themselves:[148] “Some day you will be the wife of this good man.” The stars moved slowly across the opening of the window. He did not sleep.

In the morning an order came for the release of the journalist and the opera singer. Joyfully they said good-bye to their fellow-prisoners; the door closed behind them. Emmy turned to my Uncle Spencer with a look almost of terror in her eyes; the Indian’s prophesies were already beginning to come true. But they said nothing to one another. Two days later the bank clerk left for an internment camp in Germany.

And then, one morning, my Uncle Spencer himself was sent for. The order came quite suddenly; they left him no time to take leave. He was examined by the competent authority, found harmless, and permitted to return to Longres, where, however, he was to live under supervision. They did not even allow him to go back to the prison and say good-bye; a soldier brought his effects from the Ministry; he was put on to the train, with orders to report to the commandant at Longres as soon as he arrived.

[149]Antonieke received her master with tears of joy. But my Uncle Spencer took no pleasure in his recovered freedom. Emmy Wendle was still a prisoner. True, she would soon be set free; but then, he now realised to his horror, she did not know his address. He had been released at such startlingly short notice that he had had no time to arrange with her about the possibilities of future meetings; he had not even seen her on the morning of his liberation.

Two days after his return to Longres, he asked permission from the commandant, to whom he had to report himself every day, whether he might go to Brussels. He was asked why; my Uncle Spencer answered truthfully that it was to visit a friend in the prison from which he himself had just been released. Permission was at once refused.

My Uncle Spencer went to Brussels all the same. The sentry at the door of the prison arrested him as a suspicious person. He was sent back to Longres; the commandant talked to him menacingly. The next week, my Uncle Spencer tried again. It was sheer insanity, he knew; but doing something idiotic was preferable[150] to doing nothing. He was again arrested.

This time they condemned him to internment in a camp in Germany. The Indian’s prophecies were being fulfilled with a remarkable accuracy. And the war did last for more than fifty months. And the carbuncular bank clerk, whom he found again in the internment camp, did, in fact, die....

What made him confide in me—me, whom he had known as a child and almost fathered—I do not know. Or perhaps I do know. Perhaps it was because he felt that I should be more competent to advise him on this sort of subject than his brother—my father—or old Mr. Bullinger, the Dante scholar, or any other of his friends. He would have felt ashamed, perhaps, to talk to them about this sort of thing. And he would have felt, too, that perhaps it wouldn’t be much good talking to them, and that I, in spite of my youth, or even because of it, might actually be more experienced in these matters than they. Neither my father nor Mr. Bullinger, I imagine, knew very much about male impersonators.

[151]At any rate, whatever the cause, it was to me that he talked about the whole affair, that spring of 1919, when he was staying with us in Sussex, recuperating after those dreary months of confinement. We used to go for long walks together, across the open downs, or between the grey pillars of the beechwoods; and painfully overcoming reluctance after reluctance, proceeding from confidence to more intimate confidence, my Uncle Spencer told me the whole story.

The story involved interminable discussions by the way. For we had to decide, first of all, whether there was any possible scientific explanation of prophecy; whether there was such a thing as an absolute future waiting to be lived through. And at much greater length, even, we had to argue about women—whether they were really “like that” (and into what depths of cynicism my poor Uncle Spencer had learned, during the long, embittered meditations of his prison days and nights, to plunge and wallow!), or whether they were like the angels he had desired them to be.

But more important than to speculate on Emmy’s possible character was to[152] discover where she now was. More urgent than to wonder if prophecy could conceivably be reliable, was to take steps to fulfil this particular prophecy. For weeks my Uncle Spencer and I played at detectives.

I have often fancied that we must have looked, when we made our inquiries together, uncommonly like the traditional pair in the stories—my Uncle Spencer, the bright-eyed, cadaverous, sharp-featured genius, the Holmes of the combination; and I, moon-faced and chubby, a very youthful Watson. But, as a matter of fact, it was I, if I may say so without fatuity, who was the real Holmes of the two. My Uncle Spencer was too innocent of the world to know how to set about looking for a vanished mistress; just as he was too innocent of science to know how or where to find out what there was to be discovered on any abstracter subject.

It was I who took him to the British Museum and made him look up all the back numbers of the theatrical papers to see when Emmy had last advertised her desire to be engaged. It was I, the apparent Watson, who thought of[153] the theatrical agencies and the stage doors of all the suburban music-halls. Sleuth-like in aspect, innocent at heart, my Uncle Spencer followed, marvelling at my familiarity with the ways of the strange world.

But I must temper my boasting by the confession that we were always entirely unsuccessful. No agency had heard of Emmy Wendle since 1914. Her card had appeared in no paper. The porters of music-halls remembered her, but only as something antediluvian. “Emmy Wendle? Oh yes, Emmy Wendle....” And scratching their heads, they strove by a mental effort to pass from the mere name to the person, like palæontologists reconstructing the whole diplodocus from the single fossil bone.

Two or three times we were even given addresses. But the landladies of the lodging-houses where she had stayed did not even remember her; and the old aunt at Ealing, from whom we joyfully hoped so much, had washed her hands of Emmy two or three months before the war began. And the conviction she then had that Emmy was a bad girl was only intensified and confirmed[154] by our impertinent inquiries. No, she knew nothing about Emmy Wendle, now, and didn’t want to know. And she’d trouble us to leave respectable people like herself in peace. And, defeated, we climbed back into our taxi, while the inhabitants of the squalid little street peered out at us and our vehicle, as though we had been visitors from another planet, and the metropolitan hackney carriage a fairy chariot.

“Perhaps,” I said brutally, “she’s found a husband and retired into private life.”

My Uncle Spencer shut his eyes, sighed, and drew his hand across his forehead. What dreadful images filled his mind? He would almost have preferred that she should be dead.

THE shopkeeper called it, affectionately, a little Mexican; and little, for a Mexican, it may have been. But in this Europe of ours, where space is limited and the scale smaller, the little Mexican was portentous, a giant among hats. It hung there, in the centre of the hatter’s window, a huge black aureole, fit for a king among devils. But no devil walked that morning through the streets of Ravenna; only the mildest of literary tourists. Those were the days when very large hats seemed in my eyes very desirable, and it was on my head, all unworthy, that the aureole of darkness was destined to descend. On my head; for at the first sight of the hat, I had run into the shop, tried it on, found the size correct, and bought it, without bargaining, at a foreigner’s price. I left the shop with the little Mexican on my head, and my shadow on the pavements of Ravenna was like the shadow of an umbrella pine.

The little Mexican is very old now, and moth-eaten and green. But I still preserve[156] it. Occasionally, for old associations’ sake, I even wear it. Dear Mexican! it represents for me a whole epoch of my life. It stands for emancipation and the first year at the university. It symbolises the discovery of how many new things, new ideas, new sensations!—of French literature, of alcohol, of modern painting, of Nietzsche, of love, of metaphysics, of Mallarmé, of syndicalism, and of goodness knows what else. But, above all, I prize it because it reminds me of my first discovery of Italy. It re-evokes for me, my little Mexican, all the thrills and astonishments and virgin raptures of that first Italian tour in the early autumn of 1912. Urbino, Rimini, Ravenna, Ferrara, Modena, Mantua, Verona, Vicenza, Padua, Venice—my first impressions of all these fabulous names lie, like a hatful of jewels, in the crown of the little Mexican. Shall I ever have the heart to throw it away?

And then, of course, there is Tirabassi. Without the little Mexican I should never have made Tirabassi’s acquaintance. He would never have taken me, in my small unemphatic English hat, for a painter. And I should never, in consequence, have[157] seen the frescoes, never have talked with the old Count, never heard of the Colombella. Never.... When I think of that, the little Mexican seems to me more than ever precious.

It was, of course, very typical of Tirabassi to suppose, from the size of my hat, that I must be a painter. He had a neat military mind that refused to accept the vague disorder of the world. He was for ever labelling and pigeon-holing and limiting his universe; and when the classified objects broke out of their pigeon-holes and tore the labels from off their necks, Tirabassi was puzzled and annoyed. In any case, it was obvious to him from the first moment he saw me in the restaurant at Padua, that I must be a painter. All painters wear large black hats. I was wearing the little Mexican. Ergo, I was a painter. It was syllogistic, unescapable.

He sent the waiter to ask me whether I would do him the honour of taking coffee with him at his table. For the first moment, I must confess, I was a little alarmed. This dashing young lieutenant of cavalry—what on earth could he want with me? The most absurd fancies filled[158] my mind: I had committed, all unconsciously, some frightful solecism; I had trodden on the toes of the lieutenant’s honour, and he was about to challenge me to a duel. The choice of weapons, I rapidly reflected, would be mine. But what—oh, what on earth should I choose? Swords? I had never learnt to fence. Pistols? I had once fired six shots at a bottle, and missed it with every shot. Would there be time to write one or two letters, make some sort of a testament about my personal belongings? From this anguish of mind the waiter, returning a moment later with my fried octopus, delivered me. The Lieutenant Count, he explained in a whisper of confidence, had a villa on the Brenta, not far from Strà. A villa—he spread out his hands in a generous gesture—full of paintings. Full, full, full. And he was anxious that I should see them, because he felt sure that I was interested in paintings. Oh, of course—I smiled rather foolishly, for the waiter seemed to expect some sort of confirmatory interpolation from me—I was interested in paintings; very much. In that case, said the waiter, the Count would be delighted to take me to see them.[159] He left me, still puzzled, but vastly relieved. At any rate, I was not being called upon to make the very embarrassing choice between swords and pistols.

Surreptitiously, whenever he was not looking in my direction, I examined the Lieutenant Count. His appearance was not typically Italian (but then what is a typical Italian?). He was not, that is to say, blue-jowled, beady-eyed, swarthy, and aquiline. On the contrary, he had pale ginger hair, grey eyes, a snub nose, and a freckled complexion. I knew plenty of young Englishmen who might have been Count Tirabassi’s less vivacious brothers.

He received me, when the time came, with the most exquisite courtesy, apologising for the unceremonious way in which he had made my acquaintance. “But as I felt sure,” he said, “that you were interested in art, I thought you would forgive me for the sake of what I have to show you.” I couldn’t help wondering why the Count felt so certain about my interest in art. It was only later, when we left the restaurant together, that I understood; for, as I put on my hat to go, he pointed with a smile at[160] the little Mexican. “One can see,” he said, “that you are a real artist.” I was left at a loss, not knowing what to answer.

After we had exchanged the preliminary courtesies, the Lieutenant plunged at once, entirely for my benefit I could see, into a conversation about art. “Nowadays,” he said, “we Italians don’t take enough interest in art. In a modern country, you see....” He shrugged his shoulders, leaving the sentence unfinished. “But I don’t think that’s right. I adore art. Simply adore it. When I see foreigners going round with their guide-books, standing for half an hour in front of one picture, looking first at the book, then at the picture”—and here he gave the most brilliantly finished imitation of an Anglican clergyman conscientiously “doing” the Mantegna chapel: first a glance at the imaginary guide-book held open in his two hands, then, with the movement of a chicken that drinks, a lifting of the face towards an imaginary fresco, a long stare between puckered eyelids, a falling open of the mouth, and finally a turning back of the eyes towards the inspired pages of[161] Baedeker—“when I see them, I feel ashamed for us Italians.” The Count spoke very earnestly, feeling, no doubt, that his talent for mimicry had carried him a little too far. “And if they stand for half an hour looking at the thing, I go and stand there for an hour. That’s the way to understand great art. The only way.” He leaned back in his chair and sipped his coffee. “Unfortunately,” he added, after a moment, “one hasn’t got much time.”

I agreed with him. “When one can only get to Italy for a month at a stretch, like myself....”

“Ah, but if only I could travel about the world like you!” The Count sighed. “But here I am, cooped up in this wretched town. And when I think of the enormous capital that’s hanging there on the walls of my house....” He checked himself, shaking his head. Then, changing his tone, he began to tell me about his house on the Brenta. It sounded altogether too good to be true. Carpioni, yes—I could believe in frescoes by Carpioni; almost any one might have those. But a hall by Veronese, but rooms by Tiepolo, all in the same[162] house—that sounded incredible. I could not help believing that the Count’s enthusiasm for art had carried him away. But, in any case, to-morrow I should be able to judge for myself; the Count had invited me to lunch with him.

We left the restaurant. Still embarrassed by the Count’s references to my little Mexican, I walked by his side in silence up the arcaded street.

“I am going to introduce you to my father,” said the Count. “He, too, adores the arts.”

More than ever I felt myself a swindler. I had wriggled into the Count’s confidence on false pretences; my hat was a lie. I felt that I ought to do something to clear up the misunderstanding. But the Count was so busy complaining to me about his father that I had no opportunity to put in my little explanation. I didn’t listen very attentively, I confess, to what he was saying. In the course of a year at Oxford, I had heard so many young men complain of their fathers. Not enough money, too much interference—the story was a stale one. And at that time, moreover, I was taking a very high philosophical line about this[163] sort of thing. I was pretending that people didn’t interest me—only books, only ideas. What a fool one can make of oneself at that age!

“Eccoci,” said the Count. We halted in front of the Café Pedrochi. “He always comes here for his coffee.”

And where else, indeed, should he come for his coffee? Who, in Padua, would go anywhere else?

We found him sitting out on the terrace at the farther end of the building. I had never, I thought, seen a jollier-looking old gentleman. The old Count had a red weather-beaten face, with white moustaches bristling gallantly upwards and a white imperial in the grand Risorgimento manner of Victor Emmanuel the Second. Under the white tufty eyebrows, and set in the midst of a webwork of fine wrinkles, the eyes were brown and bright like a robin’s. His long nose looked, somehow, more practically useful than the ordinary human nose, as though made for fine judicial sniffing, for delicate burrowing and probing. Thick set and strong, he sat there solidly in his chair, his knees apart, his hands clasped over the knob of his cane, carrying[164] his paunch with dignity, nobly I had almost said, before him. He was dressed all in white linen—for the weather was still very hot—and his wide grey hat was tilted rakishly forward over his left eye. It gave one a real satisfaction to look at him; he was so complete, so perfect in his kind.

The young Count introduced me. “This is an English gentleman. Signor....” He turned to me for the name.

“Oosselay,” I said, having learnt by experience that that was as near as any Italian could be expected to get to it.

“Well, not exactly an artist,” I was beginning; but he would not let me make an end.

“He is also very much interested in ancient art,” he continued. “To-morrow I am taking him to Dolo to see the frescoes. I know he will like them.”

We sat down at the old Count’s table; critically he looked at me and nodded. “Benissimo,” he said, and then added, “Let’s hope you’ll be able to do something to help us sell the things.”

[165]This was startling. I looked in some perplexity towards the young Count. He was frowning angrily at his father. The old gentleman had evidently said the wrong thing; he had spoken, I guessed, too soon. At any rate, he took his son’s hint and glided off serenely on another tack.

“The fervid phantasy of Tiepolo,” he began rotundly, “the cool, unimpassioned splendour of Veronese—at Dolo you will see them contrasted.” I listened attentively, while the old gentleman thundered on in what was evidently a set speech. When it was over, the young Count got up; he had to be back at the barracks by half-past two. I too made as though to go; but the old man laid his hand on my arm. “Stay with me,” he said. “I enjoy your conversation infinitely.” And as he himself had hardly ceased speaking for one moment since first I set eyes on him, I could well believe it. With the gesture of a lady lifting her skirts out of the mud (and those were the days when skirts still had to be lifted) the young Count picked up his trailing sabre and swaggered off, very military, very brilliant and glittering,[166] like a soldier on the stage, into the sunlight, out of sight.

The old man’s bird-bright eyes followed him as he went. “A good boy, Fabio,” he said, turning back to me at last, “a good son.” He spoke affectionately; but there was a hint, I thought, in his smile, in the tone of his voice, a hint of amusement, of irony. It was as though he were adding, by implication, “But good boys, after all, are fools to be so good.” I found myself, in spite of my affectation of detachment, extremely curious about this old gentleman. And he, for his part, was not the man to allow any one in his company to remain for long in splendid isolation. He insisted on my taking an interest in his affairs. He told me all about them—or at any rate all about some of them—pouring out his confidences with an astonishing absence of reserve. Next to the intimate and trusted friend, the perfect stranger is the best of all possible confidants. There is no commercial traveller, of moderately sympathetic appearance, who has not, in the course of his days in the train, his evenings in the parlours of commercial hotels, been made the repository[167] of a thousand intimate secrets—even in England. And in Italy—goodness knows what commercial travellers get told in Italy. Even I, a foreigner, speaking the language badly, and not very skilful anyhow in conducting a conversation with strangers, have heard queer things in the second-class carriages of Italian trains.... Here, too, on Pedrochi’s terrace I was to hear queer things. A door was to be left ajar, and through the crack I was to have a peep at unfamiliar lives.

“What I should do without him,” the old gentleman continued, “I really don’t know. The way he manages the estate is simply wonderful.” And he went rambling off into long digressions about the stupidity of peasants, the incompetence and dishonesty of bailiffs, the badness of the weather, the spread of phylloxera, the high price of manure. The upshot of it all was that, since Fabio had taken over the estate, everything had gone well; even the weather had improved. “It’s such a relief,” the Count concluded, “to feel that I have some one in charge on whom I can rely, some one I can trust, absolutely. It[168] leaves me free to devote my mind to more important things.”

I could not help wondering what the important things were; but it would have been impertinent, I felt, to ask. Instead, I put a more practical question. “But what will happen,” I asked, “when your son’s military duties take him away from Padua?”

The old Count gave me a wink and laid his forefinger, very deliberately, to the side of his long nose. The gesture was rich with significance. “They never will,” he said. “It’s all arranged. A little combinazione, you know. I have a friend in the Ministry. His military duties will always keep him in Padua.” He winked again and smiled.

I could not help laughing, and the old Count joined in with a joyous ha-ha that was the expression of a profound satisfaction, that was, as it were, a burst of self-applause. He was evidently proud of his little combinazione. But he was prouder still of the other combination, about which he now confidentially leaned across the table to tell me. It was decidedly the subtler of the two.

“And it’s not merely his military[169] duties,” he said, wagging at me the thick, yellow-nailed forefinger which he had laid against his nose, “it’s not merely his military duties that’ll keep the boy in Padua. It’s his domestic duties. He’s married. I married him.” He leaned back in his chair, and surveyed me, smiling. The little wrinkles round his eyes seemed to be alive. “That boy, I said to myself, must settle down. He must have a nest, or else he’ll fly away. He must have roots, or else he’ll run. And his poor old father will be left in the lurch. He’s young, I thought, but he must marry. He must marry. At once.” And the old gentleman made great play with his forefinger. It was a long story. His old friend, the Avvocato Monaldeschi, had twelve children—three boys and nine girls. (And here there were digressions about the Avvocato and the size of good Catholic families.) The eldest girl was just the right age for Fabio. No money, of course; but a good girl and pretty, and very well brought up and religious. Religious—that was very important, for it was essential that Fabio should have a large family—to keep him more effectually rooted, the old Count explained—and[170] with these modern young women brought up outside the Church one could never be certain of children. Yes, her religion was most important; he had looked into that very carefully before selecting her. Well, the next thing, of course, was that Fabio should be induced to select her. It had been a matter of bringing the horse to water and making him drink. Oh, a most difficult and delicate business! For Fabio prided himself on his independence; and he was obstinate, like a mule. Nobody should interfere with his affairs, nobody should make him do what he didn’t want to. And he was so touchy, he was so pig-headed that often he wouldn’t do what he really wanted, merely because somebody else had suggested that he ought to do it. So I could imagine—the old Count spread out his hands before me—just how difficult and delicate a business it had been. Only a consummate diplomat could have succeeded. He did it by throwing them together a great deal and talking, meanwhile, about the rashness of early marriages, the uselessness of poor wives, the undesirability of wives not of noble birth. It worked like[171] a charm; within four months, Fabio was engaged; two months later he was married, and ten months after that he had a son and heir. And now he was fixed, rooted. The old gentleman chuckled, and I could fancy that I was listening to the chuckling of some old white-haired tyrant of the quattrocento, congratulating himself on the success of some peculiarly ingenious stroke of policy—a rich city induced to surrender itself by fraud, a dangerous rival lured by fair words into a cage and trapped. Poor Fabio, I thought; and also, what a waste of talent!

Yes, the old Count went on, now he would never go. He was not like his younger brother, Lucio. Lucio was a rogue, furbo, sly; he had no conscience. But Fabio had ideas about duty, and lived up to them. Once he had engaged himself, he would stick to his engagements, obstinately, with all the mulishness of his character. Well, now he lived on the estate, in the big painted house at Dolo. Three days a week he came into Padua for his military duties, and the rest of his time he devoted to the estate. It brought in, now, more than it had ever[172] done before. But goodness knew, the old man complained, that was little enough. Bread and oil, and wine and milk, and chickens and beef—there was plenty of those and to spare. Fabio could have a family of fifty and they would never starve. But ready money—there wasn’t much of that. “In England,” the Count concluded, “you are rich. But we Italians....” He shook his head.

I spent the next quarter of an hour trying to persuade him that we were not all millionaires. But in vain. My statistics, based on somewhat imperfect memories of Mr. and Mrs. Sidney Webb, carried no conviction. In the end I gave it up.

The next morning Fabio appeared at the door of my hotel in a large, very old and very noisy Fiat. It was the family machine-of-all-work, bruised, scratched, and dirtied by years of service. Fabio drove it with a brilliant and easy recklessness. We rushed through the town, swerving from one side of the narrow street to the other, with a disregard for the rules of the road which, in a pedantic country like England, would have meant at the least a five-pound fine and an[173] endorsed licence. But here the Carabiniers, walking gravely in couples under the arcades, let us pass without comment. Right or left—after all, what did it matter?

“Why do you keep the silencer out?” I shouted through the frightful clamour of the engine.

Fabio slightly shrugged his shoulders. “È piu allegro così,” he answered.

I said no more. From a member of this hardy race which likes noise, which enjoys discomfort, a nerve-ridden Englishman could hardly hope to get much sympathy.

We were soon out of the town. Trailing behind us a seething white wake of dust and with the engine rattling off its explosions like a battery of machine-guns, we raced along the Fusina road. On either hand extended the cultivated plain. The road was bordered by ditches, and on the banks beyond, instead of hedges, stood rows of little pollards, with grape-laden vines festooned from tree to tree. White with the dust, tendrils, fruit, and leaves hung there like so much goldsmith’s work sculptured in frosted metal, hung like the swags of[174] fruit and foliage looped round the flanks of a great silver bowl. We hurried on. Soon, on our right hand, we had the Brenta, sunk deep between the banks of its canal. And now we were at Strà. Through gateways rich with fantastic stucco, down tunnels of undeciduous shade, we looked in a series of momentary glimpses into the heart of the park. And now for an instant the statues on the roof of the villa beckoned against the sky and were passed. On we went. To right and left, on either bank of the river, I got every now and then a glimpse of some enchanting mansion, gay and brilliant even in decay. Little baroque garden houses peeped at me over walls; and through great gates, at the end of powdery cypress avenues, half humorously, it seemed, the magniloquent and frivolous façades soared up in defiance of all the rules. I should have liked to do the journey slowly, to stop here and there, to look, to savour at leisure; but Fabio disdained to travel at anything less than fifty kilometres to the hour, and I had to be content with momentary and precarious glimpses. It was in these villas, I reflected, as we bumped along at the[175] head of our desolation of white dust, that Casanova used to come and spend the summer; seducing the chamber-maids, taking advantage of terrified marchionesses in calèches during thunderstorms, bamboozling soft-witted old senators of Venice with his fortune-telling and black magic. Gorgeous and happy scoundrel! In spite of my professed detachment, I envied him. And, indeed, what was that famous detachment but a disguised expression of the envy which the successes and audacities of a Casanova must necessarily arouse in every timid and diffident mind? If I lived in splendid isolation, it was because I lacked the audacity to make war—even to make entangling alliances. I was absorbed in these pleasing self-condemnatory thoughts, when the car slowed down and came to a standstill in front of a huge imposing gate. Fabio hooted impatiently on his horn; there was a scurry of footsteps, the sound of bolts being drawn, and the gate swung open. At the end of a short drive, very large and grave, very chaste and austere, stood the house. It was considerably older than most of the other villas I had seen in[176] glimpses on our way. There was no frivolousness in its façade, no irregular grandiloquence. A great block of stuccoed brick; a central portico approached by steps and topped with a massive pediment; a row of rigid statues on the balustrade above the cornice. It was correctly, coldly even, Palladian. Fabio brought the car to a halt in front of the porch. We got out. At the top of the steps stood a young woman with a red-headed child in her arms. It was the Countess with the son and heir.

The Countess impressed me very agreeably. She was slim and tall—two or three inches taller than her husband; with dark hair, drawn back from the forehead and twisted into a knot on the nape of her neck; dark eyes, vague, lustrous, and melancholy, like the eyes of a gentle animal; a skin brown and transparent like darkened amber. Her manner was gentle and unemphatic. She rarely gesticulated; I never heard her raise her voice. She spoke, indeed, very little. The old Count had told me that his daughter-in-law was religious, and from her appearance I could easily believe it. She looked at you with the calm, remote[177] regard of one whose life mostly goes on behind the eyes.

Fabio kissed his wife and then, bending his face towards the child, he made a frightful grimace and roared like a lion. It was all done in affection; but the poor little creature shrank away, terrified. Fabio laughed and pinched its ear.

Fabio turned to me. “That’s what comes of leaving a boy to be looked after by women. He cries at everything. Let’s come in,” he added. “At present we only use two or three rooms on the ground floor, and the kitchen in the basement. All the rest is deserted. I don’t know how these old fellows managed to keep up their palaces. I can’t.” He shrugged his shoulders. Through a door on the right of the portico we passed into the house. “This is our drawing-room and dining-room combined.”

It was a fine big room, nobly proportioned—a double cube, I guessed—with doorways of sculptured marble and a magnificent fireplace flanked by a pair of nymphs on whose bowed shoulders rested a sloping overmantel carved with[178] coats of arms and festoons of foliage. Round the walls ran a frieze, painted in grisaille; in a graceful litter of cornucopias and panoplies, goddesses sumptuously reclined, cherubs wriggled and flew. The furniture was strangely mixed. Round a sixteenth-century dining-table that was a piece of Palladian architecture in wood, were ranged eight chairs in the Viennese secession style of 1905. A large chalet-shaped cuckoo clock from Bern hung on the wall between two cabinets of walnut, pilastered and pedimented to look like little temples, and with heroic statuettes in yellow boxwood, standing in niches between the pillars. And then the pictures on the walls, the cretonnes with which the arm-chairs were covered! Tactfully, however, I admired everything, new as well as old.

I followed him through one of the marble-framed doorways and found myself at once in the great central hall of the villa. The Count turned round to me. “There!” he said, smiling triumphantly with the air of one who has really succeeded in producing a[179] rabbit out of an empty hat. And, indeed, the spectacle was sufficiently astonishing.

The walls of the enormous room were completely covered with frescoes which it did not need much critical judgment or knowledge to perceive were genuine Veroneses. The authorship was obvious, palpable. Who else could have painted those harmoniously undulating groups of figures set in their splendid architectural frame? Who else but Veronese could have combined such splendour with such coolness, so much extravagant opulence with such exquisite suavity?

And indeed it was. Grandiose; there was no other word. A rich triumphal arcade ran all round the room, four or five arches appearing on each wall. Through the arches one looked into a garden; and there, against a background of cypresses and statues and far-away blue mountains, companies of Venetian ladies and gentlemen gravely disported themselves. Under one arch they were making music; through another, one saw them sitting round a table, drinking one another’s health in glasses of red wine, while a little blackamoor in a livery[180] of green and yellow carried round the silver jug. In the next panel they were watching a fight between a monkey and a cat. On the opposite wall a poet was reading his verses to the assembled company, and next to him Veronese himself—the self-portrait was recognisable—stood at his easel, painting the picture of an opulent blonde in rose-coloured satin. At the feet of the artist lay his dog; two parrots and a monkey were sitting on the marble balustrade in the middle distance.

I gazed with delight. “What a marvellous thing to possess!” I exclaimed, fairly carried away by my enthusiasm. “I envy you.”

The Count made a little grimace and laughed. “Shall we come and look at the Tiepolos?” he asked.

We passed through a couple of cheerful rooms by Carpioni—satyrs chasing nymphs through a romantic forest and, on the fringes of a seascape, a very eccentric rape of mermaids by centaurs—to step across a threshold into that brilliant universe, at once delicate and violently extravagant, wild and subtly orderly, which Tiepolo, in the last days of Italian[181] painting, so masterfully and magically created. It was the story of Eros and Psyche, and the tale ran through three large rooms, spreading itself even on to the ceilings, where, in a pale sky dappled with white and golden clouds, the appropriate deities balanced themselves, diving or ascending through the empyrean with that air of being perfectly at home in their element which seems to belong, in nature, only to fishes and perhaps a few winged insects and birds.

Fabio had boasted to me that, in front of a picture, he could outstare any foreigner. But I was such a mortally long time admiring these dazzling phantasies that in the end he quite lost patience.

“I wanted to show you the farm before lunch,” he said, looking at his watch. “There’s only just time.” I followed him reluctantly.

We looked at the cows, the horses, the prize bull, the turkeys. We looked at the tall, thin haystacks, shaped like giant cigars set on end. We looked at the sacks of wheat in the barn. For lack of any better comment I told the Count that they reminded me of the[182] sacks of wheat in English barns; he seemed delighted.

The farm buildings were set round an immense courtyard. We had explored three sides of this piazza; now we came to the fourth, which was occupied by a long, low building pierced with round archways and, I was surprised to see, completely empty.

“It is nothing,” the Count replied. “But it might, some day, become ... chi sa?” He stood there for a moment in silence, frowning pensively, with the expression of Napoleon on St. Helena—dreaming of the future, regretting past opportunities for ever lost. His freckled face, ordinarily a lamp for brightness, became incongruously sombre. Then all at once he burst out—damning life, cursing fate, wishing to God he could get away and do something instead of wasting himself here. I listened, making every now and then a vague noise of sympathy. What could I do about it? And then, to my dismay, I found that I could do something about it, that I was expected to do something. I was being asked to help the Count to sell his frescoes.[183] As an artist, it was obvious, I must be acquainted with rich patrons, museums, millionaires. I had seen the frescoes; I could honestly recommend them. And now there was this perfected process for transferring frescoes on to canvas. The walls could easily be peeled of their painting, the canvases rolled up and taken to Venice. And from there it would be the easiest thing in the world to smuggle them on board a ship and get away with them. As for prices—if he could get a million and a half of lire, so much the better; but he’d take a million, he’d even take three-quarters. And he’d give me ten per cent, commission....

And afterwards, when he’d sold his frescoes, what would he do? To begin with—the Count smiled at me triumphantly—he’d turn this empty building in which we were now standing into an up-to-date cheese-factory. He could start the business handsomely on half a million, and then, using cheap female labour from the country round, he could be almost sure of making big profits at once. In a couple of years, he calculated, he’d be netting eighty or a hundred thousand a year from his cheeses. And[184] then, ah then, he’d be independent, he’d be able to get away, he’d see the world. He’d go to Brazil and the Argentine. An enterprising man with capital could always do well out there. He’d go to New York, to London, to Berlin, to Paris. There was nothing he could not do.

But meanwhile the frescoes were still on the walls—beautiful, no doubt (for, the Count reminded me, he adored art), but futile; a huge capital frozen into the plaster, eating its head off, utterly useless. Whereas, with his cheese-factory....

I was in Venice again in the September of the following year, 1913. There were, I imagine, that autumn, more German honeymoon-couples, more parties of rucksacked Wander-Birds than there had ever been in Venice before. There were too many, in any case, for me; I packed my bag and took the train for Padua.

I had not originally intended to see young Tirabassi again. I didn’t know, indeed, how pleased he would be to see me. For the frescoes, so far as I knew,[185] at any rate, were still safely on the walls, the cheese-factory still remote in the future, in the imagination. I had written to him more than once, telling him that I was doing my best, but that at the moment, etcetera, etcetera. Not that I had ever held out much hope. I had made it clear from the first that my acquaintance among millionaires was limited, that I knew no directors of American museums, that I had nothing to do with any of the international picture dealers. But the Count’s faith in me had remained, none the less, unshaken. It was the little Mexican, I believe, that inspired so much confidence. But now, after my letters, after all this lapse of time and nothing done, he might feel that I had let him down, deceived him somehow. That was why I took no steps to seek him out. But chance overruled my decision. On the third day of my stay in Padua, I ran into him in the street. Or rather he ran into me.

It was nearly six o’clock, and I had strolled down to the Piazza del Santo. At that hour, when the slanting light is full of colour and the shadows are long and profound, the great church, with its[186] cupolas and turrets and campaniles, takes on an aspect more than ever fantastic and oriental. I had walked round the church, and now I was standing at the foot of Donatello’s statue, looking up at the grim bronze man, the ponderously stepping beast, when I suddenly became aware that some one was standing very close behind me. I took a step to one side and turned round. It was Fabio. Wearing his famous expression of the sightseeing parson, he was gazing up at the statue, his mouth open in a vacant and fish-like gape. I burst out laughing.

“Precisely.” He laughed too. “I’ve been watching you for the last ten minutes, mooning round the church. You English! Really....” He shook his head.

“I’m sorry I wasn’t able to do anything about the frescoes,” I said. “But really....” I entered into explanations.

“Oh, she’s very well,” said Fabio, “considering. You know she had another[187] son three or four months after you came to see us.”

“She’s expecting another now.” Fabio spoke rather gloomily, I thought. More than ever I admired the old Count’s sagacity. But I was sorry, for his son’s sake, that he had not a wider field in which to exercise his talents.

“And your father?” I asked. “Shall we find him sitting at Pedrochi’s, as usual?”

“Who knows?” said Fabio. “My father is like the swallows; he comes and he goes. Every year.... But the migration isn’t regular. Sometimes he goes away in the spring; sometimes it’s the autumn, sometimes it’s the summer.... One fine morning his man goes into his room to call him as usual, and he isn’t there. Vanished. He might be dead. Oh, but he isn’t.” Fabio laughed. “Two or three months later, in he walks again, as though he were just coming back from a stroll in the Botanical Gardens.[188] ‘Good evening. Good evening.’” Fabio imitated the old Count’s voice and manner, snuffing the air like a war-horse, twisting the ends of an imaginary white moustache. “‘How’s your mother? How are the girls? How have the grapes done this year?’ Snuff, snuff. ‘How’s Lucio? And who the devil has left all this rubbish lying about in my study?’” Fabio burst into an indignant roar that made the loiterers in the Via Roma turn, astonished, in our direction.

“Nobody knows. My mother used to ask, once. But she soon gave it up. It was no good. ‘Where have you been, Ascanio?’ ‘My dear, I’m afraid the olive crop is going to be very poor this year.’ Snuff, snuff. And when she pressed him, he would fly into a temper and slam the doors.... What do you say to an aperitif?” Pedrochi’s open doors invited. We entered, chose a retired table, and sat down.

“Ah!” And making the richly significant gesture I had so much admired in his father, the young Count laid his[189] finger against his nose and slowly, solemnly winked his left eye.

Fabio nodded. “There’s a little widow here in Padua.” With his extended finger the young Count described in the air an undulating line. “Nice and plump. Black eyes. I’ve noticed that she generally seems to be out of town just at the time the old man does his migrations. But it may, of course, be a mere coincidence.” The waiter brought us our vermouth. Pensively the young Count sipped. The gaiety went out of his open, lamp-like face. “And meanwhile,” he went on slowly and in an altered voice, “I stay here, looking after the estate, so that the old man can go running round the world with his little pigeon—la sua colombella.” (The expression struck me as particularly choice.) “Oh, it’s funny, no doubt,” the young Count went on. “But it isn’t right. If I wasn’t married, I’d go clean away and try my luck somewhere else. I’d leave him to look after everything himself. But with a wife and two children—three children soon—how can I take the risk? At any rate, there’s plenty to[190] eat as long as I stay here. My only hope,” he added, after a little pause, “is in the frescoes.”

In the spring of 1914 I sent two rich Americans to look at Fabio’s villa. Neither of them made any offer to buy the frescoes; it would have astonished me if they had. But Fabio was greatly encouraged by their arrival. “I feel,” he wrote to me, “that a beginning has now been made. These Americans will go back to their country and tell their friends. Soon there will be a procession of millionaires coming to see the frescoes. Meanwhile, life is the same as ever. Rather worse, if anything. Our little daughter, whom we have christened Emilia, was born last month. My wife had a very bad time and is still far from well, which is very troublesome.” (It seemed a curious adjective to use, in the circumstances. But coming from Fabio, I understood it; he was one of those exceedingly healthy people to whom any sort of illness is mysterious, unaccountable, and above all extraordinarily tiresome and irritating.) “The day before[191] yesterday my father disappeared again. I have not yet had time to find out if the Colombella has also vanished. My brother, Lucio, has succeeded in getting a motor-bicycle out of him, which is more than I ever managed to do. But then I was never one for creeping diplomatically round and round a thing, as he can do.... I have been going very carefully into the cheese-factory business lately, and I am not sure that it might not be more profitable to set up a silk-weaving establishment instead. When you next come, I will go into details with you.”

But it was a very long time before I saw Padua and the Count again.... The War put an end to my yearly visits to Italy, and for various reasons, even when it was over, I could not go south again as soon as I should have liked. Not till the autumn of 1921 did I embark again on the Venice express.

It was in an Italy not altogether familiar that I now found myself—an Italy full of violence and bloodshed. The Fascists and the Communists were still busily fighting. Roaring at the head of their dust-storms, the motor-lorries, loaded with cargoes of singing boys, careered[192] across the country in search of adventure and lurking Bolshevism. One stood respectfully in the gutter while they passed; and through the flying dust, through the noise of the engine, a snatch of that singing would be blown back: “Giovinezza, giovinezza, primavera di bellezza....” (Youth, youth, springtime of beauty). Where but in Italy would they have put such words to a political song? And then the proclamations, the manifestos, the denunciations, the appeals! Every hoarding and blank wall was plastered with them. Between the station and Pedrochi’s I walked through a whole library of these things. “Citizens!” they would begin. “A heroic wind is to-day reviving the almost asphyxiated soul of our unhappy Italy, overcome by the poisonous fumes of Bolshevism and wallowing in ignoble abasement at the feet of the Nations.” And they finished, for the most part, with references to Dante. I read them all with infinite pleasure.

I reached Pedrochi’s at last. On the terrace, sitting in the very corner where I had seen him first, years before, was the old Count. He stared at me blankly[193] when I saluted him, not recognising me at all. I began to explain who I was; after a moment he cut me short, almost impatiently, protesting that he remembered now, perfectly well. I doubted very much whether he really did; but he was too proud to confess that he had forgotten. Meanwhile, he invited me to sit at his table.

At a first glance, from a distance, I fancied that the old Count had not aged a day since last I saw him. But I was wrong. From the street, I had only seen the rakish tilt of his hat, the bristling of his white moustache and imperial, the parted knees, the noble protrusion of the paunch. But now that I could look at him closely and at leisure, I saw that he was in fact a very different man. Under the tilted hat his face was unhealthily purple; the flesh sagged into pouches. In the whites of his eyes, discoloured and as though tarnished with age, the little broken veins showed red. And, lustreless, the eyes themselves seemed to look without interest at what they saw. His shoulders were bent as though under a weight, and when he lifted his cup to his lips his hand trembled so much that a[194] drop of coffee splashed on to the table. He was an old man now, old and tired.

“Oh, Fabio’s well,” the old Count answered, “Fabio’s very well. He has six children now, you know.” And the old gentleman nodded and smiled at me without a trace of malice. He seemed quite to have forgotten the reasons for which he had been at so much pains to select a good Catholic for a daughter-in-law. “Six,” he repeated. “And then, you know, he did very well in the war. We Tirabassi have always been warriors.” Full of pride, he went on to tell me of Fabio’s exploits and sufferings. Twice wounded, special promotion on the field of battle, splendid decorations. He was a major now.

The old gentleman nodded, and suddenly there appeared on his face something like the old smile. “A little combinazione of mine,” he said, and chuckled.

Oh, that was doing all right, everything considered. It had got rather[195] out of hand during the war, while Fabio was at the front. And then, afterwards, there had been a lot of trouble with the peasants; but Fabio and his Fascists were putting all that to rights. “With Fabio on the spot,” said the old gentleman, “I have no anxieties.” And then he began to tell me, all over again, about Fabio’s exploits in the war.

The next day I took the tram to Strà, and after an hour agreeably spent in the villa and the park, I walked on at my leisure towards Dolo. It took me a long time to get there, for on this occasion I was able to stop and look for as long as I liked at all the charming things on the way. Casanova seemed, now, a good deal less enviable, I noticed, looking inwards on myself, than he had when last I passed this way. I was nine years older.

The gates were open; I walked in. There stood the house, as grave and ponderous as ever, but shabbier than when I saw it last. The shutters needed painting, and here and there the stucco was peeling off in scabs. I approached. From within the house came a cheerful noise of children’s laughter and shouting. The family, I supposed, was playing hide-and-seek,[196] or trains, or perhaps some topical game of Fascists and Communists. As I climbed the steps of the porch, I could hear the sound of small feet racing over the tiled floors; in the empty rooms footsteps and shouting strangely echoed. And then suddenly, from the sitting-room on the right, came the sound of Fabio’s voice, furiously shouting, “Oh, for God’s sake,” it yelled, “keep those wretched children quiet.” And then, petulantly, it complained, “How do you expect me to do accounts with this sort of thing going on?” There was at once a profound and as it were unnatural silence; then the sound of small feet tiptoeing away, some whispering, a little nervous laugh. I rang the bell.

It was the Countess who opened the door. She stood for a moment hesitatingly, wondering who I was; then remembered, smiled, held out her hand. She had grown, I noticed, very thin, and with the wasting of her face, her eyes seemed to have become larger. Their expression was as gentle and serene as ever; she seemed to be looking at me from a distance.

“Fabio will be delighted to see you,”[197] she said, and she took me through the door on the right of the porch straight into the sitting-room. Fabio was sitting at the Palladian table in front of a heap of papers, biting the end of his pencil.

Even in his grey-green service uniform the young Count looked wonderfully brilliant, like a soldier on the stage. His face was still boyishly freckled, but the skin was deeply lined; he looked very much older than when I had seen him last—older than he really was. The open cheerfulness, the shining, lamp-like brightness were gone. On his snubby-featured face he wore a ludicrously incongruous expression of chronic melancholy. He brightened, it is true, for a moment when I appeared; I think he was genuinely glad to see me.

“Caspita!” he kept repeating. “Caspita!” (It was his favourite expression of astonishment, an odd, old-fashioned word.) “Who would have thought it? After all this time!”

But when the first ebullition of surprise and pleasure subsided, the look of melancholy came back.

[198]“It gives me the spleen,” he said, “to see you again; still travelling about; free to go where you like. If you knew what life was like here....”

“Well, in any case,” I said, feeling that I ought, for the Countess’s sake, to make some sort of protest, “in any case the war’s over, and you have escaped a real revolution. That’s something.”

“Oh, you’re as bad as Laura,” said the Count impatiently. He looked towards his wife, as though hoping that she would say something. But the Countess went on with her sewing without even looking up. The Count took my arm. “Come along,” he said, and his tone was almost one of anger. “Let’s take a turn outside.” His wife’s religious resignation, her patience, her serenity angered him, I could see, like a reprimand—tacit, indeed, and unintentionally given, but none the less galling.

Along the weed-grown paths of what had once, in the ancient days of splendour, been the garden, slowly we walked towards the farm. A few ragged box-trees grew along the fringes of the paths; once there had been neat hedges. Poised over a dry basin a Triton blew his waterless[199] conch. At the end of the vista a pair of rapes—Pluto and Proserpine, Apollo and Daphne—writhed desperately against the sky.

I felt uncomfortably that the subject had become too serious for light conversation. I had wanted to ask after the Colombella; in the circumstances, I decided that it would be wiser to say nothing about her. I repressed my curiosity. We were walking now under the lea of the farm buildings.

“The cows look very healthy,” I said politely, looking through an open doorway. In the twilight within, six grey rumps plastered with dry dung presented themselves in file; six long leather tails swished impatiently from side to side. Fabio made no comment; he only grunted.

“In any case,” he went on slowly, after another silence, “he can’t live much longer. I shall sell my share and clear off to South America, family or no family.” It was a threat against his own[200] destiny, a threat of which he must have known the vanity. He was deceiving himself to keep up his spirits.

“But I say,” I exclaimed, taking another and better opportunity to change the conversation, “I see you have started a factory here after all.” We had walked round to the farther side of the square. Through the windows of the long low building which, at my last visit, had stood untenanted, I saw the complicated shapes of machines, rows of them in a double line down the whole length of the building. “Looms? Then you decided against cheese? And the frescoes?” I turned questioningly towards the Count. I had a horrible fear that, when we got back to the house, I should find the great hall peeled of its Veroneses and a blank of plaster where once had been the history of Eros and Psyche.

“Oh, the frescoes are still there, what’s left of them.” And in spite of Fabio’s long face, I was delighted at the news. “I persuaded my father to sell some of his house property in Padua, and we started this weaving business here two years ago. Just in time,” Fabio added, “for the Communist revolution.”

[201]Poor Fabio, he had no luck. The peasants had seized his factory and had tried to possess themselves of his land. For three weeks he had lived at the villa in a state of siege, defending the place, with twenty Fascists to help him, against all the peasants of the countryside. The danger was over now; but the machines were broken, and in any case it was out of the question to start them again; feeling was still too high. And what, for Fabio, made it worse was the fact that his brother Lucio, who had also got a little capital out of the old man, had gone off to Bulgaria and invested it in a bootlace factory. It was the only bootlace factory in the country, and Lucio was making money hand over fist. Free as air he was, well off, with a lovely Turkish girl for a mistress. For Fabio, the Turkish girl was evidently the last straw. “Una Turca, una vera Turca,” he repeated, shaking his head. The female infidel symbolised in his eyes all that was exotic, irregular, undomestic; all that was not the family; all that was remote from Padua and the estate.

“And they were such beautiful machines,” said Fabio, pausing for a[202] moment to look in at the last of the long line of windows. “Whether to sell them, whether to wait till all this has blown over and have them put right and try to start again—I don’t know.” He shrugged his shoulders hopelessly. “Or just let things slide till the old man dies.” We turned the corner of the square and began to walk back towards the house. “Sometimes,” he added, after a silence, “I don’t believe he ever will die.”

The children were playing in the great hall of the Veroneses. The majestic double doors which gave on to the portico were ajar; through the opening we watched them for a moment without being seen. The family was formed up in order of battle. A red-headed boy of ten or eleven led the van, a brown boy followed. Then came three little girls, diminishing regularly in size like graded pearls; and finally a little toddling creature in blue linen crawlers. All six of them carried shouldered bamboos, and they were singing in ragged unison to a kind of trumpet call of three notes: “All’ armi i Fascisti; a morte i Comunisti; a basso i Socialisti”—over and over again. And as they sang they[203] marched, round and round, earnestly, indefatigably. The huge empty room echoed like a swimming-bath. Remote under their triumphal arches, in their serene world of fantastic beauty, the silken ladies and gentlemen played their music, drank their wine; the poet declaimed, the painter poised his brush before the canvas; the monkeys clambered among the Roman ruins, the parrots dozed on the balustrades. “All’ armi i Fascisti, a morte i Comunisti....” I should have liked to stand there in silence, merely to see how long the children would continue their patriotic march. But Fabio had none of my scientific curiosity; or if he ever had, it had certainly been exhausted long before the last of his children was born. After indulging me for a moment with the spectacle, he pushed open the door and walked in. The children looked round and were immediately silent. What with his bad temper and his theory of education by teasing, they seemed to be thoroughly frightened of their father.

“Go on,” he said, “go on.” But they wouldn’t; they obviously couldn’t, in his[204] terrifying presence. Unobtrusively they slipped away.

Fabio led me round the painted room. “Look here,” he said, “and look here.” In one of the walls of the great hall there were half a dozen bullet holes. A chip had been taken off one of the painted cornices; one lady was horribly wounded in the face; there were two or three holes in the landscape, and a monkey’s tail was severed. “That’s our friends, the peasants,” Fabio explained.

In the Carpioni rooms all was still well; the satyrs still pursued their nymphs, and in the room of the centaurs and the mermaids, the men who were half horses still galloped as tumultuously as ever into the sea, to ravish the women who were half fish. But the tale of Eros and Psyche had suffered dreadfully. The exquisite panel in which Tiepolo had painted Psyche holding up the lamp to look at her mysterious lover was no more than a faint, mildewy smudge. And where once the indignant young god had flown upwards to rejoin his Olympian relatives (who still, fortunately, swam about intact among the clouds on the ceiling) there was nothing but the palest[205] ghost of an ascending Cupid, while Psyche weeping on the earth below was now quite invisible.

“That’s our friends the French,” said Fabio. “They were quartered here in 1918, and they didn’t trouble to shut the windows when it rained.”

Poor Fabio! Everything was against him. I had no consolation to offer. That autumn I sent him an art critic and three more Americans. But nothing came of their visits. The fact was that he had too much to offer. A picture—that might easily have been disposed of. But what could one do with a whole houseful of paintings like this?

The months passed. About Easter time of the next year I had another letter from Fabio. The olive crop had been poor. The Countess was expecting another baby and was far from well. The two eldest children were down with measles, and the last but one had what the Italians call an “asinine cough.” He expected all the children to catch both diseases in due course. He was very doubtful now if it would ever be worth while to restart his looms; the position of the silk trade was not so sound[206] as it had been at the end of 1919. If only he had stuck to cheese, as he first intended! Lucio had just made fifty thousand lire by a lucky stroke of speculation. But the female infidel had run off with a Rumanian. The old Count was ageing rapidly; when Fabio saw him last, he had told the same anecdote three times in the space of ten minutes. With these two pieces of good news—they were for him, I imagine, the only bright spots in the surrounding gloom—Fabio closed his letter. I was left wondering why he troubled to write to me at all. It may be that he got a certain lacerating satisfaction by thus enumerating his troubles.

That August there was a musical festival in Salzburg. I had never been in Austria; the occasion seemed to me a good one. I went, and I enjoyed myself prodigiously. Salzburg at the moment is all in the movement. There are baroque churches in abundance; there are Italianate fountains; there are gardens and palaces that mimic in their extravagantly ponderous Teutonic way the gardens and palaces of Rome. And, choicest treasure of all, there is a[207] tunnel, forty feet high, bored through a precipitous crag—a tunnel such as only a Prince Bishop of the seventeenth century could have dreamed of, having at either end an arch of triumph, with pilasters, broken pediments, statues, scutcheons, all carved out of the living rock—a masterpiece among tunnels, and in a town where everything, without being really good, is exquisitely “amusing,” the most amusing feature of all. Ah, decidedly, Salzburg is in the movement.

One afternoon I took the funicular up to the castle. There is a beer-terrace under the walls of the fortress from which you get a view that is starred in Baedeker. Below you on one side lies the town, spread out in the curving valley, with a river running through it, like a small and German version of Florence. From the other side of the terrace you look out over a panorama that makes no pretence to Italianism; it is as sweetly and romantically German as an air out of Weber’s Freischütz. There are mountains on the horizon, spiky and blue like mountains in a picture book; and in the foreground, extending to the very foot of the extremely improbable crag[208] on which the castle and the beer-garden are perched, stretches a flat green plain—miles upon miles of juicy meadows dotted with minusculous cows, with here and there a neat toy farm, or, more rarely, a cluster of dolls’ houses, with a spire going up glittering from the midst of them.

I was sitting with my blond beer in front of this delicious and slightly comical landscape, thinking comfortably of nothing in particular, when I heard behind me a rapturous voice exclaiming, “Bello, bello!” I looked round curiously—for it seemed to me somehow rather surprising to hear Italian spoken here—and saw one of those fine sumptuous women they admire so much in the South. She was a bella grassa, plump to the verge of overripeness and perilously near middle age; but still in her way exceedingly handsome. Her face had the proportions of an iceberg—one-fifth above water, four-fifths below. Ample and florid from the eyes downwards, it was almost foreheadless; the hair began immediately above the brows. The eyes themselves were dark, large, and, for my taste, at least, somewhat excessively tender in expression. I took her in in a moment and was about[209] to look away again when her companion, who had been looking at the view on the other side, turned round. It was the old Count.

I was far more embarrassed, I believe, than he. I felt myself blushing, as our eyes met, as though it were I who had been travelling about the world with a Colombella and he who had caught me in the act. I did not know what to do—whether to smile and speak to him, or to turn away as though I had not recognised him, or to nod from a distance and then, discreetly, to disappear. But the old Count put an end to my irresolution by calling out my name in astonishment, by running up to me and seizing my hand. What a delight to see an old friend! Here of all places! In this God-forsaken country—though it was cheap enough, didn’t I find? He would introduce me to a charming compatriot of his own, an Italian lady he had met yesterday in the train from Vienna.

I was made known to the Colombella, and we all sat down at my table. Speaking resolutely in Italian, the Count ordered two more beers. We talked. Or rather the Count talked; for the[210] conversation was a monologue. He told us anecdotes of the Italy of fifty years ago; he gave us imitations of the queer characters he had known; he even, at one moment, imitated the braying of an ass—I forget in what context; but the braying remains vividly in my memory. Snuffing the air between every sentence, he gave us his views on women. The Colombella screamed indignant protests, dissolved herself in laughter. The old Count twisted his moustaches, twinkling at her through the network of his wrinkles. Every now and then he turned in my direction and gave me a little wink.

I listened in astonishment. Was this the man who had told the same anecdote three times in ten minutes? I looked at the old Count. He was leaning towards the Colombella whispering something in her ear which made her laugh so much that she had to wipe the tears from her eyes. Turning away from her, he caught my eye; smiling, he shrugged his shoulders as though to say, “These women! What imbeciles, but how delicious, how indispensable!” Was this the tired old man I had seen a year[211] ago sitting on Pedrochi’s terrace? It seemed incredible.

“Well, good-bye, a rivederci.” They had to get down into the town again. The funicular was waiting.

“I’m delighted to have seen you,” said the old Count, shaking me affectionately by the hand.

“And so am I,” I protested. “Particularly delighted to see you so well.”

More in joke than in earnest, “I believe you’ve been seeing Steinach in Vienna,” I said. “Having a rejuvenating operation.”

For all reply, the old Count raised the forefinger of his right hand, laying it first to his lips, then along the side of his nose, and as he did so he winked. Then clenching his fist, and with his thumb sticking rigidly up, he made a complicated gesture which would, I am sure, for an Italian, have been full of a profound and vital significance. To me, however, unfamiliar[212] with the language of signs, the exact meaning was not entirely clear. But the Count offered no verbal explanation. Still without uttering a word, he raised his hat; then laying his finger once more to his lips, he turned and ran with an astonishing agility down the steep path towards the little carriage of the funicular, in which the Colombella had already taken her seat.

FOR Hubert Lapell this first love-affair was extremely important. “Important” was the word he had used himself when he was writing about it in his diary. It was an event in his life, a real event for a change. It marked, he felt, a genuine turning-point in his spiritual development.

“Voltaire,” he wrote in his diary—and he wrote it a second time in one of his letters to Minnie—“Voltaire said that one died twice: once with the death of the whole body and once before, with the death of one’s capacity to love. And in the same way one is born twice, the second time being on the occasion when one first falls in love. One is born, then, into a new world—a world of intenser feelings, heightened values, more penetrating insights.” And so on.

In point of actual fact Hubert found this new world a little disappointing. The intenser feelings proved to be rather mild; not by any means up to literary standards.

No, it certainly wasn’t quite that. In his diary, in his letters to Minnie, he painted, it is true, a series of brilliant and romantic landscapes of the new world. But they were composite imaginary landscapes in the manner of Salvator Rosa—richer, wilder, more picturesquely clear-obscure than the real thing. Hubert would seize with avidity on the least velleity of an unhappiness, a physical desire, a spiritual yearning, to work it up in his letters and journals into something substantially romantic. There were times, generally very late at night, when he succeeded in persuading himself that he was indeed the wildest, unhappiest, most passionate of lovers. But in the daytime he went about his business nourishing something like a grievance against love. The thing was a bit of a fraud; yes, really, he decided, rather a fraud. All the same, he supposed it was important.

For Minnie, however, love was no fraud at all. Almost from the first[215] moment she had adored him. A common friend had brought him to one of her Wednesday evenings. “This is Mr. Lapell; but he’s too young to be called anything but Hubert.” That was how he had been introduced. And, laughing, she had taken his hand and called him Hubert at once. He too had laughed, rather nervously. “My name’s Minnie,” she said. But he had been too shy to call her anything at all that evening. His brown hair was tufty and untidy, like a little boy’s, and he had shy grey eyes that never looked at you for more than a glimpse at a time, but turned away almost at once, as though they were afraid. Quickly he glanced at you, eagerly—then away again; and his musical voice, with its sudden emphases, its quick modulations from high to low, seemed always to address itself to a ghost floating low down and a little to one side of the person to whom he was talking. Above the brows was a forehead beautifully domed, with a pensive wrinkle running up from between the eyes. In repose his full-lipped mouth pouted a little, as though he were expressing some chronic discontent with the world. And, of course, thought[216] Minnie, the world wasn’t beautiful enough for his idealism.

“But after all,” he had said earnestly that first evening, “one has the world of thought to live in. That, at any rate, is simple and clear and beautiful. One can always live apart from the brutal scramble.”

And from the depths of the arm-chair in which, fragile, tired, and in these rather “artistic” surroundings almost incongruously elegant, she was sitting, Helen Glamber laughed her clear little laugh. “I think, on the contrary,” she said (Minnie remembered every incident of that first evening), “I think one ought to rush about and know thousands of people, and eat and drink enormously, and make love incessantly, and shout and laugh and knock people over the head.” And having vented these Rabelaisian sentiments, Mrs. Glamber dropped back with a sigh of fatigue, covering her eyes with a thin white hand; for she had a splitting headache, and the light hurt her.

“Really!” Minnie protested, laughing. She would have felt rather shocked if any one else had said that; but Helen Glamber was allowed to say anything.

[217]Hubert reaffirmed his quietism. Elegant, weary, infinitely fragile, Mrs. Glamber lay back in her arm-chair, listening. Or perhaps, under her covering hand, she was trying to go to sleep.

She had adored him at first sight. Now that she looked back she could see that it had been at first sight. Adored him protectively, maternally—for he was only twenty and very young, in spite of the wrinkle between his brows, and the long words, and the undergraduate’s newly discovered knowledge; only twenty, and she was nearly twenty-nine. And she had fallen in love with his beauty, too. Ah, passionately.

Hubert, perceiving it later, was surprised and exceedingly flattered. This had never happened to him before. He enjoyed being worshipped, and since Minnie had fallen so violently in love with him, it seemed the most natural thing in the world for him to be in love with Minnie. True, if she had not started by adoring him, it would never have occurred to Hubert to fall in love with her. At their first meeting he had found her certainly very nice, but not particularly exciting. Afterwards, the[218] manifest expression of her adoration had made him find her more interesting, and in the end he had fallen in love himself. But perhaps it was not to be wondered at if he found the process a little disappointing.

But still, he reflected on those secret occasions when he had to admit to himself that something was wrong with this passion, love without possession could never, surely, in the nature of things, be quite the genuine article. In his diary he recorded aptly those two quatrains of John Donne:

At their next meeting he recited them to Minnie. The conversation which followed, compounded as it was of philosophy and personal confidences, was exquisite. It really, Hubert felt, came up to literary standards.

[219]The next morning Minnie rang up her friend Helen Glamber and asked if she might come to tea that afternoon. She had several things to talk to her about. Mrs. Glamber sighed as she hung up the receiver. “Minnie’s coming to tea,” she called, turning towards the open door.

From across the passage her husband’s voice came back to her. “Good Lord!” it said in a tone of far-away horror, of absent-minded resignation; for John Glamber was deep in his work and there was only a little of him left, so to speak, above the surface to react to the bad news.

Helen Glamber sighed again, and propping herself more comfortably against her pillows she reached for her book. She knew that far-away voice and what it meant. It meant that he wouldn’t answer if she went on with the conversation; only say “h’m” or “m’yes.” And if she persisted after that, it meant that he’d say, plaintively, heart-breakingly, “Darling, you must let me get on with my work.” And at that moment she would so much have liked to talk a little. Instead, she went on reading at[220] the point where she had broken off to answer Minnie’s telephone call.

“By this time the flames had enveloped the gynecæum. Nineteen times did the heroic Patriarch of Alexandria venture into the blazing fabric, from which he succeeded in rescuing all but two of its lovely occupants, twenty-seven in number, all of whom he caused to be transported at once to his own private apartments....”

It was one of those instructive books John liked her to read. History, mystery, lesson, and law. But at the moment she didn’t feel much like history. She felt like talking. And that was out of the question; absolutely out of it.

She put down her book and began to file her nails and think of poor Minnie. Yes, poor Minnie. Why was it that one couldn’t help saying Good Lord! heartfeltly, when one heard she was coming to tea? And why did one never have the heart to refuse to let her come to tea? She was pathetic, but pathetic in such a boring way. There are some people you like being kind to, people you want to help and befriend. People that look at you with the eyes of sick[221] monkeys. Your heart breaks when you see them. But poor Minnie had none of the charms of a sick monkey. She was just a great big healthy young woman of twenty-eight who ought to have been married and the mother of children, and who wasn’t. She would have made such a good wife, such an admirably solicitous and careful mother. But it just happened that none of the men she knew had ever wanted to marry her. And why should they want to? When she came into a room, the light seemed to grow perceptibly dimmer, the electric tension slackened off. She brought no life with her; she absorbed what there was, she was like so much blotting-paper. No wonder nobody wanted to marry her. And yet, of course, it was the only thing. Particularly as she was always falling in love herself. The only thing.

“John!” Mrs. Glamber suddenly called. “Is it really true about ferrets?”

“Ferrets?” the voice from across the passage repeated with a remote irritation. “Is what true about ferrets?”

Mrs. Glamber clapped her hand over her mouth and only took it off again to blow a kiss. “All right,” she said very quickly. “All right. Really. I’m sorry. I won’t do it again. Really.” She blew another kiss towards the door.

“Darling,” said Mrs. Glamber almost sternly, “you really must go on with your work.”

Minnie came to tea. She put the case—hypothetically at first, as though it were the case of a third person; then, gaining courage, she put it personally. It was her own case. Out of the depths of her untroubled, pagan innocence, Helen Glamber brutally advised her. “If you want to go to bed with the young man,” she said, “go to bed with him. The thing has no importance in itself. At least not much. It’s only important because it makes possible more secret confidences, because it strengthens affection, makes the man in a way dependent[223] on you. And then, of course, it’s the natural thing. I’m all for nature except when it comes to painting one’s face. They say that ferrets....” But Minnie noticed that she never finished the sentence. Appalled and fascinated, shocked and yet convinced, she listened.

“My darling,” said Mrs. Glamber that evening when her husband came home—for he hadn’t been able to face Minnie; he had gone to the Club for tea—“who was it that invented religion, and sin, and all that? And why?”

John laughed. “It was invented by Adam,” he said, “for various little transcendental reasons which you would probably find it difficult to appreciate. But also for the very practical purpose of keeping Eve in order.”

“Well, if you call complicating people’s lives keeping them in order, then I dare say you’re right.” Mrs. Glamber shook her head. “I find it all too obscure. At sixteen, yes. But one really ought to have grown out of that sort of thing by twenty. And at thirty—the woman’s nearly thirty, you know—well, really....”

In the end, Minnie wrote to Hubert telling him that she had made up her[224] mind. Hubert was staying in Hertfordshire with his friend Watchett. It was a big house, the food was good, one was very comfortable; and old Mr. Watchett, moreover, had a very sound library. In the impenetrable shade of the Wellingtonias Hubert and Ted Watchett played croquet and discussed the best methods of cultivating the Me. You could do a good deal, they decided, with art—books, you know, and pictures and music. “Listen to Stravinsky’s Sacre,” said Ted Watchett, “and you’re for ever excused from going to Tibet or the Gold Coast or any of those awful places. And then there’s Dostoievsky instead of murder, and D. H. Lawrence as a substitute for sex.”

“All the same,” said Hubert, “one must have a certain amount of actual non-imaginative experience.” He spoke earnestly, abstractedly; but Minnie’s letter was in his pocket. “Gnosce teipsum. You can’t really know yourself without coming into collision with events, can you?”

Next day, Ted’s cousin, Phœbe, arrived. She had red hair and a milky skin, and was more or less on the musical comedy stage. “One foot on and one foot off,”[225] she explained. “The splits.” And there and then she did them, the splits, on the drawing-room carpet. “It’s quite easy,” she said, laughing, and jumped up again with an easy grace that fairly took one’s breath away. Ted didn’t like her. “Tiresome girl,” he said. “So silly, too. Consciously silly, silly on purpose, which makes it worse.” And, it was true, she did like boasting about the amount of champagne she could put away without getting buffy, and the number of times she had exceeded the generous allowance and been “blind to the world.” She liked talking about her admirers in terms which might make you suppose that they were all her accepted lovers. But then she had the justification of her vitality and her shining red hair.

“Vitality,” Hubert wrote in his diary (he contemplated a distant date, after, or preferably before, his death, when these confessions and aphorisms would be published), “vitality can make claims on the world almost as imperiously as can beauty. Sometimes beauty and vitality meet in one person.”

[226]It was Hubert who arranged that they should stay at the mill. One of his friends had once been there with a reading party, and found the place comfortable, secluded, and admirably quiet. Quiet, that is to say, with the special quietness peculiar to mills. For the silence there was not the silence of night on a mountain; it was a silence made of continuous thunder. At nine o’clock every morning the mill-wheel began to turn, and its roaring never stopped all day. For the first moments the noise was terrifying, was almost unbearable. Then, after a little, one grew accustomed to it. The thunder became, by reason of its very unintermittence, a perfect silence, wonderfully rich and profound.

At the back of the mill was a little garden hemmed in on three sides by the house, the outhouses, and a high brick wall, and open on the fourth towards the water. Looking over the parapet, Minnie watched it sliding past. It was like a brown snake with arrowy markings on its back; and it crawled, it glided, it slid along for ever. She sat there, waiting: her train, from London, had brought her here soon after lunch;[227] Hubert, coming across country from the Watchetts, would hardly arrive before six. The water flowed beneath her eyes like time, like destiny, smoothly towards some new and violent event.

The immense noise that in this garden was silence enveloped her. Inured, her mind moved in it as though in its native element. From beyond the parapet came the coolness and the weedy smell of water. But if she turned back towards the garden, she breathed at once the hot perfume of sunlight beating on flowers and ripening fruit. In the afternoon sunlight all the world was ripe. The old red house lay there, ripe, like a dropped plum; the walls were riper than the fruits of the nectarine trees so tenderly and neatly crucified on their warm bricks. And that richer silence of unremitting thunder seemed, as it were, the powdery bloom on a day that had come to exquisite maturity and was hanging, round as a peach and juicy with life and happiness, waiting in the sunshine for the bite of eager teeth.

At the heart of this fruit-ripe world Minnie waited. The water flowed towards the wheel; smoothly, smoothly—then[228] it fell, it broke itself to pieces on the turning wheel. And time was sliding onwards, quietly towards an event that would shatter all the smoothness of her life.

“If you really want to go to bed with the young man, go to bed with him.” She could hear Helen’s clear, shrill voice saying impossible, brutal things. If any one else had said them, she would have run out of the room. But in Helen’s mouth they seemed, somehow, so simple, so innocuous, and so true. And yet all that other people had said or implied—at home, at school, among the people she was used to meeting—seemed equally true.

But then, of course, there was love. Hubert had written a Shakespearean sonnet which began:

She thought that very beautiful. And very true. It seemed to throw a bridge between Helen and the other people. Love, true love, made all the difference.[229] It justified. Love—how much, how much she loved!

Time passed and the light grew richer as the sun declined out of the height of the sky. The day grew more and more deliciously ripe, swelling with unheard-of sweetness. Over its sun-flushed cheeks the thundery silence of the mill-wheel spread the softest, peachiest of blooms. Minnie sat on the parapet, waiting. Sometimes she looked down at the sliding water, sometimes she turned her eyes towards the garden. Time flowed, but she was now no more afraid of that shattering event that thundered there, in the future. The ripe sweetness of the afternoon seemed to enter into her spirit, filling it to the brim. There was no more room for doubts, or fearful anticipations, or regrets. She was happy. Tenderly, with a tenderness she could not have expressed in words, only with the gentlest of light kisses, with fingers caressingly drawn through the ruffled hair, she thought of Hubert, her Hubert.

Hubert, Hubert.... And suddenly, startlingly, he was standing there at her side.

“Oh,” she said, and for a moment she[230] stared at him with round brown eyes, in which there was nothing but astonishment. Then the expression changed. “Hubert,” she said softly.

Hubert took her hand and dropped it again; looked at her for an instant, then turned away. Leaning on the parapet, he stared down into the sliding water; his face was unsmiling. For a long time both were silent. Minnie remained where she was, sitting quite still, her eyes fixed on the young man’s averted face. She was happy, happy, happy. The long day ripened and ripened, perfection after perfection.

“Minnie,” said the young man suddenly, and with a loud abruptness, as though he had been a long time deciding himself to speak and had at last succeeded in bringing out the prepared and pent-up words, “I feel I’ve behaved very badly towards you. I never ought to have asked you to come here. It was wrong. I’m sorry.”

Hubert glanced at her, then turned away his eyes and went on addressing a ghost that floated, it seemed, just above[231] the face of the sliding water. “It was too much to ask. I shouldn’t have done it. For a man it’s different. But for a woman....”

“It’s nothing,” said Minnie, “because I love you.” And leaning forward, she ran her fingers through his hair. Ah, tenderness that no words could express! “You silly boy,” she whispered. “Did you think I didn’t love you enough for that?”

Hubert did not look up. The water slid and slid away before his eyes; Minnie’s fingers played in his hair, ran caressingly over the nape of his neck. He felt suddenly a positive hatred for this woman. Idiot! Why couldn’t she take a hint? He didn’t want her. And why on earth had he ever imagined that he did? All the way in the train he had been asking himself that question. Why? Why? And the question had asked itself still more urgently just now as, standing at the garden door, he had looked out between the apple tree and watched her, unobserved, through a long minute—watched her sitting there on the parapet, turning[232] her vague brown eyes now at the water, now towards the garden, and smiling to herself with an expression that had seemed to him so dim and vacuous that he could almost have fancied her an imbecile.

And with Phœbe yesterday he had stood on the crest of the bare chalk down. Like a sea at their feet stretched the plain, and above the dim horizon towered heroic clouds. Fingers of the wind lifted the red locks of her hair. She stood as though poised, ready to leap off into the boisterous air. “How I should like to fly!” she said. “There’s something particularly attractive about airmen, I always think.” And she had gone running down the hill.

But Minnie, with her dull hair, her apple-red cheeks, and big, slow body, was like a peasant girl. How had he ever persuaded himself that he wanted her? And what made it much worse, of course, was that she adored him, embarrassingly, tiresomely, like a too affectionate spaniel that insists on tumbling about at your feet and licking your hand just when you want to sit quietly and concentrate on serious things.

Hubert moved away, out of reach of[233] her caressing hand. He lifted towards her for a moment a pair of eyes that had become, as it were, opaque with a cold anger; then dropped them again.

“The sacrifice is too great,” he said in a voice that sounded to him like somebody else’s voice. He found it very difficult to say this sort of thing convincingly. “I can’t ask it of you,” the actor pursued. “I won’t.”

“But it isn’t a sacrifice,” Minnie protested. “It’s a joy, it’s happiness. Oh, can’t you understand?”

Hubert did not answer. Motionless, his elbows on the parapet, he stared down into the water. Minnie looked at him, perplexed only, at first; but all at once she was seized with a nameless agonising doubt that grew and grew within her, as the silence prolonged itself, like some dreadful cancer of the spirit, until it had eaten away all her happiness, until there was nothing left in her mind but doubt and apprehension.

“What is it?” she said at last. “Why are you so strange? What is it, Hubert? What is it?”

Leaning anxiously forward, she laid her two hands on either side of his averted[234] face and turned it towards her. Blank and opaque with anger were the eyes. “What is it?” she repeated. “Hubert, what is it?”

Hubert disengaged himself. “It’s no good,” he said in a smothered voice. “No good at all. It was a mistake. I’m sorry. I think I’d better go away. The trap’s still at the door.”

And without waiting for her to say anything, without explaining himself any further, he turned and walked quickly away, almost ran, towards the house. Well, thank goodness, he said to himself, he was out of that. He hadn’t done it very well, or handsomely, or courageously; but, at any rate, he was out of it. Poor Minnie! He felt sorry for her; but after all, what could he do about it? Poor Minnie! Still, it rather flattered his vanity to think that she would be mourning over him. And in any case, he reassured his conscience, she couldn’t really mind very much. But on the other hand, his vanity reminded him, she did adore him. Oh, she absolutely worshipped....

The door closed behind him. Minnie was alone again in the garden. Ripe,[235] ripe it lay there in the late sunshine. Half of it was in shadow now; but the rest of it, in the coloured evening light, seemed to have come to the final and absolute perfection of maturity. Bloomy with thundery silence, the choicest fruit of all time hung there, deliciously sweet, sweet to the core; hung flushed and beautiful on the brink of darkness.

Minnie sat there quite still, wondering what had happened. Had he gone, had he really gone? The door closed behind him with a bang, and almost as though the sound were a signal prearranged, a man walked out from the mill on to the dam and closed the sluice. And all at once the wheel was still. Apocalyptically there was silence; the silence of soundlessness took the place of that other silence that was uninterrupted sound. Gulfs opened endlessly out around her; she was alone. Across the void of soundlessness a belated bee trailed its thin buzzing; the sparrows chirped, and from across the water came the sound of voices and far-away laughter. And as though woken from a sleep, Minnie looked up and listened, fearfully, turning her head from side to side.

THEY had been quarrelling now for nearly three-quarters of an hour. Muted and inarticulate, the voices floated down the corridor, from the other end of the flat. Stooping over her sewing, Sophie wondered, without much curiosity, what it was all about this time. It was Madame’s voice that she heard most often. Shrill with anger and indignant with tears, it burst out in gusts, in gushes. Monsieur was more self-controlled, and his deeper voice was too softly pitched to penetrate easily the closed doors and to carry along the passage. To Sophie, in her cold little room, the quarrel sounded, most of the time, like a series of monologues by Madame, interrupted by strange and ominous silences. But every now and then Monsieur seemed to lose his temper outright, and then there was no silence between the gusts, but a harsh, deep, angry shout. Madame kept up her loud shrillness continuously and without flagging; her voice had, even in anger, a curious, level monotony. But Monsieur[237] spoke now loudly, now softly, with emphases and modulations and sudden outbursts, so that his contributions to the squabble, when they were audible, sounded like a series of separate explosions. Bow, wow, wow-wow-wow, wow—a dog barking rather slowly.

After a time Sophie paid no more heed to the noise of quarrelling. She was mending one of Madame’s camisoles, and the work required all her attention. She felt very tired; her body ached all over. It had been a hard day; so had yesterday, so had the day before. Every day was a hard day, and she wasn’t so young as she had been. Two years more and she’d be fifty. Every day had been a hard day ever since she could remember. She thought of the sacks of potatoes she used to carry when she was a little girl in the country. Slowly, slowly she was walking along the dusty road with the sack over her shoulder. Ten steps more; she could manage that. Only it never was the end; one always had to begin again.

She looked up from her sewing, moved her head from side to side, blinked. She had begun to see lights and spots of colour dancing before her eyes; it often[238] happened to her now. A sort of yellowish bright worm was wriggling up towards the right-hand corner of her field of vision; and though it was always moving upwards, upwards, it was always there in the same place. And there were stars of red and green that snapped and brightened and faded all round the worm. They moved between her and her sewing; they were there when she shut her eyes. After a moment she went on with her work; Madame wanted her camisole most particularly to-morrow morning. But it was difficult to see round the worm.

There was suddenly a great increase of noise from the other end of the corridor. A door had opened; words articulated themselves.

“... bien tort, mon ami, si tu crois que je suis ton esclave. Je ferai ce que je voudrai.”

“Moi aussi.” Monsieur uttered a harsh, dangerous laugh. There was the sound of heavy footsteps in the passage, a rattling in the umbrella stand; then the front door banged.

Sophie looked down again at her work. Oh, the worm, the coloured stars, the aching fatigue in all her limbs! If one[239] could only spend a whole day in bed—in a huge bed, feathery, warm and soft, all the day long....

The ringing of the bell startled her. It always made her jump, that furious wasp-like buzzer. She got up, put her work down on the table, smoothed her apron, set straight her cap, and stepped out into the corridor. Once more the bell buzzed furiously. Madame was impatient.

Sophie said nothing; there was nothing to say. Madame was standing in front of the open wardrobe. A bundle of dresses hung over her arm, and there were more of them lying in a heap on the bed.

“Une beauté à la Rubens,” her husband used to call her when he was in an amorous mood. He liked these massive, splendid, great women. None of your flexible drain-pipes for him. “Hélène Fourmont” was his pet name for her.

“Some day,” Madame used to tell her friends, “some day I really must go to the Louvre and see my portrait. By[240] Rubens, you know. It’s extraordinary that one should have lived all one’s life in Paris and never have seen the Louvre. Don’t you think so?”

She was superb to-night. Her cheeks were flushed; her blue eyes shone with an unusual brilliance between their long lashes; her short, red-brown hair had broken wildly loose.

“To-morrow, Sophie,” she said dramatically, “we start for Rome. To-morrow morning.” She unhooked another dress from the wardrobe as she spoke, and threw it on to the bed. With the movement her dressing-gown flew open, and there was a vision of ornate underclothing and white exuberant flesh. “We must pack at once.”

“The important thing is to get away. I shall not return to this house, after what has been said to me to-night, till I am humbly asked to.”

The air in the box-room was sickly with[241] the smell of dust and leather. The big trunk was jammed in a far corner. She had to bend and strain at it in order to pull it out. The worm and the coloured stars flickered before her eyes; she felt dizzy when she straightened herself up. “I’ll help you to pack, Sophie,” said Madame, when the servant returned, dragging the heavy trunk after her. What a death’s-head the old woman looked nowadays! She hated having old, ugly people near her. But Sophie was so efficient; it would be madness to get rid of her.

“Madame need not trouble.” There would be no end to it, Sophie knew, if Madame started opening drawers and throwing things about. “Madame had much better go to bed. It’s late.”

No, no. She wouldn’t be able to sleep. She was to such a degree enervated. These men.... What an embeastment! One was not their slave. One would not be treated in this way.

Sophie was packing. A whole day in bed, in a huge, soft bed, like Madame’s. One would doze, one would wake up for a moment, one would doze again.

“His latest game,” Madame was saying[242] indignantly, “is to tell me he hasn’t got any money. I’m not to buy any clothes, he says. Too grotesque. I can’t go about naked, can I?” She threw out her hands. “And as for saying he can’t afford, that’s simply nonsense. He can, perfectly well. Only he’s mean, mean, horribly mean. And if he’d only do a little honest work, for a change, instead of writing silly verses and publishing them at his own expense, he’d have plenty and to spare.” She walked up and down the room. “Besides,” she went on, “there’s his old father. What’s he for, I should like to know? ‘You must be proud of having a poet for a husband,’ he says.” She made her voice quaver like an old man’s. “It’s all I can do not to laugh in his face. ‘And what beautiful verses Hégésippe writes about you! What passion, what fire!’” Thinking of the old man, she grimaced, wobbled her head, shook her finger, doddered on her legs. “And when one reflects that poor Hégésippe is bald, and dyes the few hairs he has left.” She laughed. “As for the passion he talks so much about in his beastly verses,” she laughed—“that’s all pure invention. But,[243] my good Sophie, what are you thinking of? Why are you packing that hideous old green dress?”

Sophie pulled out the dress without saying anything. Why did the woman choose this night to look so terribly ill? She had a yellow face and blue teeth. Madame shuddered; it was too horrible. She ought to send her to bed. But, after all, the work had to be done. What could one do about it? She felt more than ever aggrieved.

“Life is terrible.” Sighing, she sat down heavily on the edge of the bed. The buoyant springs rocked her gently once or twice before they settled to rest. “To be married to a man like this. I shall soon be getting old and fat. And never once unfaithful. But look how he treats me.” She got up again and began to wander aimlessly about the room. “I won’t stand it, though,” she burst out. She had halted in front of the long mirror, and was admiring her own splendid tragic figure. No one would believe, to look at her, that she was over thirty. Behind the beautiful tragedian she could see in the glass a thin, miserable, old creature, with a yellow face and blue[244] teeth, crouching over the trunk. Really, it was too disagreeable. Sophie looked like one of those beggar women one sees on a cold morning, standing in the gutter. Does one hurry past, trying not to look at them? Or does one stop, open one’s purse, and give them one’s copper and nickel—even as much as a two-franc note, if one has no change? But whatever one did, one always felt uncomfortable, one always felt apologetic for one’s furs. That was what came of walking. If one had a car—but that was another of Hégésippe’s meannesses—one wouldn’t, rolling along behind closed windows, have to be conscious of them at all. She turned away from the glass.

“I won’t stand it,” she said, trying not to think of the beggar women, of blue teeth in a yellow face; “I won’t stand it.” She dropped into a chair.

But think of a lover with a yellow face and blue, uneven teeth! She closed her eyes, shuddered at the thought. It would be enough to make one sick. She felt impelled to take another look: Sophie’s eyes were the colour of greenish lead, quite without life. What was one to do about it? The woman’s face was a reproach,[245] an accusation. And besides, the sight of it was making her feel positively ill. She had never been so profoundly enervated.

Sophie rose slowly and with difficulty from her knees; an expression of pain crossed her face. Slowly she walked to the chest of drawers, slowly counted out six pairs of silk stockings. She turned back towards the trunk. The woman was a walking corpse!

“Life is terrible,” Madame repeated with conviction, “terrible, terrible, terrible.”

She ought to send the woman to bed. But she would never be able to get her packing done by herself. And it was so important to get off to-morrow morning. She had told Hégésippe she would go, and he had simply laughed; he hadn’t believed it. She must give him a lesson this time. In Rome she would see Luigino. Such a charming boy, and a marquis, too. Perhaps.... But she could think of nothing but Sophie’s face; the leaden eyes, the bluish teeth, the yellow, wrinkled skin.

“Sophie,” she said suddenly; it was with difficulty that she prevented herself[246] screaming, “look on my dressing-table. You’ll see a box of rouge, the Dorin number twenty-four. Put a little on your cheeks. And there’s a stick of lip salve in the right-hand drawer.”

She kept her eyes resolutely shut while Sophie got up—with what a horrible creaking of the joints!—walked over to the dressing-table, and stood there, rustling faintly, through what seemed an eternity. What a life, my God, what a life! Slow footsteps trailed back again. She opened her eyes. Oh, that was far better, far better.

“Thank you, Sophie. You look much less tired now.” She got up briskly. “And now we must hurry.” Full of energy, she ran to the wardrobe. “Goodness me,” she exclaimed, throwing up her hands, “you’ve forgotten to put in my blue evening dress. How could you be so stupid, Sophie?”

“PICTURES,” said Mr. Bigger; “you want to see some pictures? Well, we have a very interesting mixed exhibition of modern stuff in our galleries at the moment. French and English, you know.”

The customer held up his hand, shook his head. “No, no. Nothing modern for me,” he declared, in his pleasant northern English. “I want real pictures, old pictures. Rembrandt and Sir Joshua Reynolds and that sort of thing.”

“Perfectly.” Mr. Bigger nodded. “Old Masters. Oh, of course we deal in the old as well as the modern.”

“The fact is,” said the other, “that I’ve just bought a rather large house—a Manor House,” he added, in impressive tones.

Mr. Bigger smiled; there was an ingenuousness about this simple-minded fellow which was most engaging. He wondered how the man had made his money. “A Manor House.” The way he had said it was really charming. Here was a man who had worked his way up[248] from serfdom to the lordship of a manor, from the broad base of the feudal pyramid to the narrow summit. His own history and all the history of classes had been implicit in that awed proud emphasis on the “Manor.” But the stranger was running on; Mr. Bigger could not allow his thoughts to wander farther. “In a house of this style,” he was saying, “and with a position like mine to keep up, one must have a few pictures. Old Masters, you know; Rembrandts and What’s-his-names.”

“Of course,” said Mr. Bigger, “an Old Master is a symbol of social superiority.”

“That’s just it,” cried the other, beaming; “you’ve said just what I wanted to say.”

Mr. Bigger bowed and smiled. It was delightful to find some one who took one’s little ironies as sober seriousness.

“Of course, we should only need Old Masters downstairs, in the reception-room. It would be too much of a good thing to have them in the bedrooms too.”

“As a matter of fact,” the Lord of the Manor went on, “my daughter—she does[249] a bit of sketching. And very pretty it is. I’m having some of her things framed to hang in the bedrooms. It’s useful having an artist in the family. Saves you buying pictures. But, of course, we must have something old downstairs.”

“I think I have exactly what you want.” Mr. Bigger got up and rang the bell. “My daughter does a little sketching”—he pictured a large, blonde, barmaidish personage, thirty-one and not yet married, running a bit to seed. His secretary appeared at the door. “Bring me the Venetian portrait, Miss Pratt, the one in the back room. You know which I mean.”

“You’re very snug in here,” said the Lord of the Manor. “Business good, I hope.”

Mr. Bigger sighed. “The slump,” he said. “We art dealers feel it worse than any one.”

“Ah, the slump.” The Lord of the Manor chuckled. “I foresaw it all the time. Some people seemed to think the good times were going to last for ever. What fools! I sold out of everything at the crest of the wave. That’s why I can buy pictures now.”

[250]Mr. Bigger laughed too. This was the right sort of customer. “Wish I’d had anything to sell out during the boom,” he said.

The Lord of the Manor laughed till the tears rolled down his cheeks. He was still laughing when Miss Pratt re-entered the room. She carried a picture, shieldwise, in her two hands, before her.

“Put it on the easel, Miss Pratt,” said Mr. Bigger. “Now,” he turned to the Lord of the Manor, “what do you think of that?”

The picture that stood on the easel before them was a half-length portrait. Plump-faced, white-skinned, high-bosomed in her deeply scalloped dress of blue silk, the subject of the picture seemed a typical Italian lady of the middle eighteenth century. A little complacent smile curved the pouting lips, and in one hand she held a black mask, as though she had just taken it off after a day of carnival.

“Very nice,” said the Lord of the Manor; but he added doubtfully, “It isn’t very like Rembrandt, is it? It’s all so clear and bright. Generally in[251] Old Masters you can never see anything at all, they’re so dark and foggy.”

“Very true,” said Mr. Bigger. “But not all Old Masters are like Rembrandt.”

“This is eighteenth-century Venetian. Their colour was always luminous. Giangolini was the painter. He died young, you know. Not more than half a dozen of his pictures are known. And this is one.”

“One notices at a first glance the influence of Longhi,” Mr. Bigger went on airily. “And there is something of the morbidezza of Rosalba in the painting of the face.”

The Lord of the Manor was looking uncomfortably from Mr. Bigger to the picture and from the picture to Mr. Bigger. There is nothing so embarrassing as to be talked at by some one possessing more knowledge than you do. Mr. Bigger pressed his advantage.

“Curious,” he went on, “that one sees nothing of Tiepolo’s manner in this. Don’t you think so?”

[252]The Lord of the Manor nodded. His face wore a gloomy expression. The corners of his baby’s mouth drooped. One almost expected him to burst into tears.

“It’s pleasant,” said Mr. Bigger, relenting at last, “to talk to somebody who really knows about painting. So few people do.”

“Well, I can’t say I’ve ever gone into the subject very deeply,” said the Lord of the Manor modestly. “But I know what I like when I see it.” His face brightened again, as he felt himself on safer ground.

“A natural instinct,” said Mr. Bigger. “That’s a very precious gift. I could see by your face that you had it; I could see that the moment you came into the gallery.”

The Lord of the Manor was delighted. “Really, now,” he said. He felt himself growing larger, more important. “Really.” He cocked his head critically on one side. “Yes. I must say I think that’s a very fine bit of painting. Very fine. But the fact is, I should rather have liked a more historical piece, if you know what I mean. Something more[253] ancestor-like, you know. A portrait of somebody with a story—like Anne Boleyn, or Nell Gwynn, or the Duke of Wellington, or some one like that.”

“But, my dear sir, I was just going to tell you. This picture has a story.” Mr. Bigger leaned forward and tapped the Lord of the Manor on the knee. His eyes twinkled with benevolent and amused brightness under his bushy eyebrows. There was a knowing kindliness in his smile. “A most remarkable story is connected with the painting of that picture.”

Mr. Bigger leaned back in his chair. “The lady you see there,” he said, indicating the portrait with a wave of the hand, “was the wife of the fourth Earl Hurtmore. The family is now extinct. The ninth Earl died only last year. I got this picture when the house was sold up. It’s sad to see the passing of these old ancestral homes.” Mr. Bigger sighed. The Lord of the Manor looked solemn, as though he were in church. There was a moment’s silence; then Mr. Bigger went on in a changed[254] tone. “From his portraits, which I have seen, the fourth Earl seems to have been a long-faced, gloomy, grey-looking fellow. One can never imagine him young; he was the sort of man who looks permanently fifty. His chief interests in life were music and Roman antiquities. There’s one portrait of him holding an ivory flute in one hand and resting the other on a fragment of Roman carving. He spent at least half his life travelling in Italy, looking for antiques and listening to music. When he was about fifty-five, he suddenly decided that it was about time to get married. This was the lady of his choice.” Mr. Bigger pointed to the picture. “His money and his title must have made up for many deficiencies. One can’t imagine, from her appearance, that Lady Hurtmore took a great deal of interest in Roman antiquities. Nor, I should think, did she care much for the science and history of music. She liked clothes, she liked society, she liked gambling, she liked flirting, she liked enjoying herself. It doesn’t seem that the newly wedded couple got on too well. But still, they avoided an open breach. A year after[255] the marriage Lord Hurtmore decided to pay another visit to Italy. They reached Venice in the early autumn. For Lord Hurtmore, Venice meant unlimited music. It meant Galuppi’s daily concerts at the orphanage of the Misericordia. It meant Piccini at Santa Maria. It meant new operas at the San Moise; it meant delicious cantatas at a hundred churches. It meant private concerts of amateurs; it meant Porpora and the finest singers in Europe; it meant Tartini and the greatest violinists. For Lady Hurtmore, Venice meant something rather different. It meant gambling at the Ridotto, masked balls, gay supper-parties—all the delights of the most amusing city in the world. Living their separate lives, both might have been happy here in Venice almost indefinitely. But one day Lord Hurtmore had the disastrous idea of having his wife’s portrait painted. Young Giangolini was recommended to him as the promising, the coming painter. Lady Hurtmore began her sittings. Giangolini was handsome and dashing, Giangolini was young. He had an amorous technique as perfect as his artistic technique. Lady Hurtmore[256] would have been more than human if she had been able to resist him. She was not more than human.”

“None of us are, eh?” The Lord of the Manor dug his finger into Mr. Bigger’s ribs and laughed.

Politely, Mr. Bigger joined in his mirth; when it had subsided, he went on. “In the end they decided to run away together across the border. They would live at Vienna—live on the Hurtmore family jewels, which the lady would be careful to pack in her suit-case. They were worth upwards of twenty thousand, the Hurtmore jewels; and in Vienna, under Maria-Theresa, one could live handsomely on the interest of twenty thousand.

“The arrangements were easily made. Giangolini had a friend who did everything for them—got them passports under an assumed name, hired horses to be in waiting on the mainland, placed his gondola at their disposal. They decided to flee on the day of the last sitting. The day came. Lord Hurtmore, according to his usual custom, brought his wife to Giangolini’s studio in a gondola, left her there, perched on the high-backed model’s[257] throne, and went off again to listen to Galuppi’s concert at the Misericordia. It was the time of full carnival. Even in broad daylight people went about in masks. Lady Hurtmore wore one of black silk—you see her holding it, there, in the portrait. Her husband, though he was no reveller and disapproved of carnival junketings, preferred to conform to the grotesque fashion of his neighbours rather than attract attention to himself by not conforming.

“The long black cloak, the huge three-cornered black hat, the long-nosed mask of white paper were the ordinary attire of every Venetian gentleman in these carnival weeks. Lord Hurtmore did not care to be conspicuous; he wore the same. There must have been something richly absurd and incongruous in the spectacle of this grave and solemn-faced English milord dressed in the clown’s uniform of a gay Venetian masker. ‘Pantaloon in the clothes of Pulcinella,’ was how the lovers described him to one another; the old dotard of the eternal comedy dressed up as the clown. Well, this morning, as I have said, Lord Hurtmore came as usual in his hired gondola, bringing his lady[258] with him. And she in her turn was bringing, under the folds of her capacious cloak, a little leather box wherein, snug on their silken bed, reposed the Hurtmore jewels. Seated in the dark little cabin of the gondola they watched the churches, the richly fretted palazzi, the high mean houses gliding past them. From under his Punch’s mask Lord Hurtmore’s voice spoke gravely, slowly, imperturbably.

“‘The learned Father Martini,’ he said, ‘has promised to do me the honour of coming to dine with us to-morrow. I doubt if any man knows more of musical history than he. I will ask you to be at pains to do him special honour.’

“‘You may be sure I will, my lord.’ She could hardly contain the laughing excitement that bubbled up within her. To-morrow at dinner-time she would be far away—over the frontier, beyond Gorizia, galloping along the Vienna road. Poor old Pantaloon! But no, she wasn’t in the least sorry for him. After all, he had his music, he had his odds and ends of broken marble. Under her cloak she clutched the jewel-case more tightly. How intoxicatingly amusing her secret was!”

[259]Mr. Bigger clasped his hands and pressed them dramatically over his heart. He was enjoying himself. He turned his long, foxy nose towards the Lord of the Manor, and smiled benevolently. The Lord of the Manor for his part was all attention.

“Well,” he said, “the gondola draws up at Giangolini’s door, Lord Hurtmore helps his wife out, leads her up to the painter’s great room on the first floor, commits her into his charge with his usual polite formula, and then goes off to hear Galuppi’s morning concert at the Misericordia. The lovers have a good two hours to make their final preparations.

“Old Pantaloon safely out of sight, up pops the painter’s useful friend, masked and cloaked like every one else in the streets and on the canals of this carnival Venice. There follow embracements and handshakings and laughter all round; everything has been so marvellously successful, not a suspicion roused. From under Lady Hurtmore’s cloak comes the jewel-case. She opens it, and there are loud Italian exclamations of astonishment[260] and admiration. The brilliants, the pearls, the great Hurtmore emeralds, the ruby clasps, the diamond ear-rings—all these bright, glittering things are lovingly examined, knowingly handled. Fifty thousand sequins at the least is the estimate of the useful friend. The two lovers throw themselves ecstatically into one another’s arms.

“The useful friend interrupts them; there are still a few last things to be done. They must go and sign for their passports at the Ministry of Police. Oh, a mere formality; but still it has to be done. He will go out at the same time and sell one of the lady’s diamonds to provide the necessary funds for the journey.”

“So they set out, all in their masks and capes, the useful friend in one direction, the painter and his mistress in another. Ah, love in Venice!” Mr. Bigger turned up his eyes in ecstasy. “Have you ever been in Venice and in love, sir?” he inquired of the Lord of the Manor.

[261]“Ah, then you’ve missed one of life’s great experiences. You can never fully and completely understand what must have been the sensations of little Lady Hurtmore and the artist as they glided down the long canals, gazing at one another through the eyeholes of their masks. Sometimes, perhaps, they kissed—though it would have been difficult to do that without unmasking, and there was always the danger that some one might have recognised their naked faces through the windows of their little cabin. No, on the whole,” Mr. Bigger concluded reflectively, “I expect they confined themselves to looking at one another. But in Venice, drowsing along the canals, one can almost be satisfied with looking—just looking.”

He caressed the air with his hand and let his voice droop away into silence. He took two or three puffs at his cigarette without saying anything. When he went on, his voice was very quiet and even.

“About half an hour after they had gone, a gondola drew up at Giangolini’s door and a man in a paper mask, wrapped in a black cloak and wearing on his head the inevitable three-cornered hat, got[262] out and went upstairs to the painter’s room. It was empty. The portrait smiled sweetly and a little fatuously from the easel. But no painter stood before it and the model’s throne was untenanted. The long-nosed mask looked about the room with an expressionless curiosity. The wandering glance came to rest at last on the jewel-case that stood where the lovers had carelessly left it, open on the table. Deep-set and darkly shadowed behind the grotesque mask, the eyes dwelt long and fixedly on this object. Long-nosed Pulcinella seemed to be wrapped in meditation.

“A few minutes later there was the sound of footsteps on the stairs, of two voices laughing together. The masker turned away to look out of the window. Behind him the door opened noisily; drunk with excitement, with gay, laughable irresponsibility, the lovers burst in.

“The cloaked figure at the window did not stir; Giangolini rattled gaily on. There had been no trouble whatever about the signatures, no questions[263] asked; he had the passports in his pocket. They could start at once.

“‘I was thinking,’ she gasped between the paroxysms of her mirth, ‘I was thinking of old Pantalone sitting at the Misericordia, solemn as an owl, listening’—she almost choked, and the words came out shrill and forced as though she were speaking through tears—‘listening to old Galuppi’s boring old cantatas.’

“The man at the window turned round. ‘Unfortunately, madam,’ he said, ‘the learned maestro was indisposed this morning. There was no concert.’ He took off his mask. ‘And so I took the liberty of returning earlier than usual.’ The long, grey, unsmiling face of Lord Hurtmore confronted them.

“The lovers stared at him for a moment speechlessly. Lady Hurtmore put her hand to her heart; it had given a fearful jump, and she felt a horrible sensation in the pit of her stomach. Poor Giangolini had gone as white as his paper mask. Even in these days of cicisbei, of official[264] gentlemen friends, there were cases on record of outraged and jealous husbands resorting to homicide. He was unarmed, but goodness only knew what weapons of destruction were concealed under that enigmatic black cloak. But Lord Hurtmore did nothing brutal or undignified. Gravely and calmly, as he did everything, he walked over to the table, picked up the jewel-case, closed it with the greatest care, and saying, ‘My box, I think,’ put it in his pocket and walked out of the room. The lovers were left looking questioningly at one another.”

“The anti-climax,” Mr. Bigger replied, shaking his head mournfully. “Giangolini had bargained to elope with fifty thousand sequins. Lady Hurtmore didn’t, on reflection, much relish the idea of love in a cottage. Woman’s place, she decided at last, is in the home—with the family jewels. But would Lord Hurtmore see the matter in precisely the same light? That was the question, the alarming, disquieting question. She decided to go and see for herself.

[265]“She got back just in time for dinner. ‘His Illustrissimous Excellency is waiting in the dining-room,’ said the majordomo. The tall doors were flung open before her; she swam in majestically, chin held high—but with what a terror in her soul! Her husband was standing by the fireplace. He advanced to meet her.

“That was the only reference he ever made to the incident. In the afternoon he sent a servant to fetch the portrait from the painter’s studio. It formed part of their baggage when, a month later, they set out for England. The story has been passed down with the picture from one generation to the next. I had it from an old friend of the family when I bought the portrait last year.”

Mr. Bigger threw his cigarette end into the grate. He flattered himself that he had told that tale very well.

“Very interesting,” said the Lord of the Manor, “very interesting indeed. Quite historical, isn’t it? One could hardly do better with Nell Gwynn or Anne Boleyn, could one?”

[266]Mr. Bigger smiled vaguely, distantly. He was thinking of Venice—the Russian countess staying in his pension, the tufted tree in the courtyard outside his bedroom, that strong, hot scent she used (it made you catch your breath when you first smelt it), and there was the bathing on the Lido, and the gondola, and the dome of the Salute against the hazy sky, looking just as it looked when Guardi painted it. How enormously long ago and far away it all seemed now! He was hardly more than a boy then; it had been his first great adventure. He woke up with a start from his reverie.

The Lord of the Manor was speaking. “How much, now, would you want for that picture?” he asked. His tone was detached, off-hand; he was a rare one for bargaining.

“Well,” said Mr. Bigger, quitting with reluctance the Russian countess, the paradisaical Venice of five-and-twenty years ago, “I’ve asked as much as a thousand for less important works than this. But I don’t mind letting this go to you for seven-fifty.”

The Lord of the Manor whistled.[267] “Seven-fifty?” he repeated. “It’s too much.”

“But, my dear sir,” Mr. Bigger protested, “think what you’d have to pay for a Rembrandt of this size and quality—twenty thousand at least. Seven hundred and fifty isn’t at all too much. On the contrary, it’s very little considering the importance of the picture you’re getting. You have a good enough judgment to see that this is a very fine work of art.”

“Oh, I’m not denying that,” said the Lord of the Manor. “All I say is that seven-fifty’s a lot of money. Whe-ew! I’m glad my daughter does sketching. Think if I’d had to furnish the bedrooms with pictures at seven-fifty a time!” He laughed.

Mr. Bigger smiled. “You must also remember,” he said, “that you’re making a very good investment. Late Venetians are going up. If I had any capital to spare——” The door opened and Miss Pratt’s blonde and frizzy head popped in.

Mr. Bigger frowned. “Tell him to wait,” he said irritably. He coughed and turned back to the Lord of the[268] Manor. “If I had any capital to spare, I’d put it all into late Venetians. Every penny.”

He wondered, as he said the words, how often he had told people that he’d put all his capital, if he had any, into primitives, cubism, nigger sculpture, Japanese prints....

“You might let me have a typewritten copy of the story,” he said, as he put on his hat. “It would be a good tale to tell one’s guests at dinner, don’t you think? I’d like to have the details quite correct.”

“Oh, of course, of course,” said Mr. Bigger, “the details are most important.”

He ushered the little round man to the door. “Good morning. Good morning.” He was gone.

A tall, pale youth with side whiskers appeared in the doorway. His eyes were dark and melancholy; his expression, his general appearance, were romantic and at the same time a little pitiable. It was young Crowley, the painter.

“Sorry to have kept you waiting,” said[269] Mr. Bigger. “What did you want to see me for?”

Mr. Crowley looked embarrassed, he hesitated. How he hated having to do this sort of thing! “The fact is,” he said at last, “I’m horribly short of money. I wondered if perhaps you wouldn’t mind—if it would be convenient to you—to pay me for that thing I did for you the other day. I’m awfully sorry to bother you like this.”

“Not at all, my dear fellow.” Mr. Bigger felt sorry for this wretched creature who didn’t know how to look after himself. Poor young Crowley was as helpless as a baby. “How much did we settle it was to be?”

Mr. Bigger took out his pocket-book. “We’ll make it twenty-five,” he said.

“Oh no, really, I couldn’t. Thanks very much.” Mr. Crowley blushed like a girl. “I suppose you wouldn’t like to have a show of some of my landscapes, would you?” he asked, emboldened by Mr. Bigger’s air of benevolence.

[270]“There’s no money in modern stuff. But I’ll take any number of those sham Old Masters of yours.” He drummed with his fingers on Lady Hurtmore’s sleekly painted shoulder. “Try another Venetian,” he added. “This one was a great success.”

IT was the view which finally made us take the place. True, the house had its disadvantages. It was a long way out of town and had no telephone. The rent was unduly high, the drainage system poor. On windy nights, when the ill-fitting panes were rattling so furiously in the window-frames that you could fancy yourself in an hotel omnibus, the electric light, for some mysterious reason, used invariably to go out and leave you in the noisy dark. There was a splendid bathroom; but the electric pump, which was supposed to send up water from the rain-water tanks in the terrace, did not work. Punctually every autumn the drinking well ran dry. And our landlady was a liar and a cheat.

But these are the little disadvantages of every hired house, all over the world. For Italy they were not really at all serious. I have seen plenty of houses which had them all and a hundred others, without possessing the compensating advantages of ours—the southward facing garden and terrace for the winter and[272] spring, the large cool rooms against the midsummer heat, the hilltop air and freedom from mosquitoes, and finally the view.

And what a view it was! Or rather, what a succession of views. For it was different every day; and without stirring from the house one had the impression of an incessant change of scene: all the delights of travel without its fatigues. There were autumn days when all the valleys were filled with mist and the crests of the Apennines rose darkly out of a flat white lake. There were days when the mist invaded even our hilltop and we were enveloped in a soft vapour in which the mist-coloured olive trees, that sloped away below our windows towards the valley, disappeared as though into their own spiritual essence; and the only firm and definite things in the small, dim world within which we found ourselves confined were the two tall black cypresses growing on a little projecting terrace a hundred feet down the hill. Black, sharp, and solid, they stood there, twin pillars of Hercules at the extremity of the known universe; and beyond them there was only pale cloud[273] and round them only the cloudy olive trees.

These were the wintry days; but there were days of spring and autumn, days unchangingly cloudless, or—more lovely still—made various by the huge floating shapes of vapour that, snowy above the far-away snow-capped mountains, gradually unfolded, against the pale bright blue, enormous heroic gestures. And in the height of the sky the bellying draperies, the swans, the aerial marbles, hewed and left unfinished by gods grown tired of creation almost before they had begun, drifted sleeping along the wind, changing form as they moved. And the sun would come and go behind them; and now the town in the valley would fade and almost vanish in the shadow, and now, like an immense fretted jewel between the hills, it would glow as though by its own light. And looking across the nearer tributary valley that wound from below our crest down towards the Arno, looking over the low dark shoulder of hill on whose extreme promontory stood the towered church of San Miniato, one saw the huge dome airily hanging on its ribs of masonry, the square campanile,[274] the sharp spire of Santa Croce, and the canopied tower of the Signoria, rising above the intricate maze of houses, distinct and brilliant, like small treasures carved out of precious stones. For a moment only, and then their light would fade away once more, and the travelling beam would pick out, among the indigo hills beyond, a single golden crest.

There were days when the air was wet with passed or with approaching rain, and all the distances seemed miraculously near and clear. The olive trees detached themselves one from another on the distant slopes; the far-away villages were lovely and pathetic like the most exquisite small toys. There were days in summer-time, days of impending thunder when, bright and sunlit against huge bellying masses of black and purple, the hills and the white houses shone as it were precariously, in a dying splendour, on the brink of some fearful calamity.

How the hills changed and varied! Every day and every hour of the day, almost, they were different. There would be moments when, looking across the plain of Florence, one would see only a dark blue silhouette against the sky.[275] The scene had no depth; there was only a hanging curtain painted flatly with the symbols of mountains. And then, suddenly almost, with the passing of a cloud, or when the sun had declined to a certain level in the sky, the flat scene transformed itself; and where there had been only a painted curtain, now there were ranges behind ranges of hills, graduated tone after tone from brown, or grey, or a green gold to far-away blue. Shapes that a moment before had been fused together indiscriminately into a single mass, now came apart into their constituents. Fiesole, which had seemed only a spur of Monte Morello, now revealed itself as the jutting headland of another system of hills, divided from the nearest bastions of its greater neighbour by a deep and shadowy valley.

At noon, during the heats of summer, the landscape became dim, powdery, vague, and almost colourless under the midday sun; the hills disappeared into the trembling fringes of the sky. But as the afternoon wore on the landscape emerged again, it dropped its anonymity, it climbed back out of nothingness into form and life. And its life, as the sun[276] sank and slowly sank through the long afternoon, grew richer, grew more intense with every moment. The level light, with its attendant long, dark shadows, laid bare, so to speak, the anatomy of the land; the hills—each western escarpment shining, and each slope averted from the sunlight profoundly shadowed—became massive, jutty, and solid. Little folds and dimples in the seemingly even ground revealed themselves. Eastward from our hilltop, across the plain of the Ema, a great bluff cast its ever-increasing shadow; in the surrounding brightness of the valley a whole town lay eclipsed within it. And as the sun expired on the horizon, the further hills flushed in its warm light, till their illumined flanks were the colour of tawny roses; but the valleys were already filled with the blue mist of evening. And it mounted, mounted; the fire went out of the western windows of the populous slopes; only the crests were still alight, and at last they too were all extinct. The mountains faded and fused together again into a flat painting of mountains against the pale evening sky. In a little while it was night; and if the moon[277] were full, a ghost of the dead scene still haunted the horizons.

Changeful in its beauty, this wide landscape always preserved a quality of humanness and domestication which made it, to my mind at any rate, the best of all landscapes to live with. Day by day one travelled through its different beauties; but the journey, like our ancestors’ Grand Tour, was always a journey through civilisation. For all its mountains, its steep slopes and deep valleys, the Tuscan scene is dominated by its inhabitants. They have cultivated every rood of ground that can be cultivated; their houses are thickly scattered even over the hills, and the valleys are populous. Solitary on the hilltop, one is not alone in a wilderness. Man’s traces are across the country, and already—one feels it with satisfaction as one looks out across it—for centuries, for thousands of years, it has been his, submissive, tamed, and humanised. The wide, blank moorlands, the sands, the forests of innumerable trees—these are places for occasional visitation, healthful to the spirit which submits itself to them for not too long. But fiendish influences as well as divine[278] haunt these total solitudes. The vegetative life of plants and things is alien and hostile to the human. Men cannot live at ease except where they have mastered their surroundings and where their accumulated lives outnumber and outweigh the vegetative lives about them. Stripped of its dark woods, planted, terraced, and tilled almost to the mountains’ tops, the Tuscan landscape is humanised and safe. Sometimes upon those who live in the midst of it there comes a longing for some place that is solitary, inhuman, lifeless, or peopled only with alien life. But the longing is soon satisfied, and one is glad to return to the civilised and submissive scene.

I found that house on the hilltop the ideal dwelling-place. For there, safe in the midst of a humanised landscape, one was yet alone; one could be as solitary as one liked. Neighbours whom one never sees at close quarters are the ideal and perfect neighbours.

Our nearest neighbours, in terms of physical proximity, lived very near. We had two sets of them, as a matter of fact, almost in the same house with us. One was the peasant family, who lived in a[279] long, low building, part dwelling-house, part stables, storerooms and cowsheds, adjoining the villa. Our other neighbours—intermittent neighbours, however, for they only ventured out of town every now and then, during the most flawless weather—were the owners of the villa, who had reserved for themselves the smaller wing of the huge L-shaped house—a mere dozen rooms or so—leaving the remaining eighteen or twenty to us.

They were a curious couple, our proprietors. An old husband, grey, listless, tottering, seventy at least; and a signora of about forty, short, very plump, with tiny fat hands and feet and a pair of very large, very dark black eyes, which she used with all the skill of a born comedian. Her vitality, if you could have harnessed it and made it do some useful work, would have supplied a whole town with electric light. The physicists talk of deriving energy from the atom; they would be more profitably employed nearer home—in discovering some way of tapping those enormous stores of vital energy which accumulate in unemployed women of sanguine temperament and which, in the present imperfect state of[280] social and scientific organisation, vent themselves in ways that are generally so deplorable: in interfering with other people’s affairs, in working up emotional scenes, in thinking about love and making it, and in bothering men till they cannot get on with their work.

Signora Bondi got rid of her superfluous energy, among other ways, by “doing in” her tenants. The old gentleman, who was a retired merchant with a reputation for the most perfect rectitude, was allowed to have no dealings with us. When we came to see the house, it was the wife who showed us round. It was she who, with a lavish display of charm, with irresistible rollings of the eyes, expatiated on the merits of the place, sang the praises of the electric pump, glorified the bathroom (considering which, she insisted, the rent was remarkably moderate), and when we suggested calling in a surveyor to look over the house, earnestly begged us, as though our well-being were her only consideration, not to waste our money unnecessarily in doing anything so superfluous. “After all,” she said, “we are honest people. I wouldn’t dream of letting you the[281] house except in perfect condition. Have confidence.” And she looked at me with an appealing, pained expression in her magnificent eyes, as though begging me not to insult her by my coarse suspiciousness. And leaving us no time to pursue the subject of surveyors any further, she began assuring us that our little boy was the most beautiful angel she had ever seen. By the time our interview with Signora Bondi was at an end, we had definitely decided to take the house.

“Charming woman,” I said, as we left the house. But I think that Elizabeth was not quite so certain of it as I.

On the evening of our arrival in the house we switched on the electricity. The pump made a very professional whirring noise; but no water came out of the taps in the bathroom. We looked at one another doubtfully.

We asked for interviews; but somehow the old gentleman could never see us, and the Signora was invariably out or indisposed. We left notes; they were never answered. In the end, we found[282] that the only method of communicating with our landlords, who were living in the same house with us, was to go down into Florence and send a registered express letter to them. For this they had to sign two separate receipts and even, if we chose to pay forty centimes more, a third incriminating document, which was then returned to us. There could be no pretending, as there always was with ordinary letters or notes, that the communication had never been received. We began at last to get answers to our complaints. The Signora, who wrote all the letters, started by telling us that, naturally, the pump didn’t work, as the cisterns were empty, owing to the long drought. I had to walk three miles to the post office in order to register my letter reminding her that there had been a violent thunderstorm only last Wednesday, and that the tanks were consequently more than half full. The answer came back: bath water had not been guaranteed in the contract; and if I wanted it, why hadn’t I had the pump looked at before I took the house? Another walk into town to ask the Signora next door whether she remembered her[283] adjurations to us to have confidence in her, and to inform her that the existence in a house of a bathroom was in itself an implicit guarantee of bath water. The reply to that was that the Signora couldn’t continue to have communications with people who wrote so rudely to her. After that I put the matter into the hands of a lawyer. Two months later the pump was actually replaced. But we had to serve a writ on the lady before she gave in. And the costs were considerable.

One day, towards the end of the episode, I met the old gentleman in the road, taking his big maremman dog for a walk—or being taken, rather, for a walk by the dog. For where the dog pulled the old gentleman had perforce to follow. And when it stopped to smell, or scratch the ground, or leave against a gatepost its visiting-card or an offensive challenge, patiently, at his end of the leash, the old man had to wait. I passed him standing at the side of the road, a few hundred yards below our house. The dog was sniffing at the roots of one of the twin cypresses which grew one on either side of the entry to a farm; I heard the beast[284] growling indignantly to itself, as though it scented an intolerable insult. Old Signor Bondi, leashed to his dog, was waiting. The knees inside the tubular grey trousers were slightly bent. Leaning on his cane, he stood gazing mournfully and vacantly at the view. The whites of his old eyes were discoloured, like ancient billiard balls. In the grey, deeply wrinkled face, his nose was dyspeptically red. His white moustache, ragged and yellowing at the fringes, drooped in a melancholy curve. In his black tie he wore a very large diamond; perhaps that was what Signora Bondi had found so attractive about him.

I took off my hat as I approached. The old man stared at me absently, and it was only when I was already almost past him that he recollected who I was.

“Wait,” he called after me, “wait!” And he hastened down the road in pursuit. Taken utterly by surprise and at a disadvantage—for it was engaged in retorting to the affront imprinted on the cypress roots—the dog permitted itself to be jerked after him. Too much astonished to be anything but obedient, it followed its master. “Wait!”

“My dear sir,” said the old gentleman, catching me by the lapel of my coat and blowing most disagreeably in my face, “I want to apologise.” He looked around him, as though afraid that even here he might be overheard. “I want to apologise,” he went on, “about that wretched pump business. I assure you that, if it had been only my affair, I’d have put the thing right as soon as you asked. You were quite right: a bathroom is an implicit guarantee of bath water. I saw from the first that we should have no chance if it came to court. And besides, I think one ought to treat one’s tenants as handsomely as one can afford to. But my wife”—he lowered his voice—“the fact is that she likes this sort of thing, even when she knows that she’s in the wrong and must lose. And besides, she hoped, I dare say, that you’d get tired of asking and have the job done yourself. I told her from the first that we ought to give in; but she wouldn’t listen. You see, she enjoys it. Still, now she sees that it must be done. In the course of the next two or three days you’ll be having your bath water. But I thought[286] I’d just like to tell you how....” But the Maremmano, which had recovered by this time from its surprise of a moment since, suddenly bounded, growling, up the road. The old gentleman tried to hold the beast, strained at the leash, tottered unsteadily, then gave way and allowed himself to be dragged off. “... how sorry I am,” he went on, as he receded from me, “that this little misunderstanding....” But it was no use. “Good-bye.” He smiled politely, made a little deprecating gesture, as though he had suddenly remembered a pressing engagement, and had no time to explain what it was. “Good-bye.” He took off his hat and abandoned himself completely to the dog.

A week later the water really did begin to flow, and the day after our first bath Signora Bondi, dressed in dove-grey satin and wearing all her pearls, came to call.

“Is it peace now?” she asked, with a charming frankness, as she shook hands.

“But why did you write me such dreadfully rude letters?” she said, turning on me a reproachful glance that[287] ought to have moved the most ruthless malefactor to contrition. “And then that writ. How could you? To a lady....”

“But how could you expect me to listen to you while you were in that mood? Why didn’t you set about it differently—politely, charmingly?” She smiled at me and dropped her fluttering eyelids.

I thought it best to change the conversation. It is disagreeable, when one is in the right, to be made to appear in the wrong.

A few weeks later we had a letter—duly registered and by express messenger—in which the Signora asked us whether we proposed to renew our lease (which was only for six months), and notifying us that, if we did, the rent would be raised 25 per cent., in consideration of the improvements which had been carried out. We thought ourselves lucky, at the end of much bargaining, to get the lease renewed for a whole year with an increase in the rent of only 15 per cent.

It was chiefly for the sake of the view[288] that we put up with these intolerable extortions. But we had found other reasons, after a few days’ residence, for liking the house. Of these the most cogent was that, in the peasant’s youngest child, we had discovered what seemed the perfect playfellow for our own small boy. Between little Guido—for that was his name—and the youngest of his brothers and sisters there was a gap of six or seven years. His two elder brothers worked with their father in the fields; since the time of the mother’s death, two or three years before we knew them, the eldest sister had ruled the house, and the younger, who had just left school, helped her and in between-whiles kept an eye on Guido, who by this time, however, needed very little looking after; for he was between six and seven years old and as precocious, self-assured, and responsible as the children of the poor, left as they are to themselves almost from the time they can walk, generally are.

Though fully two and a half years older than little Robin—and at that age thirty months are crammed with half a lifetime’s experience—Guido took no undue advantage of his superior intelligence[289] and strength. I have never seen a child more patient, tolerant, and untyrannical. He never laughed at Robin for his clumsy efforts to imitate his own prodigious feats; he did not tease or bully, but helped his small companion when he was in difficulties and explained when he could not understand. In return, Robin adored him, regarded him as the model and perfect Big Boy, and slavishly imitated him in every way he could.

These attempts of Robin’s to imitate his companion were often exceedingly ludicrous. For by an obscure psychological law, words and actions in themselves quite serious become comic as soon as they are copied; and the more accurately, if the imitation is a deliberate parody, the funnier—for an overloaded imitation of some one we know does not make us laugh so much as one that is almost indistinguishably like the original. The bad imitation is only ludicrous when it is a piece of sincere and earnest flattery which does not quite come off. Robin’s imitations were mostly of this kind. His heroic and unsuccessful attempts to perform the feats of strength and skill, which Guido could do with ease, were[290] exquisitely comic. And his careful, long-drawn imitations of Guido’s habits and mannerisms were no less amusing. Most ludicrous of all, because most earnestly undertaken and most incongruous in the imitator, were Robin’s impersonations of Guido in the pensive mood. Guido was a thoughtful child, given to brooding and sudden abstractions. One would find him sitting in a corner by himself, chin in hand, elbow on knee, plunged, to all appearances, in the profoundest meditation. And sometimes, even in the midst of his play, he would suddenly break off, to stand, his hands behind his back, frowning and staring at the ground. When this happened, Robin became overawed and a little disquieted. In a puzzled silence he looked at his companion. “Guido,” he would say softly, “Guido.” But Guido was generally too much preoccupied to answer; and Robin, not venturing to insist, would creep near him, and throwing himself as nearly as possible into Guido’s attitude—standing Napoleonically, his hands clasped behind him, or sitting in the posture of Michelangelo’s Lorenzo the Magnificent—would try to meditate too. Every few seconds[291] he would turn his bright blue eyes towards the elder child to see whether he was doing it quite right. But at the end of a minute he began to grow impatient; meditation wasn’t his strong point. “Guido,” he called again and, louder, “Guido!” And he would take him by the hand and try to pull him away. Sometimes Guido roused himself from his reverie and went back to the interrupted game. Sometimes he paid no attention. Melancholy, perplexed, Robin had to take himself off to play by himself. And Guido would go on sitting or standing there, quite still; and his eyes, if one looked into them, were beautiful in their grave and pensive calm.

They were large eyes, set far apart and, what was strange in a dark-haired Italian child, of a luminous pale blue-grey colour. They were not always grave and calm, as in these pensive moments. When he was playing, when he talked or laughed, they lit up; and the surface of those clear, pale lakes of thought seemed, as it were, to be shaken into brilliant sun-flashing ripples. Above those eyes was a beautiful forehead, high and steep and[292] domed in a curve that was like the subtle curve of a rose petal. The nose was straight, the chin small and rather pointed, the mouth drooped a little sadly at the corners.

I have a snapshot of the two children sitting together on the parapet of the terrace. Guido sits almost facing the camera, but looking a little to one side and downwards; his hands are crossed in his lap and his expression, his attitude are thoughtful, grave, and meditative. It is Guido in one of those moods of abstraction into which he would pass even at the height of laughter and play—quite suddenly and completely, as though he had all at once taken it into his head to go away and had left the silent and beautiful body behind, like an empty house, to wait for his return. And by his side sits little Robin, turning to look up at him, his face half averted from the camera, but the curve of his cheek showing that he is laughing; one little raised hand is caught at the top of a gesture, the other clutches at Guido’s sleeve, as though he were urging him to come away and play. And the legs dangling from the parapet have been seen by the blinking[293] instrument in the midst of an impatient wriggle; he is on the point of slipping down and running off to play hide-and-seek in the garden. All the essential characteristics of both the children are in that little snapshot.

“If Robin were not Robin,” Elizabeth used to say, “I could almost wish he were Guido.”

And even at that time, when I took no particular interest in the child, I agreed with her. Guido seemed to me one of the most charming little boys I had ever seen.

We were not alone in admiring him. Signora Bondi when, in those cordial intervals between our quarrels, she came to call, was constantly speaking of him. “Such a beautiful, beautiful child!” she would exclaim with enthusiasm. “It’s really a waste that he should belong to peasants who can’t afford to dress him properly. If he were mine, I should put him into black velvet; or little white knickers and a white knitted silk jersey with a red line at the collar and cuffs; or perhaps a white sailor suit would be pretty. And in winter a little fur coat, with a squirrel skin cap, and[294] possibly Russian boots....” Her imagination was running away with her. “And I’d let his hair grow, like a page’s, and have it just curled up a little at the tips. And a straight fringe across his forehead. Every one would turn round and stare after us if I took him out with me in Via Tornabuoni.”

What you want, I should have liked to tell her, is not a child; it’s a clock-work doll or a performing monkey. But I did not say so—partly because I could not think of the Italian for a clock-work doll and partly because I did not want to risk having the rent raised another 15 per cent.

“Ah, if only I had a little boy like that!” She sighed and modestly dropped her eyelids. “I adore children. I sometimes think of adopting one—that is, if my husband would allow it.”

I thought of the poor old gentleman being dragged along at the heels of his big white dog and inwardly smiled.

“But I don’t know if he would,” the Signora was continuing, “I don’t know if he would.” She was silent for a moment, as though considering a new idea.

[295]A few days later, when we were sitting in the garden after luncheon, drinking our coffee, Guido’s father, instead of passing with a nod and the usual cheerful good-day, halted in front of us and began to talk. He was a fine handsome man, not very tall, but well proportioned, quick and elastic in his movements, and full of life. He had a thin brown face, featured like a Roman’s and lit by a pair of the most intelligent-looking grey eyes I ever saw. They exhibited almost too much intelligence when, as not infrequently happened, he was trying, with an assumption of perfect frankness and a childlike innocence, to take one in or get something out of one. Delighting in itself, the intelligence shone there mischievously. The face might be ingenuous, impassive, almost imbecile in its expression; but the eyes on these occasions gave him completely away. One knew, when they glittered like that, that one would have to be careful.

To-day, however, there was no dangerous light in them. He wanted nothing out of us, nothing of any value—only advice, which is a commodity, he knew, that most people are only too happy to[296] part with. But he wanted advice on what was, for us, rather a delicate subject: on Signora Bondi. Carlo had often complained to us about her. The old man is good, he told us, very good and kind indeed. Which meant, I dare say, among other things, that he could easily be swindled. But his wife.... Well, the woman was a beast. And he would tell us stories of her insatiable rapacity: she was always claiming more than the half of the produce which, by the laws of the metayage system, was the proprietor’s due. He complained of her suspiciousness: she was for ever accusing him of sharp practices, of downright stealing—him, he struck his breast, the soul of honesty. He complained of her short-sighted avarice: she wouldn’t spend enough on manure, wouldn’t buy him another cow, wouldn’t have electric light installed in the stables. And we had sympathised, but cautiously, without expressing too strong an opinion on the subject. The Italians are wonderfully non-committal in their speech; they will give nothing away to an interested person until they are quite certain that it is right and necessary and, above all,[297] safe to do so. We had lived long enough among them to imitate their caution. What we said to Carlo would be sure, sooner or later, to get back to Signora Bondi. There was nothing to be gained by unnecessarily embittering our relations with the lady—only another 15 per cent., very likely, to be lost.

To-day he wasn’t so much complaining as feeling perplexed. The Signora had sent for him, it seemed, and asked him how he would like it if she were to make an offer—it was all very hypothetical in the cautious Italian style—to adopt little Guido. Carlo’s first instinct had been to say that he wouldn’t like it at all. But an answer like that would have been too coarsely committal. He had preferred to say that he would think about it. And now he was asking for our advice.

Do what you think best, was what in effect we replied. But we gave it distantly but distinctly to be understood that we didn’t think that Signora Bondi would make a very good foster-mother for the child. And Carlo was inclined to agree. Besides, he was very fond of the boy.

“But the thing is,” he concluded[298] rather gloomily, “that if she has really set her heart on getting hold of the child, there’s nothing she won’t do to get him—nothing.”

He too, I could see, would have liked the physicists to start on unemployed childless women of sanguine temperament before they tried to tackle the atom. Still, I reflected, as I watched him striding away along the terrace, singing powerfully from a brazen gullet as he went, there was force there, there was life enough in those elastic limbs, behind those bright grey eyes, to put up a good fight even against the accumulated vital energies of Signora Bondi.

It was a few days after this that my gramophone and two or three boxes of records arrived from England. They were a great comfort to us on the hilltop, providing as they did the only thing in which that spiritually fertile solitude—otherwise a perfect Swiss Family Robinson’s island—was lacking: music. There is not much music to be heard nowadays in Florence. The times when Dr. Burney could tour through Italy, listening to an unending succession of new operas, symphonies, quartets, cantatas, are gone.[299] Gone are the days when a learned musician, inferior only to the Reverend Father Martini of Bologna, could admire what the peasants sang and the strolling players thrummed and scraped on their instruments. I have travelled for weeks through the peninsula and hardly heard a note that was not “Salome” or the Fascists’ song. Rich in nothing else that makes life agreeable or even supportable, the northern metropolises are rich in music. That is perhaps the only inducement that a reasonable man can find for living there. The other attractions—organised gaiety, people, miscellaneous conversation, the social pleasures—what are those, after all, but an expense of spirit that buys nothing in return? And then the cold, the darkness, the mouldering dirt, the damp and squalor.... No, where there is no necessity that retains, music can be the only inducement. And that, thanks to the ingenious Edison, can now be taken about in a box and unpacked in whatever solitude one chooses to visit. One can live at Benin, or Nuneaton, or Tozeur in the Sahara, and still hear Mozart quartets, and selections from the Well-Tempered Clavichord, and the[300] Fifth Symphony, and the Brahms clarinet quintet, and motets by Palestrina.

Carlo, who had gone down to the station with his mule and cart to fetch the packing-case, was vastly interested in the machine.

“One will hear some music again,” he said, as he watched me unpacking the gramophone and the disks. “It is difficult to do much oneself.”

Still, I reflected, he managed to do a good deal. On warm nights we used to hear him, where he sat at the door of his house, playing his guitar and softly singing; the eldest boy shrilled out the melody on the mandoline, and sometimes the whole family would join in, and the darkness would be filled with their passionate, throaty singing. Piedigrotta songs they mostly sang; and the voices drooped slurringly from note to note, lazily climbed or jerked themselves with sudden sobbing emphases from one tone to another. At a distance and under the stars the effect was not unpleasing.

“Before the war,” he went on, “in normal times” (and Carlo had a hope, even a belief, that the normal times were coming back and that life would soon be[301] as cheap and easy as it had been in the days before the flood), “I used to go and listen to the operas at the Politeama. Ah, they were magnificent. But it costs five lire now to get in.”

I put on Battistini in “La ci darem” out of Don Giovanni. He agreed that the singing was good; but I could see that he didn’t much like the music. Why not? He found it difficult to explain.

“Not palpitating?” I suggested, using a word with which I was sure he would be familiar; for it occurs in every Italian political speech and patriotic leading article.

And I reflected that it is precisely by[302] the difference between Pagliacci and Don Giovanni, between the palpitating and the non-palpitating, that modern musical taste is separated from the old. The corruption of the best, I thought, is the worst. Beethoven taught music to palpitate with his intellectual and spiritual passion. It has gone on palpitating ever since, but with the passion of inferior men. Indirectly, I thought, Beethoven is responsible for Parsifal, Pagliacci, and the Poem of Fire; still more indirectly for Samson and Delilah and “Ivy, cling to me.” Mozart’s melodies may be brilliant, memorable, infectious; but they don’t palpitate, don’t catch you between wind and water, don’t send the listener off into erotic ecstasies.

Carlo and his elder children found my gramophone, I am afraid, rather a disappointment. They were too polite, however, to say so openly; they merely ceased, after the first day or two, to take any interest in the machine and the music it played. They preferred the guitar and their own singing.

Guido, on the other hand, was immensely interested. And he liked, not the cheerful dance tunes, to whose sharp[303] rhythms our little Robin loved to go stamping round and round the room, pretending that he was a whole regiment of soldiers, but the genuine stuff. The first record he heard, I remember, was that of the slow movement of Bach’s Concerto in D Minor for two violins. That was the disk I put on the turntable as soon as Carlo had left me. It seemed to me, so to speak, the most musical piece of music with which I could refresh my long-parched mind—the coolest and clearest of all draughts. The movement had just got under way and was beginning to unfold its pure and melancholy beauties in accordance with the laws of the most exacting intellectual logic, when the two children, Guido in front and little Robin breathlessly following, came clattering into the room from the loggia.

Guido came to a halt in front of the gramophone and stood there, motionless, listening. His pale blue-grey eyes opened themselves wide; making a little nervous gesture that I had often noticed in him before, he plucked at his lower lip with his thumb and forefinger. He must have taken a deep breath; for I noticed[304] that, after listening for a few seconds, he sharply expired and drew in a fresh gulp of air. For an instant he looked at me—a questioning, astonished, rapturous look—gave a little laugh that ended in a kind of nervous shudder, and turned back towards the source of the incredible sounds. Slavishly imitating his elder comrade, Robin had also taken up his stand in front of the gramophone, and in exactly the same position, glancing at Guido from time to time to make sure that he was doing everything, down to plucking at his lip, in the correct way. But after a minute or so he became bored.

“Soldiers,” he said, turning to me; “I want soldiers. Like in London.” He remembered the rag-time and the jolly marches round and round the room.

Robin managed to remain silent and still for perhaps another twenty seconds. Then he seized Guido by the arm, shouting, “Vieni, Guido! Soldiers. Soldati. Vieni giuocare soldati.”

It was then, for the first time, that I saw Guido impatient. “Vai!” he[305] whispered angrily, slapped at Robin’s clutching hand and pushed him roughly away. And he leaned a little closer to the instrument, as though to make up by yet intenser listening for what the interruption had caused him to miss.

Robin looked at him, astonished. Such a thing had never happened before. Then he burst out crying and came to me for consolation.

When the quarrel was made up—and Guido was sincerely repentant, was as nice as he knew how to be when the music had stopped and his mind was free to think of Robin once more—I asked him how he liked the music. He said he thought it was beautiful. But bello in Italian is too vague a word, too easily and frequently uttered, to mean very much.

“What did you like best?” I insisted. For he had seemed to enjoy it so much that I was curious to find out what had really impressed him.

He was silent for a moment, pensively frowning. “Well,” he said at last, “I liked the bit that went like this.” And he hummed a long phrase. “And then there’s the other thing singing at the[306] same time—but what are those things,” he interrupted himself, “that sing like that?”

“Violins.” He nodded. “Well, the other violin goes like this.” He hummed again. “Why can’t one sing both at once? And what is in that box? What makes it make that noise?” The child poured out his questions.

I answered him as best I could, showing him the little spirals on the disk, the needle, the diaphragm. I told him to remember how the string of the guitar trembled when one plucked it; sound is a shaking in the air, I told him, and I tried to explain how those shakings get printed on the black disk. Guido listened to me very gravely, nodding from time to time. I had the impression that he understood perfectly well everything I was saying.

By this time, however, poor Robin was so dreadfully bored that in pity for him I had to send the two children out into the garden to play. Guido went obediently; but I could see that he would have preferred to stay indoors and listen to more music. A little while later, when[307] I looked out, he was hiding in the dark recesses of the big bay tree, roaring like a lion, and Robin, laughing, but a little nervously, as though he were afraid that the horrible noise might possibly turn out, after all, to be the roaring of a real lion, was beating the bush with a stick, and shouting, “Come out, come out! I want to shoot you.”

After lunch, when Robin had gone upstairs for his afternoon sleep, he re-appeared. “May I listen to the music now?” he asked. And for an hour he sat there in front of the instrument, his head cocked slightly on one side, listening while I put on one disk after another.

Thenceforward he came every afternoon. Very soon he knew all my library of records, had his preferences and dislikes, and could ask for what he wanted by humming the principal theme.

“I don’t like that one,” he said of Strauss’s “Till Eulen Spiegel.” “It’s like what we sing in our house. Not really like, you know. But somehow rather like, all the same. You understand?” He looked at us perplexedly and appealingly, as though begging us to understand what he meant and so save[308] him from going on explaining. We nodded. Guido went on. “And then,” he said, “the end doesn’t seem to come properly out of the beginning. It’s not like the one you played the first time.” He hummed a bar or two from the slow movement of Bach’s D Minor Concerto.

“It isn’t,” I suggested, “like saying: All little boys like playing. Guido is a little boy. Therefore Guido likes playing.”

He frowned. “Yes, perhaps that’s it,” he said at last. “The one you played first is more like that. But, you know,” he added, with an excessive regard for truth, “I don’t like playing as much as Robin does.”

Wagner was among his dislikes; so was Debussy. When I played the record of one of Debussy’s Arabesques, he said, “Why does he say the same thing over and over again? He ought to say something new, or go on, or make the thing grow. Can’t he think of anything different?” But he was less censorious about the “Après-Midi d’un Faune.” “The things have beautiful voices,” he said.

Mozart overwhelmed him with delight.[309] The duet from Don Giovanni, which his father had found insufficiently palpitating, enchanted Guido. But he preferred the quartets and the orchestral pieces.

Most people, I reflected, like singing better than music; are more interested in the executant than in what he executes, and find the impersonal orchestra less moving than the soloist. The touch of the pianist is the human touch, and the soprano’s high C is the personal note. It is for the sake of this touch, that note, that audiences fill the concert halls.

Guido, however, preferred music. True, he liked “La ci darem”; he liked “Deh vieni alla finestra”; he thought “Che soave zefiretto” so lovely that almost all our concerts had to begin with it. But he preferred the other things. The Figaro overture was one of his favourites. There is a passage not far from the beginning of the piece, where the first violins suddenly go rocketing up into the heights of loveliness; as the music approached that point, I used always to see a smile developing and gradually brightening on Guido’s face, and when,[310] punctually, the thing happened, he clapped his hands and laughed aloud with pleasure.

On the other side of the same disk, it happened, was recorded Beethoven’s Egmont overture. He liked that almost better than Figaro.

“It has more voices,” he explained. And I was delighted by the acuteness of the criticism; for it is precisely in the richness of its orchestration that Egmont goes beyond Figaro.

But what stirred him almost more than anything was the Coriolan overture. The third movement of the Fifth Symphony, the second movement of the Seventh, the slow movement of the Emperor Concerto—all these things ran it pretty close. But none excited him so much as Coriolan. One day he made me play it three or four times in succession; then he put it away.

“It’s too ... too ...” he hesitated, “too big,” he said at last. “I don’t really understand it. Play me the one that goes like this.” He hummed the phrase from the D Minor Concerto.

One afternoon, while we were in the middle of our concert, Signora Bondi was ushered in. She began at once to be overwhelmingly affectionate towards the child; kissed him, patted his head, paid him the most outrageous compliments on his appearance. Guido edged away from her.

“I think he has a gift,” I said. “At any rate, he has a wonderful ear and a power of listening and criticising such as I’ve never met with in a child of that age. We’re thinking of hiring a piano for him to learn on.”

A moment later I was cursing myself for my undue frankness in praising the boy. For Signora Bondi began immediately to protest that, if she could have the upbringing of the child, she would give him the best masters, bring out his[312] talent, make an accomplished maestro of him—and, on the way, an infant prodigy. And at that moment, I am sure, she saw herself sitting maternally, in pearls and black satin, in the lea of the huge Steinway, while an angelic Guido, dressed like little Lord Fauntleroy, rattled out Liszt and Chopin, to the loud delight of a thronged auditorium. She saw the bouquets and all the elaborate floral tributes, heard the clapping and the few well-chosen words with which the veteran maestri, touched almost to tears, would hail the coming of the little genius. It became more than ever important for her to acquire the child.

“You’ve sent her away fairly ravening,” said Elizabeth, when Signora Bondi had gone. “Better tell her next time that you made a mistake, and that the boy’s got no musical talent whatever.”

In due course, the piano arrived. After giving him the minimum of preliminary instruction, I let Guido loose on it. He began by picking out for himself the melodies he had heard, reconstructing the harmonies in which they were embedded. After a few lessons, he understood the rudiments of musical notation[313] and could read a simple passage at sight, albeit very slowly. The whole process of reading was still strange to him; he had picked up his letters somehow, but nobody had yet taught him to read whole words and sentences.

I took occasion, next time I saw Signora Bondi, to assure her that Guido had disappointed me. There was nothing in his musical talent, really. She professed to be very sorry to hear it; but I could see that she didn’t for a moment believe me. Probably she thought that we were after the child too, and wanted to bag the infant prodigy for ourselves, before she could get in her claim, thus depriving her of what she regarded almost as her feudal right. For, after all, weren’t they her peasants? If any one was to profit by adopting the child it ought to be herself.

Tactfully, diplomatically, she renewed her negotiations with Carlo. The boy, she put it to him, had genius. It was the foreign gentleman who had told her so, and he was the sort of man, clearly, who knew about such things. If Carlo would let her adopt the child, she’d have him trained. He’d become a great[314] maestro and get engagements in the Argentine and the United States, in Paris and London. He’d earn millions and millions. Think of Caruso, for example. Part of the millions, she explained, would of course come to Carlo. But before they began to roll in, those millions, the boy would have to be trained. But training was very expensive. In his own interest, as well as in that of his son, he ought to let her take charge of the child. Carlo said he would think it over, and again applied to us for advice. We suggested that it would be best in any case to wait a little and see what progress the boy made.

He made, in spite of my assertions to Signora Bondi, excellent progress. Every afternoon, while Robin was asleep, he came for his concert and his lesson. He was getting along famously with his reading; his small fingers were acquiring strength and agility. But what to me was more interesting was that he had begun to make up little pieces on his own account. A few of them I took down as he played them and I have them still. Most of them, strangely enough, as I thought then, are canons. He had[315] a passion for canons. When I explained to him the principles of the form he was enchanted.

“It is beautiful,” he said, with admiration. “Beautiful, beautiful. And so easy!”

Again the word surprised me. The canon is not, after all, so conspicuously simple. Thenceforward he spent most of his time at the piano in working out little canons for his own amusement. They were often remarkably ingenious. But in the invention of other kinds of music he did not show himself so fertile as I had hoped. He composed and harmonised one or two solemn little airs like hymn tunes, with a few sprightlier pieces in the spirit of the military march. They were extraordinary, of course, as being the inventions of a child. But a great many children can do extraordinary things; we are all geniuses up to the age of ten. But I had hoped that Guido was a child who was going to be a genius at forty; in which case what was extraordinary for an ordinary child was not extraordinary enough for him. “He’s hardly a Mozart,” we agreed, as we played his little pieces over. I felt,[316] it must be confessed, almost aggrieved. Anything less than a Mozart, it seemed to me, was hardly worth thinking about.

He was not a Mozart. No. But he was somebody, as I was to find out, quite as extraordinary. It was one morning in the early summer that I made the discovery. I was sitting in the warm shade of our westward-facing balcony, working. Guido and Robin were playing in the little enclosed garden below. Absorbed in my work, it was only, I suppose, after the silence had prolonged itself a considerable time that I became aware that the children were making remarkably little noise. There was no shouting, no running about; only a quiet talking. Knowing by experience that when children are quiet it generally means that they are absorbed in some delicious mischief, I got up from my chair and looked over the balustrade to see what they were doing. I expected to catch them dabbling in water, making a bonfire, covering themselves with tar. But what I actually saw was Guido, with a burnt stick in his hand, demonstrating on the smooth paving-stones of the path, that the square on the[317] hypotenuse of a right-angled triangle is equal to the sum of the squares on the other two sides.

Kneeling on the floor, he was drawing with the point of his blackened stick on the flagstones. And Robin, kneeling imitatively beside him, was growing, I could see, rather impatient with this very slow game.

“Guido,” he said. But Guido paid no attention. Pensively frowning, he went on with his diagram. “Guido!” The younger child bent down and then craned round his neck so as to look up into Guido’s face. “Why don’t you draw a train?”

“Afterwards,” said Guido. “But I just want to show you this first. It’s so beautiful,” he added cajolingly.

“In a moment. Do just wait a moment.” The tone was almost imploring. Robin armed himself with renewed patience. A minute later Guido had finished both his diagrams.

“There!” he said triumphantly, and straightened himself up to look at them. “Now I’ll explain.”

And he proceeded to prove the theorem[318] of Pythagoras—not in Euclid’s way, but by the simpler and more satisfying method which was, in all probability, employed by Pythagoras himself. He had drawn a square and dissected it, by a pair of crossed perpendiculars, into two squares and two equal rectangles. The equal rectangles he divided up by their diagonals into four equal right-angled triangles. The two squares are then seen to be the squares on the two sides of any one of these triangles other than the hypotenuse. So much for the first diagram. In the next he took the four right-angled triangles into which the rectangles had been divided and re-arranged them round the original square so that their right angles filled the corners of the square, the hypotenuses looked inwards, and the greater and less sides of the triangles were in continuation along the sides of the square (which are each equal to the sum of these sides). In this way the original square is redissected into four right-angled triangles and the square on the hypotenuse. The four triangles are equal to the two rectangles of the original dissection. Therefore the square on the hypotenuse is equal to the sum[319] of the two squares—the squares on the other two sides—into which, with the rectangles, the original square was first dissected.

In very untechnical language, but clearly and with a relentless logic, Guido expounded his proof. Robin listened, with an expression on his bright, freckled face of perfect incomprehension.

“In a moment,” Guido implored. “Wait a moment. But do just look at this. Do.” He coaxed and cajoled. “It’s so beautiful. It’s so easy.”

So easy.... The theorem of Pythagoras seemed to explain for me Guido’s musical predilections. It was not an infant Mozart we had been cherishing; it was a little Archimedes with, like most of his kind, an incidental musical twist.

“Treno, treno!” shouted Robin, growing more and more restless as the exposition went on. And when Guido insisted on going on with his proof, he lost his temper. “Cattivo Guido,” he shouted, and began to hit out at him with his fists.

“All right,” said Guido resignedly.[320] “I’ll make a train.” And with his stick of charcoal he began to scribble on the stones.

I looked on for a moment in silence. It was not a very good train. Guido might be able to invent for himself and prove the theorem of Pythagoras; but he was not much of a draughtsman.

“Guido!” I called. The two children turned and looked up. “Who taught you to draw those squares?” It was conceivable, of course, that somebody might have taught him.

“Nobody.” He shook his head. Then, rather anxiously, as though he were afraid there might be something wrong about drawing squares, he went on to apologise and explain. “You see,” he said, “it seemed to me so beautiful. Because those squares”—he pointed at the two small squares in the first figure—“are just as big as this one.” And, indicating the square on the hypotenuse in the second diagram, he looked up at me with a deprecating smile.

I nodded. “Yes, it’s very beautiful,” I said—“it’s very beautiful indeed.”

An expression of delighted relief appeared[321] on his face; he laughed with pleasure. “You see, it’s like this,” he went on, eager to initiate me into the glorious secret he had discovered. “You cut these two long squares”—he meant the rectangles—“into two slices. And then there are four slices, all just the same, because, because—oh, I ought to have said that before—because these long squares are the same, because those lines, you see....”

Leaning on the rail of the balcony, I watched the children below. I thought of the extraordinary thing I had just seen and of what it meant.

I thought of the vast differences between human beings. We classify men by the colour of their eyes and hair, the shape of their skulls. Would it not be more sensible to divide them up into intellectual species? There would be even wider gulfs between the extreme mental types than between a Bushman and a Scandinavian. This child, I thought, when he grows up, will be to me, intellectually, what a man is to a dog. And there are other men and women who are, perhaps, almost as dogs to me.

[322]Perhaps the men of genius are the only true men. In all the history of the race there have been only a few thousand real men. And the rest of us—what are we? Teachable animals. Without the help of the real men, we should have found out almost nothing at all. Almost all the ideas with which we are familiar could never have occurred to minds like ours. Plant the seeds there and they will grow; but our minds could never spontaneously have generated them.

There have been whole nations of dogs, I thought; whole epochs in which no Man was born. From the dull Egyptians the Greeks took crude experience and rules of thumb and made sciences. More than a thousand years passed before Archimedes had a comparable successor. There has been only one Buddha, one Jesus, only one Bach that we know of, one Michelangelo.

Is it by a mere chance, I wondered, that a Man is born from time to time? What causes a whole constellation of them to come contemporaneously into being and from out of a single people? Taine thought that Leonardo, Michelangelo, and Raphael were born when they[323] were because the time was ripe for great painters and the Italian scene congenial. In the mouth of a rationalising nineteenth-century Frenchman the doctrine is strangely mystical; it may be none the less true for that. But what of those born out of time? Blake, for example. What of those?

This child, I thought, has had the fortune to be born at a time when he will be able to make good use of his capacities. He will find the most elaborate analytical methods lying ready to his hand; he will have a prodigious experience behind him. Suppose him born while Stone Henge was building; he might have spent a lifetime discovering the rudiments, guessing darkly where now he might have had a chance of proving. Born at the time of the Norman Conquest, he would have had to wrestle with all the preliminary difficulties created by an inadequate symbolism; it would have taken him long years, for example, to learn the art of dividing MMMCCCCLXXXVIII by MCMXIX. In five years, nowadays, he will learn what it took generations of Men to discover.

And I thought of the fate of all the[324] Men born so hopelessly out of time that they could achieve little or nothing of value. Beethoven born in Greece, I thought, would have had to be content to play thin melodies on the flute or lyre; in those intellectual surroundings it would hardly have been possible for him to imagine the nature of harmony.

From drawing trains, the children in the garden below had gone on to playing trains. They were trotting round and round; with blown round cheeks and pouting mouth, like the cherubic symbol of a wind, Robin puff-puffed, and Guido, holding the skirt of his smock, shuffled behind him, tooting. They ran forward, backed, stopped at imaginary stations, shunted, roared over bridges, crashed through tunnels, met with occasional collisions and derailments. The young Archimedes seemed to be just as happy as the little tow-headed barbarian. A few minutes ago he had been busy with the theorem of Pythagoras. Now, tooting indefatigably along imaginary rails, he was perfectly content to shuffle backwards and forwards among the flower-beds, between the pillars of the loggia, in and out of the dark tunnels of the laurel tree.[325] The fact that one is going to be Archimedes does not prevent one from being an ordinary cheerful child meanwhile. I thought of this strange talent distinct and separate from the rest of the mind, independent, almost, of experience. The typical child-prodigies are musical and mathematical; the other talents ripen slowly under the influence of emotional experience and growth. Till he was thirty Balzac gave proof of nothing but ineptitude; but at four the young Mozart was already a musician, and some of Pascal’s most brilliant work was done before he was out of his teens.

In the weeks that followed, I alternated the daily piano lessons with lessons in mathematics. Hints rather than lessons they were; for I only made suggestions, indicated methods, and left the child, himself to work out the ideas in detail. Thus I introduced him to algebra by showing him another proof of the theorem of Pythagoras. In this proof one drops a perpendicular from the right angle on to the hypotenuse, and arguing from the fact that the two triangles thus created are similar to one another and to the original triangle, and that the proportions[326] which their corresponding sides bear to one another are therefore equal, one can show in algebraical form that c² + d² (the squares on the other two sides) are equal to a² + b² (the squares on the two segments of the hypotenuse) + 2ab; which last, it is easy to show geometrically, is equal to (a + b)², or the square on the hypotenuse. Guido was as much enchanted by the rudiments of algebra as he would have been if I had given him an engine worked by steam, with a methylated spirit lamp to heat the boiler; more enchanted, perhaps—for the engine would have got broken, and, remaining always itself, would in any case have lost its charm, while the rudiments of algebra continued to grow and blossom in his mind with an unfailing luxuriance. Every day he made the discovery of something which seemed to him exquisitely beautiful; the new toy was inexhaustible in its potentialities.

In the intervals of applying algebra to the second book of Euclid, we experimented with circles; we stuck bamboos into the parched earth, measured their shadows at different hours of the day, and drew exciting conclusions from our observations. Sometimes, for fun, we[327] cut and folded sheets of paper so as to make cubes and pyramids. One afternoon Guido arrived carrying carefully between his small and rather grubby hands a flimsy dodecahedron.

“È tanto bello!” he said, as he showed us his paper crystal; and when I asked him how he had managed to make it, he merely smiled and said it had been so easy. I looked at Elizabeth and laughed. But it would have been more symbolically to the point, I felt, if I had gone down on all fours, wagged the spiritual outgrowth of my os coccyx, and barked my astonished admiration.

It was an uncommonly hot summer. By the beginning of July our little Robin, unaccustomed to these high temperatures, began to look pale and tired; he was listless, had lost his appetite and energy. The doctor advised mountain air. We decided to spend the next ten or twelve weeks in Switzerland. My parting gift to Guido was the first six books of Euclid in Italian. He turned over the pages, looking ecstatically at the figures.

“If only I knew how to read properly,” he said. “I’m so stupid. But now I shall really try to learn.”

[328]From our hotel near Grindelwald we sent the child, in Robin’s name, various post cards of cows, Alp-horns, Swiss chalets, edelweiss, and the like. We received no answers to these cards; but then we did not expect answers. Guido could not write, and there was no reason why his father or his sisters should take the trouble to write for him. No news, we took it, was good news. And then one day, early in September, there arrived at the hotel a strange letter. The manager had it stuck up on the glass-fronted notice-board in the hall, so that all the guests might see it, and whoever conscientiously thought that it belonged to him might claim it. Passing the board on the way into lunch, Elizabeth stopped to look at it.

I came and looked at the envelope over her shoulder. It was unstamped and black with postmarks. Traced out in pencil, the big uncertain capital letters sprawled across its face. In the first line was written: AL BABBO DI ROBIN, and there followed a travestied version of the name of the hotel and the place. Round the address bewildered[329] postal officials had scrawled suggested emendations. The letter had wandered for a fortnight at least, back and forth across the face of Europe.

“Al Babbo di Robin. To Robin’s father.” I laughed. “Pretty smart of the postmen to have got it here at all.” I went to the manager’s office, set forth the justice of my claim to the letter and, having paid the fifty-centime surcharge for the missing stamp, had the case unlocked and the letter given me. We went in to lunch.

“The writing’s magnificent,” we agreed, laughing, as we examined the address at close quarters. “Thanks to Euclid,” I added. “That’s what comes of pandering to the ruling passion.”

But when I opened the envelope and looked at its contents I no longer laughed. The letter was brief and almost telegraphical in style. “Sono dalla Padrona,” it ran, “Non mi Piace ha Rubato il mio Libro non Voglio Suonare piu Voglio Tornare a Casa Venga Subito Guido.”

I handed Elizabeth the letter. “That blasted woman’s got hold of him,” I said.

[330]Busts of men in Homburg hats, angels bathed in marble tears extinguishing torches, statues of little girls, cherubs, veiled figures, allegories and ruthless realisms—the strangest and most diverse idols beckoned and gesticulated as we passed. Printed indelibly on tin and embedded in the living rock, the brown photographs looked out, under glass, from the humbler crosses, headstones, and broken pillars. Dead ladies in the cubistic geometrical fashions of thirty years ago—two cones of black satin meeting point to point at the waist, and the arms: a sphere to the elbow, a polished cylinder below—smiled mournfully out of their marble frames; the smiling faces, the white hands, were the only recognisably human things that emerged from the solid geometry of their clothes. Men with black moustaches, men with white beards, young clean-shaven men, stared or averted their gaze to show a Roman profile. Children in their stiff best opened wide their eyes, smiled hopefully in anticipation of the little bird that was to issue from the camera’s muzzle, smiled sceptically in the knowledge that it wouldn’t, smiled laboriously and[331] obediently because they had been told to. In spiky Gothic cottages of marble the richer dead privately reposed; through grilled doors one caught a glimpse of pale Inconsolables weeping, of distraught Geniuses guarding the secret of the tomb. The less prosperous sections of the majority slept in communities, close-crowded but elegantly housed under smooth continuous marble floors, whose every flagstone was the mouth of a separate grave.

These continental cemeteries, I thought, as Carlo and I made our way among the dead, are more frightful than ours, because these people pay more attention to their dead than we do. That primordial cult of corpses, that tender solicitude for their material well-being, which led the ancients to house their dead in stone, while they themselves lived between wattles and under thatch, still lingers here; persists, I thought, more vigorously than with us. There are a hundred gesticulating statues here for every one in an English graveyard. There are more family vaults, more “luxuriously appointed” (as they say of liners and hotels) than one would find at home.[332] And embedded in every tombstone there are photographs to remind the powdered bones within what form they will have to resume on the Day of Judgment; beside each are little hanging lamps to burn optimistically on All Souls’ Day. To the Man who built the Pyramids they are nearer, I thought, than we.

“If I had known,” Carlo kept repeating, “if only I had known.” His voice came to me through my reflections as though from a distance. “At the time he didn’t mind at all. How should I have known that he would take it so much to heart afterwards? And she deceived me, she lied to me.”

I assured him yet once more that it wasn’t his fault. Though, of course, it was, in part. It was mine too, in part; I ought to have thought of the possibility and somehow guarded against it. And he shouldn’t have let the child go, even temporarily and on trial, even though the woman was bringing pressure to bear on him. And the pressure had been considerable. They had worked on the same holding for more than a hundred years, the men of Carlo’s family; and now she had made the old man threaten to turn[333] him out. It would be a dreadful thing to leave the place; and besides, another place wasn’t so easy to find. It was made quite plain, however, that he could stay if he let her have the child. Only for a little to begin with; just to see how he got on. There would be no compulsion whatever on him to stay if he didn’t like it. And it would be all to Guido’s advantage; and to his father’s, too, in the end. All that the Englishman had said about his not being such a good musician as he had thought at first was obviously untrue—mere jealousy and little-mindedness: the man wanted to take credit for Guido himself, that was all. And the boy, it was obvious, would learn nothing from him. What he needed was a real good professional master.

All the energy that, if the physicists had known their business, would have been driving dynamos, went into this campaign. It began the moment we were out of the house, intensively. She would have more chance of success, the Signora doubtless thought, if we weren’t there. And besides, it was essential to take the opportunity when it offered itself and get hold of the child before[334] we could make our bid—for it was obvious to her that we wanted Guido just as much as she did.

Day after day she renewed the assault. At the end of a week she sent her husband to complain about the state of the vines: they were in a shocking condition; he had decided, or very nearly decided, to give Carlo notice. Meekly, shamefacedly, in obedience to higher orders, the old gentleman uttered his threats. Next day Signora Bondi returned to the attack. The padrone, she declared, had been in a towering passion; but she’d do her best, her very best, to mollify him. And after a significant pause she went on to talk about Guido.

In the end Carlo gave in. The woman was too persistent and she held too many trump cards. The child could go and stay with her for a month or two on trial. After that, if he really expressed a desire to remain with her, she could formally adopt him.

At the idea of going for a holiday to the seaside—and it was to the seaside, Signora Bondi told him, that they were going—Guido was pleased and excited.[335] He had heard a lot about the sea from Robin. “Tanta acqua!” It had sounded almost too good to be true. And now he was actually to go and see this marvel. It was very cheerfully that he parted from his family.

But after the holiday by the sea was over, and Signora Bondi had brought him back to her town house in Florence, he began to be homesick. The Signora, it was true, treated him exceedingly kindly, bought him new clothes, took him out to tea in the Via Tornabuoni and filled him up with cakes, iced strawberry-ade, whipped cream, and chocolates. But she made him practise the piano more than he liked, and what was worse, she took away his Euclid, on the score that he wasted too much time with it. And when he said that he wanted to go home, she put him off with promises and excuses and downright lies. She told him that she couldn’t take him at once, but that next week, if he were good and worked hard at his piano meanwhile, next week.... And when the time came she told him that his father didn’t want him back. And she redoubled her petting, gave him expensive presents, and stuffed him[336] with yet unhealthier foods. To no purpose. Guido didn’t like his new life, didn’t want to practise scales, pined for his book, and longed to be back with his brothers and sisters. Signora Bondi, meanwhile, continued to hope that time and chocolates would eventually make the child hers; and to keep his family at a distance, she wrote to Carlo every few days letters which still purported to come from the seaside (she took the trouble to send them to a friend, who posted them back again to Florence), and in which she painted the most charming picture of Guido’s happiness.

It was then that Guido wrote his letter to me. Abandoned, as he supposed, by his family—for that they shouldn’t take the trouble to come to see him when they were so near was only to be explained on the hypothesis that they really had given him up—he must have looked to me as his last and only hope. And the letter, with its fantastic address, had been nearly a fortnight on its way. A fortnight—it must have seemed hundreds of years; and as the centuries succeeded one another, gradually, no doubt, the poor child became convinced[337] that I too had abandoned him. There was no hope left.

I looked up and found myself confronted by an enormous monument. In a kind of grotto hollowed in the flanks of a monolith of grey sandstone, Sacred Love, in bronze, was embracing a funerary urn. And in bronze letters riveted into the stone was a long legend to the effect that the inconsolable Ernesto Bondi had raised this monument to the memory of his beloved wife, Annunziata, as a token of his undying love for one whom, snatched from him by a premature death, he hoped very soon to join beneath this stone. The first Signora Bondi had died in 1912. I thought of the old man leashed to his white dog; he must always, I reflected, have been a most uxorious husband.

We stood there for a long time in silence. I felt the tears coming into my eyes as I thought of the poor child lying there underground. I thought of those luminous grave eyes, and the curve of that beautiful forehead, the droop of the melancholy mouth, of the expression[338] of delight which illumined his face when he learned of some new idea that pleased him, when he heard a piece of music that he liked. And this beautiful small being was dead; and the spirit that inhabited this form, the amazing spirit, that too had been destroyed almost before it had begun to exist.

And the unhappiness that must have preceded the final act, the child’s despair, the conviction of his utter abandonment—those were terrible to think of, terrible.

“I think we had better come away now,” I said at last, and touched Carlo on the arm. He was standing there like a blind man, his eyes shut, his face slightly lifted towards the light; from between his closed eyelids the tears welled out, hung for a moment, and trickled down his cheeks. His lips trembled and I could see that he was making an effort to keep them still. “Come away,” I repeated.

The face which had been still in its sorrow, was suddenly convulsed; he opened his eyes, and through the tears they were bright with a violent anger. “I shall kill her,” he said, “I shall kill her. When I think of him throwing[339] himself out, falling through the air....” With his two hands he made a violent gesture, bringing them down from over his head and arresting them with a sudden jerk when they were on a level with his breast. “And then crash.” He shuddered. “She’s as much responsible as though she had pushed him down herself. I shall kill her.” He clenched his teeth.

To be angry is easier than to be sad, less painful. It is comforting to think of revenge. “Don’t talk like that,” I said. “It’s no good. It’s stupid. And what would be the point?” He had had those fits before, when grief became too painful and he had tried to escape from it. Anger had been the easiest way of escape. I had had, before this, to persuade him back into the harder path of grief. “It’s stupid to talk like that,” I repeated, and I led him away through the ghastly labyrinth of tombs, where death seemed more terrible even than it is.

By the time we had left the cemetery, and were walking down from San Miniato towards the Piazzale Michelangelo below, he had become calmer. His anger had subsided again into the sorrow from which[340] it had derived all its strength and its bitterness. In the Piazzale we halted for a moment to look down at the city in the valley below us. It was a day of floating clouds—great shapes, white, golden, and grey; and between them patches of a thin, transparent blue. Its lantern level, almost, with our eyes, the dome of the cathedral revealed itself in all its grandiose lightness, its vastness and aerial strength. On the innumerable brown and rosy roofs of the city the afternoon sunlight lay softly, sumptuously, and the towers were as though varnished and enamelled with an old gold. I thought of all the Men who had lived here and left the visible traces of their spirit and conceived extraordinary things. I thought of the dead child.

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UNCLE SPENCER	page 1
LITTLE MEXICAN	155
HUBERT AND MINNIE	213
FARD	236
THE PORTRAIT	247
YOUNG ARCHIMEDES	271

LITTLE MEXICAN
AND OTHER
STORIES

CONTENTS

UNCLE SPENCER

LITTLE MEXICAN

HUBERT AND MINNIE

FARD

THE PORTRAIT

YOUNG ARCHIMEDES

LITTLE MEXICAN AND OTHER STORIES