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Mr. Bodiham was sitting in his study at the Rectory. The nineteenth-century Gothic windows, narrow and pointed, admitted the light grudgingly; in spite of the brilliant July weather, the room was sombre. Brown varnished bookshelves lined the walls, filled with row upon row of those thick, heavy theological works which the second-hand booksellers generally sell by weight. The mantelpiece, the over-mantel, a towering structure of spindly pillars and little shelves, were brown and varnished. The writing-desk was brown and varnished. So were the chairs, so was the door. A dark red-brown carpet with patterns covered the floor. Everything was brown in the room, and there was a curious brownish smell. In the midst of this brown gloom Mr. Bodiham sat at his desk. He was the man in the Iron Mask. A grey metallic face with iron cheek-bones and a narrow iron brow; iron folds, hard and unchanging, ran perpendicularly down his cheeks; his nose was the iron beak of some thin, delicate bird of rapine. He had brown eyes, set in sockets rimmed with iron; round them the skin was dark, as though it had been charred. Dense wiry hair covered his skull; it had been black, it was turning grey. His ears were very small and fine. His jaws, his chin, his upper lip were dark, iron-dark, where he had shaved. His voice, when he spoke and especially when he raised it in preaching, was harsh, like the grating of iron hinges when a seldom-used door is opened. It was nearly half-past twelve. He had just come back from church, hoarse and weary with preaching. He preached with fury, with passion, an iron man beating with a flail upon the souls of his congregation. But the souls of the faithful at Crome were made of india-rubber, solid rubber; the flail rebounded. They were used to Mr. Bodiham at Crome. The flail thumped on india-rubber, and as often as not the rubber slept. That morning he had preached, as he had often preached before, on the nature of God. He had tried to make them understand about God, what a fearful thing it was to fall into His hands. God-- they thought of something soft and merciful. They blinded themselves to facts; still more, they blinded themselves to the Bible. The passengers on the "Titanic" sang "Nearer my God to Thee" as the ship was going down. Did they realise what they were asking to be brought nearer to? A white fire of righteousness, an angry fire... When Savonarola preached, men sobbed and groaned aloud. Nothing broke the polite silence with which Crome listened to Mr. Bodiham--only an occasional cough and sometimes the sound of heavy breathing. In the front pew sat Henry Wimbush, calm, well-bred, beautifully dressed. There were times when Mr. Bodiham wanted to jump down from the pulpit and shake him into life,-- times when he would have liked to beat and kill his whole congregation. He sat at his desk dejectedly. Outside the Gothic windows the earth was warm and marvellously calm. Everything was as it had always been. And yet, and yet...It was nearly four years now since he had preached that sermon on Matthew xxiv. 7: "For nation shall rise up against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places." It was nearly four years. He had had the sermon printed; it was so terribly, so vitally important that all the world should know what he had to say. A copy of the little pamphlet lay on his desk--eight small grey pages, printed by a fount of type that had grown blunt, like an old dog's teeth, by the endless champing and champing of the press. He opened it and began to read it yet once again. "'For nation shall rise up against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places.' "Nineteen centuries have elapsed since Our Lord gave utterance to those words, and not a single one of them has been without wars, plagues, famines, and earthquakes. Mighty empires have crashed in ruin to the ground, diseases have unpeopled half the globe, there have been vast natural cataclysms in which thousands have been overwhelmed by flood and fire and whirlwind. Time and again, in the course of these nineteen centuries, such things have happened, but they have not brought Christ back to earth. They were 'signs of the times' inasmuch as they were signs of God's wrath against the chronic wickedness of mankind, but they were not signs of the times in connection with the Second Coming. "If earnest Christians have regarded the present war as a true sign of the Lord's approaching return, it is not merely because it happens to be a great war involving the lives of millions of people, not merely because famine is tightening its grip on every country in Europe, not merely because disease of every kind, from syphilis to spotted fever, is rife among the warring nations; no, it is not for these reasons that we regard this war as a true Sign of the Times, but because in its origin and its progress it is marked by certain characteristics which seem to connect it almost beyond a doubt with the predictions in Christian Prophecy relating to the Second Coming of the Lord. "Let me enumerate the features of the present war which most clearly suggest that it is a Sign foretelling the near approach of the Second Advent. Our Lord said that 'this Gospel of the Kingdom shall be preached in all the world for a witness unto all nations; and then shall the end come.' Although it would be presumptuous for us to say what degree of evangelisation will be regarded by God as sufficient, we may at least confidently hope that a century of unflagging missionary work has brought the fulfilment of this condition at any rate near. True, the larger number of the world's inhabitants have remained deaf to the preaching of the true religion; but that does not vitiate the fact that the Gospel HAS been preached 'for a witness' to all unbelievers from the Papist to the Zulu. The responsibility for the continued prevalence of unbelief lies, not with the preachers, but with those preached to. "Again, it has been generally recognised that 'the drying up of the waters of the great river Euphrates,' mentioned in the sixteenth chapter of Revelation, refers to the decay and extinction of Turkish power, and is a sign of the near approaching end of the world as we know it. The capture of Jerusalem and the successes in Mesopotamia are great strides forward in the destruction of the Ottoman Empire; though it must be admitted that the Gallipoli episode proved that the Turk still possesses a 'notable horn' of strength. Historically speaking, this drying up of Ottoman power has been going on for the past century; the last two years have witnessed a great acceleration of the process, and there can be no doubt that complete desiccation is within sight. "Closely following on the words concerning the drying up of Euphrates comes the prophecy of Armageddon, that world war with which the Second Coming is to be so closely associated. Once begun, the world war can end only with the return of Christ, and His coming will be sudden and unexpected, like that of a thief in the night. "Let us examine the facts. In history, exactly as in St. John's Gospel, the world war is immediately preceded by the drying up of Euphrates, or the decay of Turkish power. This fact alone would be enough to connect the present conflict with the Armageddon of Revelation and therefore to point to the near approach of the Second Advent. But further evidence of an even more solid and convincing nature can be adduced. "Armageddon is brought about by the activities of three unclean spirits, as it were toads, which come out of the mouths of the Dragon, the Beast, and the False Prophet. If we can identify these three powers of evil much light will clearly be thrown on the whole question. "The Dragon, the Beast, and the False Prophet can all be identified in history. Satan, who can only work through human agency, has used these three powers in the long war against Christ which has filled the last nineteen centuries with religious strife. The Dragon, it has been sufficiently established, is pagan Rome, and the spirit issuing from its mouth is the spirit of Infidelity. The Beast, alternatively symbolised as a Woman, is undoubtedly the Papal power, and Popery is the spirit which it spews forth. There is only one power which answers to the description of the False Prophet, the wolf in sheep's clothing, the agent of the devil working in the guise of the Lamb, and that power is the so-called 'Society of Jesus.' The spirit that issues from the mouth of the False Prophet is the spirit of False Morality. "We may assume, then, that the three evil spirits are Infidelity, Popery, and False Morality. Have these three influences been the real cause of the present conflict? The answer is clear. "The spirit of Infidelity is the very spirit of German criticism. The Higher Criticism, as it is mockingly called, denies the possibility of miracles, prediction, and real inspiration, and attempts to account for the Bible as a natural development. Slowly but surely, during the last eighty years, the spirit of Infidelity has been robbing the Germans of their Bible and their faith, so that Germany is to-day a nation of unbelievers. Higher Criticism has thus made the war possible; for it would be absolutely impossible for any Christian nation to wage war as Germany is waging it. "We come next to the spirit of Popery, whose influence in causing the war was quite as great as that of Infidelity, though not, perhaps, so immediately obvious. Since the Franco-Prussian War the Papal power has steadily declined in France, while in Germany it has steadily increased. To-day France is an anti-papal state, while Germany possesses a powerful Roman Catholic minority. Two papally controlled states, Germany and Austria, are at war with six anti-papal states--England, France, Italy, Russia, Serbia, and Portugal. Belgium is, of course, a thoroughly papal state, and there can be little doubt that the presence on the Allies' side of an element so essentially hostile has done much to hamper the righteous cause and is responsible for our comparative ill-success. That the spirit of Popery is behind the war is thus seen clearly enough in the grouping of the opposed powers, while the rebellion in the Roman Catholic parts of Ireland has merely confirmed a conclusion already obvious to any unbiased mind. "The spirit of False Morality has played as great a part in this war as the two other evil spirits. The Scrap of Paper incident is the nearest and most obvious example of Germany's adherence to this essentially unchristian or Jesuitical morality. The end is German world-power, and in the attainment of this end, any means are justifiable. It is the true principle of Jesuitry applied to international politics. "The identification is now complete. As was predicted in Revelation, the three evil spirits have gone forth just as the decay of the Ottoman power was nearing completion, and have joined together to make the world war. The warning, 'Behold, I come as a thief,' is therefore meant for the present period--for you and me and all the world. This war will lead on inevitably to the war of Armageddon, and will only be brought to an end by the Lord's personal return. "And when He returns, what will happen? Those who are in Christ, St. John tells us, will be called to the Supper of the Lamb. Those who are found fighting against Him will be called to the Supper of the Great God--that grim banquet where they shall not feast, but be feasted on. 'For,' as St. John says, 'I saw an angel standing in the sun; and he cried in a loud voice, saying to all the fowls that fly in the midst of heaven, Come and gather yourselves together unto the supper of the Great God; that ye may eat the flesh of kings, and the flesh of captains, and the flesh of mighty men, and the flesh of horses, and of them that sit on them, and the flesh of all men, both free and bond, both small and great.' All the enemies of Christ will be slain with the sword of him that sits upon the horse, 'and all the fowls will be filled with their flesh.' That is the Supper of the Great God. "It may be soon or it may, as men reckon time, be long; but sooner or later, inevitably, the Lord will come and deliver the world from its present troubles. And woe unto them who are called, not to the Supper of the Lamb, but to the Supper of the Great God. They will realise then, but too late, that God is a God of Wrath as well as a God of Forgiveness. The God who sent bears to devour the mockers of Elisha, the God who smote the Egyptians for their stubborn wickedness, will assuredly smite them too, unless they make haste to repent. But perhaps it is already too late. Who knows but that to-morrow, in a moment even, Christ may be upon us unawares, like a thief? In a little while, who knows? The angel standing in the sun may be summoning the ravens and vultures from their crannies in the rocks to feed upon the putrefying flesh of the millions of unrighteous whom God's wrath has destroyed. Be ready, then; the coming of the Lord is at hand. May it be for all of you an object of hope, not a moment to look forward to with terror and trembling." Mr. Bodiham closed the little pamphlet and leaned back in his chair. The argument was sound, absolutely compelling; and yet-- it was four years since he had preached that sermon; four years, and England was at peace, the sun shone, the people of Crome were as wicked and indifferent as ever--more so, indeed, if that were possible. If only he could understand, if the heavens would but make a sign! But his questionings remained unanswered. Seated there in his brown varnished chair under the Ruskinian window, he could have screamed aloud. He gripped the arms of his chair-- gripping, gripping for control. The knuckles of his hands whitened; he bit his lip. In a few seconds he was able to relax the tension; he began to rebuke himself for his rebellious impatience. Four years, he reflected; what were four years, after all? It must inevitably take a long time for Armageddon to ripen to yeast itself up. The episode of 1914 had been a preliminary skirmish. And as for the war having come to an end--why, that, of course, was illusory. It was still going on, smouldering away in Silesia, in Ireland, in Anatolia; the discontent in Egypt and India was preparing the way, perhaps, for a great extension of the slaughter among the heathen peoples. The Chinese boycott of Japan, and the rivalries of that country and America in the Pacific, might be breeding a great new war in the East. The prospect, Mr. Bodiham tried to assure himself, was hopeful; the real, the genuine Armageddon might soon begin, and then, like a thief in the night...But, in spite of all his comfortable reasoning, he remained unhappy, dissatisfied. Four years ago he had been so confident; God's intention seemed then so plain. And now? Now, he did well to be angry. And now he suffered too. Sudden and silent as a phantom Mrs. Bodiham appeared, gliding noiselessly across the room. Above her black dress her face was pale with an opaque whiteness, her eyes were pale as water in a glass, and her strawy hair was almost colourless. She held a large envelope in her hand. "This came for you by the post," she said softly. The envelope was unsealed. Mechanically Mr. Bodiham tore it open. It contained a pamphlet, larger than his own and more elegant in appearance. "The House of Sheeny, Clerical Outfitters, Birmingham." He turned over the pages. The catalogue was tastefully and ecclesiastically printed in antique characters with illuminated Gothic initials. Red marginal lines, crossed at the corners after the manner of an Oxford picture frame, enclosed each page of type, little red crosses took the place of full stops. Mr. Bodiham turned the pages. "Soutane in best black merino. Ready to wear; in all sizes. Clerical frock coats. From nine guineas. A dressy garment, tailored by our own experienced ecclesiastical cutters." Half-tone illustrations represented young curates, some dapper, some Rugbeian and muscular, some with ascetic faces and large ecstatic eyes, dressed in jackets, in frock-coats, in surplices, in clerical evening dress, in black Norfolk suitings. "A large assortment of chasubles. Rope girdles. Sheeny's Special Skirt Cassocks. Tied by a string about the waist...When worn under a surplice presents an appearance indistinguishable from that of a complete cassock...Recommended for summer wear and hot climates." With a gesture of horror and disgust Mr. Bodiham threw the catalogue into the waste-paper basket. Mrs. Bodiham looked at him; her pale, glaucous eyes reflected his action without comment. "The village," she said in her quiet voice, "the village grows worse and worse every day." "What has happened now?" asked Mr. Bodiham, feeling suddenly very weary. "I'll tell you." She pulled up a brown varnished chair and sat down. In the village of Crome, it seemed, Sodom and Gomorrah had come to a second birth. Denis did not dance, but when ragtime came squirting out of the pianola in gushes of treacle and hot perfume, in jets of Bengal light, then things began to dance inside him. Little black nigger corpuscles jigged and drummed in his arteries. He became a cage of movement, a walking palais de danse. It was very uncomfortable, like the preliminary symptoms of a disease. He sat in one of the window-seats, glumly pretending to read. At the pianola, Henry Wimbush, smoking a long cigar through a tunnelled pillar of amber, trod out the shattering dance music with serene patience. Locked together, Gombauld and Anne moved with a harmoniousness that made them seem a single creature, two-headed and four-legged. Mr. Scogan, solemnly buffoonish, shuffled round the room with Mary. Jenny sat in the shadow behind the piano, scribbling, so it seemed, in a big red notebook. In arm-chairs by the fireplace, Priscilla and Mr. Barbecue-Smith discussed higher things, without, apparently, being disturbed by the noise on the Lower Plane. "Optimism," said Mr. Barbecue-Smith with a tone of finality, speaking through strains of the "Wild, Wild Women"--"optimism is the opening out of the soul towards the light; it is an expansion towards and into God, it is a spiritual self-unification with the Infinite." "How true!" sighed Priscilla, nodding the baleful splendours of her coiffure. "Pessimism, on the other hand, is the contraction of the soul towards darkness; it is a focusing of the self upon a point in the Lower Plane; it is a spiritual slavery to mere facts; to gross physical phenomena." "They're making a wild man of me." The refrain sang itself over in Denis's mind. Yes, they were; damn them! A wild man, but not wild enough; that was the trouble. Wild inside; raging, writhing--yes, "writhing" was the word, writhing with desire. But outwardly he was hopelessly tame; outwardly--baa, baa, baa. There they were, Anne and Gombauld, moving together as though they were a single supple creature. The beast with two backs. And he sat in a corner, pretending to read, pretending he didn't want to dance, pretending he rather despised dancing. Why? It was the baa-baa business again. Why was he born with a different face? Why WAS he? Gombauld had a face of brass--one of those old, brazen rams that thumped against the walls of cities till they fell. He was born with a different face--a woolly face. The music stopped. The single harmonious creature broke in two. Flushed, a little breathless, Anne swayed across the room to the pianola, laid her hand on Mr. Wimbush's shoulder. "A waltz this time, please, Uncle Henry," she said. "A waltz," he repeated, and turned to the cabinet where the rolls were kept. He trod off the old roll and trod on the new, a slave at the mill, uncomplaining and beautifully well bred. "Rum; Tum; Rum-ti-ti; Tum-ti-ti..." The melody wallowed oozily along, like a ship moving forward over a sleek and oily swell. The four-legged creature, more graceful, more harmonious in its movements than ever, slid across the floor. Oh, why was he born with a different face? "What are you reading?" He looked up, startled. It was Mary. She had broken from the uncomfortable embrace of Mr. Scogan, who had now seized on Jenny for his victim. "What are you reading?" "I don't know," said Denis truthfully. He looked at the title page; the book was called "The Stock Breeder's Vade Mecum." "I think you are so sensible to sit and read quietly," said Mary, fixing him with her china eyes. "I don't know why one dances. It's so boring." Denis made no reply; she exacerbated him. From the arm-chair by the fireplace he heard Priscilla's deep voice. "Tell me, Mr Barbecue-Smith--you know all about science, I know--" A deprecating noise came from Mr. Barbecue-Smith's chair. "This Einstein theory. It seems to upset the whole starry universe. It makes me so worried about my horoscopes. You see..." Mary renewed her attack. "Which of the contemporary poets do you like best?" she asked. Denis was filled with fury. Why couldn't this pest of a girl leave him alone? He wanted to listen to the horrible music, to watch them dancing--oh, with what grace, as though they had been made for one another!--to savour his misery in peace. And she came and put him through this absurd catechism! She was like "Mangold's Questions": "What are the three diseases of wheat?"--"Which of the contemporary poets do you like best?" "Blight, Mildew, and Smut," he replied, with the laconism of one who is absolutely certain of his own mind. It was several hours before Denis managed to go to sleep that night. Vague but agonising miseries possessed his mind. It was not only Anne who made him miserable; he was wretched about himself, the future, life in general, the universe. "This adolescence business," he repeated to himself every now and then, "is horribly boring. But the fact that he knew his disease did not help him to cure it. After kicking all the clothes off the bed, he got up and sought relief in composition. He wanted to imprison his nameless misery in words. At the end of an hour, nine more or less complete lines emerged from among the blots and scratchings. "I do not know what
I desire He read it through aloud; then threw the scribbled sheet into the waste-paper basket and got into bed again. In a very few minutes he was asleep. Mr. Barbecue-Smith was gone. The motor had whirled him away to the station; a faint smell of burning oil commemorated his recent departure. A considerable detachment had come into the courtyard to speed him on his way; and now they were walking back, round the side of the house, towards the terrace and the garden. They walked in silence; nobody had yet ventured to comment on the departed guest. "Well?" said Anne at last, turning with raised inquiring eyebrows to Denis. "Well?" It was time for someone to begin. Denis declined the invitation; he passed it on to Mr Scogan. "Well?" he said. Mr. Scogan did not respond; he only repeated the question, "Well?" It was left for Henry Wimbush to make a pronouncement. "A very agreeable adjunct to the week-end," he said. His tone was obituary. They had descended, without paying much attention where they were going, the steep yew-walk that went down, under the flank of the terrace, to the pool. The house towered above them, immensely tall, with the whole height of the built-up terrace added to its own seventy feet of brick facade. The perpendicular lines of the three towers soared up, uninterrupted, enhancing the impression of height until it became overwhelming. They paused at the edge of the pool to look back. "The man who built this house knew his business," said Denis. "He was an architect." "Was he?" said Henry Wimbush reflectively. "I doubt it. The builder of this house was Sir Ferdinando Lapith, who flourished during the reign of Elizabeth. He inherited the estate from his father, to whom it had been granted at the time of the dissolution of the monasteries; for Crome was originally a cloister of monks and this swimming-pool their fish-pond. Sir Ferdinando was not content merely to adapt the old monastic buildings to his own purposes; but using them as a stone quarry for his barns and byres and outhouses, he built for himself a grand new house of brick--the house you see now." He waved his hand in the direction of the house and was silent. severe, imposing, almost menacing, Crome loomed down on them. "The great thing about Crome," said Mr. Scogan, seizing the opportunity to speak, "is the fact that it's so unmistakably and aggressively a work of art. It makes no compromise with nature, but affronts it and rebels against it. It has no likeness to Shelley's tower, in the 'Epipsychidion,' which, if I remember rightly-- "'Seems not now a
work of human art, No, no, there isn't any nonsense of that sort about Crome. That the hovels of the peasantry should look as though they had grown out of the earth, to which their inmates are attached, is right, no doubt, and suitable. But the house of an intelligent, civilised, and sophisticated man should never seem to have sprouted from the clods. It should rather be an expression of his grand unnatural remoteness from the cloddish life. Since the days of William Morris that's a fact which we in England have been unable to comprehend. Civilised and sophisticated men have solemnly played at being peasants. Hence quaintness, arts and crafts, cottage architecture, and all the rest of it. In the suburbs of our cities you may see, reduplicated in endless rows, studiedly quaint imitations and adaptations of the village hovel. Poverty, ignorance, and a limited range of materials produced the hovel, which possesses undoubtedly, in suitable surroundings, its own 'as it were titanic' charm. We now employ our wealth, our technical knowledge, our rich variety of materials for the purpose of building millions of imitation hovels in totally unsuitable surroundings. Could imbecility go further?" Henry Wimbush took up the thread of his interrupted discourse. "All that you say, my dear Scogan," he began, "is certainly very just, very true. But whether Sir Ferdinando shared your views about architecture or if, indeed, he had any views about architecture at all, I very much doubt. In building this house, Sir Ferdinando was, as a matter of fact, preoccupied by only one thought--the proper placing of his privies. Sanitation was the one great interest of his life. In 1573 he even published, on this subject, a little book--now extremely scarce--called, 'Certaine Priuy Counsels' by 'One of Her Maiestie's Most Honourable Priuy Counsels, F.L. Knight', in which the whole matter is treated with great learning and elegance. His guiding principle in arranging the sanitation of a house was to secure that the greatest possible distance should separate the privy from the sewage arrangements. Hence it followed inevitably that the privies were to be placed at the top of the house, being connected by vertical shafts with pits or channels in the ground. It must not be thought that Sir Ferdinando was moved only by material and merely sanitary considerations; for the placing of his privies in an exalted position he had also certain excellent spiritual reasons. For, he argues in the third chapter of his 'Priuy Counsels', the necessities of nature are so base and brutish that in obeying them we are apt to forget that we are the noblest creatures of the universe. To counteract these degrading effects he advised that the privy should be in every house the room nearest to heaven, that it should be well provided with windows commanding an extensive and noble prospect, and that the walls of the chamber should be lined with bookshelves containing all the ripest products of human wisdom, such as the Proverbs of Solomon, Boethius's 'Consolations of Philosophy', the apophthegms of Epictetus and Marcus Aurelius, the 'Enchiridion' of Erasmus, and all other works, ancient or modern, which testify to the nobility of the human soul. In Crome he was able to put his theories into practice. At the top of each of the three projecting towers he placed a privy. From these a shaft went down the whole height of the house, that is to say, more than seventy feet, through the cellars, and into a series of conduits provided with flowing water tunnelled in the ground on a level with the base of the raised terrace. These conduits emptied themselves into the stream several hundred yards below the fishpond. The total depth of the shafts from the top of the towers to their subterranean conduits was a hundred and two feet. The eighteenth century, with its passion for modernisation, swept away these monuments of sanitary ingenuity. Were it not for tradition and the explicit account of them left by Sir Ferdinando, we should be unaware that these noble privies had ever existed. We should even suppose that Sir Ferdinando built his house after this strange and splendid model for merely aesthetic reasons." The contemplation of the glories of the past always evoked in Henry Wimbush a certain enthusiasm. Under the grey bowler his face worked and glowed as he spoke. The thought of these vanished privies moved him profoundly. He ceased to speak; the light gradually died out of his face, and it became once more the replica of the grave, polite hat which shaded it. There was a long silence; the same gently melancholy thoughts seemed to possess the mind of each of them. Permanence, transience--Sir Ferdinando and his privies were gone, Crome still stood. How brightly the sun shone and how inevitable was death! The ways of God were strange; the ways of man were stranger still... "It does one's heart good," exclaimed Mr. Scogan at last, "to hear of these fantastic English aristocrats. To have a theory about privies and to build an immense and splendid house in order to put it into practise--it's magnificent, beautiful! I like to think of them all: the eccentric milords rolling across Europe in ponderous carriages, bound on extraordinary errands. One is going to Venice to buy La Bianchi's larynx; he won't get it till she's dead, of course, but no matter; he's prepared to wait; he has a collection, pickled in glass bottles, of the throats of famous opera singers. And the instruments of renowned virtuosi-- he goes in for them too; he will try to bribe Paganini to part with his little Guarnerio, but he has small hope of success. Paganini won't sell his fiddle; but perhaps he might sacrifice one of his guitars. Others are bound on crusades--one to die miserably among the savage Greeks, another, in his white top hat, to lead Italians against their oppressors. Others have no business at all; they are just giving their oddity a continental airing. At home they cultivate themselves at leisure and with greater elaboration. Beckford builds towers, Portland digs holes in the ground, Cavendish, the millionaire, lives in a stable, eats nothing but mutton, and amuses himself--oh, solely for his private delectation--by anticipating the electrical discoveries of half a century. Glorious eccentrics! Every age is enlivened by their presence. Some day, my dear Denis," said Mr Scogan, turning a beady bright regard in his direction--"some day you must become their biographer--'The Lives of Queer Men.' What a subject! I should like to undertake it myself." Mr. Scogan paused, looked up once more at the towering house, then murmured the word "Eccentricity," two or three times. "Eccentricity...It's the justification of all aristocracies. It justifies leisured classes and inherited wealth and privilege and endowments and all the other injustices of that sort. If you're to do anything reasonable in this world, you must have a class of people who are secure, safe from public opinion, safe from poverty, leisured, not compelled to waste their time in the imbecile routines that go by the name of Honest Work. You must have a class of which the members can think and, within the obvious limits, do what they please. You must have a class in which people who have eccentricities can indulge them and in which eccentricity in general will be tolerated and understood. That's the important thing about an aristocracy. Not only is it eccentric itself--often grandiosely so; it also tolerates and even encourages eccentricity in others. The eccentricities of the artist and the new-fangled thinker don't inspire it with that fear, loathing, and disgust which the burgesses instinctively feel towards them. It is a sort of Red Indian Reservation planted in the midst of a vast horde of Poor Whites--colonials at that. Within its boundaries wild men disport themselves--often, it must be admitted, a little grossly, a little too flamboyantly; and when kindred spirits are born outside the pale it offers them some sort of refuge from the hatred which the Poor Whites, en bons bourgeois, lavish on anything that is wild or out of the ordinary. After the social revolution there will be no Reservations; the Redskins will be drowned in the great sea of Poor Whites. What then? Will they suffer you to go on writing villanelles, my good Denis? Will you, unhappy Henry, be allowed to live in this house of the splendid privies, to continue your quiet delving in the mines of futile knowledge? Will Anne..." "And you," said Anne, interrupting him, "will you be allowed to go on talking?" "You may rest assured," Mr. Scogan replied, "that I shall not. I shall have some Honest Work to do." Blight, Mildew, and Smut..." Mary was puzzled and distressed. Perhaps her ears had played her false. Perhaps what he had really said was, "Squire, Binyon, and Shanks," or "Childe, Blunden, and Earp," or even "Abercrombie, Drinkwater, and Rabindranath Tagore." Perhaps. But then her ears never did play her false. "Blight, Mildew, and Smut." The impression was distinct and ineffaceable. "Blight, Mildew..." she was forced to the conclusion, reluctantly, that Denis had indeed pronounced those improbable words. He had deliberately repelled her attempts to open a serious discussion. That was horrible. A man who would not talk seriously to a woman just because she was a woman--oh, impossible! Egeria or nothing. Perhaps Gombauld would be more satisfactory. True, his meridional heredity was a little disquieting; but at least he was a serious worker, and it was with his work that she would associate herself. And Denis? After all, what WAS Denis? A dilettante, an amateur... Gombauld had annexed for his painting-room a little disused granary that stood by itself in a green close beyond the farmyard. It was a square brick building with a peaked roof and little windows set high up in each of its walls. A ladder of four rungs led up to the door; for the granary was perched above the ground, and out of reach of the rats, on four massive toadstools of grey stone. Within, there lingered a faint smell of dust and cobwebs; and the narrow shaft of sunlight that came slanting in at every hour of the day through one of the little windows was always alive with silvery motes. Here Gombauld worked, with a kind of concentrated ferocity, during six or seven hours of each day. He was pursuing something new, something terrific, if only he could catch it. During the last eight years, nearly half of which had been spent in the process of winning the war, he had worked his way industriously through cubism. Now he had come out on the other side. He had begun by painting a formalised nature; then, little by little, he had risen from nature into the world of pure form, till in the end he was painting nothing but his own thoughts, externalised in the abstract geometrical forms of the mind's devising. He found the process arduous and exhilarating. And then, quite suddenly, he grew dissatisfied; he felt himself cramped and confined within intolerably narrow limitations. He was humiliated to find how few and crude and uninteresting were the forms he could invent; the inventions of nature were without number, inconceivably subtle and elaborate. He had done with cubism. He was out on the other side. But the cubist discipline preserved him from falling into excesses of nature worship. He took from nature its rich, subtle, elaborate forms, but his aim was always to work them into a whole that should have the thrilling simplicity and formality of an idea; to combine prodigious realism with prodigious simplification. Memories of Caravaggio's portentous achievements haunted him. Forms of a breathing, living reality emerged from darkness, built themselves up into compositions as luminously simple and single as a mathematical idea. He thought of the "Call of Matthew," of "Peter Crucified," of the "Lute players," of "Magdalen." He had the secret, that astonishing ruffian, he had the secret! And now Gombauld was after it, in hot pursuit. Yes, it would be something terrific, if only he could catch it. For a long time an idea had been stirring and spreading, yeastily, in his mind. He had made a portfolio full of studies, he had drawn a cartoon; and now the idea was taking shape on canvas. A man fallen from a horse. The huge animal, a gaunt white cart-horse, filled the upper half of the picture with its great body. Its head, lowered towards the ground, was in shadow; the immense bony body was what arrested the eye, the body and the legs, which came down on either side of the picture like the pillars of an arch. On the ground, between the legs of the towering beast, lay the foreshortened figure of a man, the head in the extreme foreground, the arms flung wide to right and left. A white, relentless light poured down from a point in the right foreground. The beast, the fallen man, were sharply illuminated; round them, beyond and behind them, was the night. They were alone in the darkness, a universe in themselves. The horse's body filled the upper part of the picture; the legs, the great hoofs, frozen to stillness in the midst of their trampling, limited it on either side. And beneath lay the man, his foreshortened face at the focal point in the centre, his arms outstretched towards the sides of the picture. Under the arch of the horse's belly, between his legs, the eye looked through into an intense darkness; below, the space was closed in by the figure of the prostrate man. A central gulf of darkness surrounded by luminous forms... The picture was more than half finished. Gombauld had been at work all the morning on the figure of the man, and now he was taking a rest--the time to smoke a cigarette. Tilting back his chair till it touched the wall, he looked thoughtfully at his canvas. He was pleased, and at the same time he was desolated. In itself, the thing was good; he knew it. But that something he was after, that something that would be so terrific if only he could catch it--had he caught it? Would he ever catch it? Three little taps--rat, tat, tat! Surprised, Gombauld turned his eyes towards the door. Nobody ever disturbed him while he was at work; it was one of the unwritten laws. "Come in!" he called. The door, which was ajar, swung open, revealing, from the waist upwards, the form of Mary. She had only dared to mount half-way up the ladder. If he didn't want her, retreat would be easier and more dignified than if she climbed to the top. "May I come in?" she asked. "Certainly." She skipped up the remaining two rungs and was over the threshold in an instant. "A letter came for you by the second post," she said. "I thought it might be important, so I brought it out to you." Her eyes, her childish face were luminously candid as she handed him the letter. There had never been a flimsier pretext. Gombauld looked at the envelope and put it in his pocket unopened. "Luckily," he said, "it isn't at all important. Thanks very much all the same." There was a silence; Mary felt a little uncomfortable. "May I have a look at what you've been painting?" she had the courage to say at last. Gombauld had only half smoked his cigarette; in any case he wouldn't begin work again till he had finished. He would give her the five minutes that separated him from the bitter end. "This is the best place to see it from," he said. Mary looked at the picture for some time without saying anything. Indeed, she didn't know what to say; she was taken aback, she was at a loss. She had expected a cubist masterpiece, and here was a picture of a man and a horse, not only recognisable as such, but even aggressively in drawing. Trompe-l'oeil--there was no other word to describe the delineation of that foreshortened figure under the trampling feet of the horse. What was she to think, what was she to say? Her orientations were gone. One could admire representationalism in the Old Masters. Obviously. But in a modern...? At eighteen she might have done so. But now, after five years of schooling among the best judges, her instinctive reaction to a contemporary piece of representation was contempt--an outburst of laughing disparagement. What could Gombauld be up to? She had felt so safe in admiring his work before. But now--she didn't know what to think. It was very difficult, very difficult. "There's rather a lot of chiaroscuro, isn't there?" she ventured at last, and inwardly congratulated herself on having found a critical formula so gentle and at the same time so penetrating. "There is," Gombauld agreed. Mary was pleased; he accepted her criticism; it was a serious discussion. She put her head on one side and screwed up her eyes. "I think it's awfully fine," she said. "But of course it's a little too...too...trompe-l'oeil for my taste." She looked at Gombauld, who made no response, but continued to smoke, gazing meditatively all the time at his picture. Mary went on gaspingly. "When I was in Paris this spring I saw a lot of Tschuplitski. I admire his work so tremendously. Of course, it's frightfully abstract now--frightfully abstract and frightfully intellectual. He just throws a few oblongs on to his canvas--quite flat, you know, and painted in pure primary colours. But his design is wonderful. He's getting more and more abstract every day. He'd given up the third dimension when I was there and was just thinking of giving up the second. Soon, he says, there'll be just the blank canvas. That's the logical conclusion. Complete abstraction. Painting's finished; he's finishing it. When he's reached pure abstraction he's going to take up architecture. He says it's more intellectual than painting. Do you agree?" she asked, with a final gasp. Gombauld dropped his cigarette end and trod on it. "Tschuplitski's finished painting," he said. "I've finished my cigarette. But I'm going on painting." And, advancing towards her, he put his arm round her shoulders and turned her round, away from the picture. Mary looked up at him; her hair swung back, a soundless bell of gold. Her eyes were serene; she smiled. So the moment had come. His arm was round her. He moved slowly, almost imperceptibly, and she moved with him. It was a peripatetic embracement. "Do you agree with him?" she repeated. The moment might have come, but she would not cease to be intellectual, serious. "I don't know. I shall have to think about it." Gombauld loosened his embrace, his hand dropped from her shoulder. "Be careful going down the ladder," he added solicitously. Mary looked round, startled. They were in front of the open door. She remained standing there for a moment in bewilderment. The hand that had rested on her shoulder made itself felt lower down her back; it administered three or four kindly little smacks. Replying automatically to its stimulus, she moved forward. "Be careful going down the ladder," said Gombauld once more. She was careful. The door closed behind her and she was alone in the little green close. She walked slowly back through the farmyard; she was pensive
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