‘I wasn’t giggling, Miss Carruthers,’ Fluffy protests. Her smile reveals above the roots of her teeth a line of almost bloodless gums.
‘Quite true,’ says young Mr. Brimstone, following her less tumultuously from the door and establishing himself in the seat opposite, next to Mrs. Cloudesley. ‘She wasn’t giggling. She was merely cachinnating.’
Everybody laughs uproariously, even Miss Carruthers, though she does not cease to carve. Mr. Brimstone remains perfectly grave. Behind his rimless pince-nez there is hardly so much as a twinkle. As for Miss Fluffy, she fairly collapses.
‘What a horrible man!’ she screams through her laughter, as soon as she has breath enough to be articulate. And picking up her bread, she makes as though she were going to throw it across the table in Mr. Brimstone’s face.
Mr. Brimstone holds up a finger. ‘Now you be careful,’ he admonishes. ‘If you don’t behave, you’ll be put in the corner and sent to bed without your supper.’
There is a renewal of laughter.
Miss Carruthers intervenes. ‘Now don’t tease her, Mr. Brimstone.’
‘Tease?’ says Mr. Brimstone, in the tone of one who has been misjudged. ‘But I was only applying moral suasion, Miss Carruthers.’
Inimitable Brimstone! He is the life and soul of Miss Carruthers’s establishment. So serious, so clever, such an alert young city man — but withal so exquisitely waggish, so gallant! To see him with Fluffy — it’s as good as a play.
‘There!’ says Miss Carruthers, putting down her carving tools with a clatter. Loudly, energetically, she addresses herself to her duties as a hostess. ‘I went to Buszard’s this afternoon,’ she proclaims, not without pride. We old county families have always bought our chocolate at the best shops. ‘But it isn’t what it used to be.’ She shakes her head; the high old feudal times are past. ‘It isn’t the same. Not since the A B C took it over.’
‘Do you see,’ asks Mr. Brimstone, becoming once more his serious self, ‘that the new Lyons Corner House in Piccadilly Circus will be able to serve fourteen million meals a year?’ Mr. Brimstone is always a mine of interesting statistics.
‘No, really?’ Mrs. Cloudesley is astonished.
But old Mr. Fox, who happens to have read the same evening paper as Mr. Brimstone, takes almost the whole credit of Mr. Brimstone’s erudition to himself by adding, before the other has time to say it: ‘Yes, and that’s just twice as many meals as any American restaurant can serve.’
‘Good old England!’ cried Miss Carruthers patriotically. ‘These Yanks haven’t got us beaten in everything yet.’
‘So naice, I always think, these Corner Houses,’ says Mrs. Cloudesley. ‘And the music they play is really quite classical, you know, sometimes.’
‘Quite,’ says Mr. Chelifer, savouring voluptuously the pleasure of dropping steeply from the edge of the convivial board into interstellar space.
‘And so sumptuously decorated,’ Mrs. Cloudesley continues.
But Mr. Brimstone knowingly lets her know that the marble on the walls is less than a quarter of an inch thick.
And the conversation proceeds. ‘The Huns,’ says Miss Carruthers, ‘are only shamming dead.’ Mr. Fox is in favour of a business government. Mr. Brimstone would like to see a few strikers shot, to encourage the rest; Miss Carruthers agrees. From below the salt Miss Monad puts in a word for the working classes, but her remark is treated with the contempt it deserves. Mrs. Cloudesley finds Charlie Chaplin so vulgar, but likes Mary Pickford. Miss Fluffy thinks that the Prince of Wales ought to marry a nice simple English girl. Mr. Brimstone says something rather cutting about Mrs. Asquith and Lady Diana Manners. Mrs. Cloudesley, who has a profound knowledge of the Royal Family, mentions the Princess Alice. Contrapuntally to this, Miss Webber and Mr. Quinn have been discussing the latest plays and Mr. Chelifer has engaged Miss Fluffy in a conversation which soon occupies the attention of all the persons sitting at the upper end of the table — a conversation about flappers. Mrs. Cloudesley, Miss Carruthers and Mr. Brimstone agree that the modern girl is too laxly brought up. Miss Fluffy adheres in piercing tones to the opposite opinion. Mr. Brimstone makes some splendid jokes at the expense of co-education, and all concur in deploring cranks of every variety. Miss Carruthers, who has a short way with dissenters, would like to see them tarred and feathered — all except pacifists, who, like strikers, could do with a little shooting. Lymphatic Mrs. Cloudesley, with sudden and surprising ferocity, wants to treat the Irish in the same way. (Lamented Cloudesley had connections with Belfast.) But at this moment a deplorable incident occurs. Mr. Dutt, the Indian, who ought never, from his lower sphere, even to have listened to the conversation going on in the higher, leans forward and speaking loudly across the intervening gulf ardently espouses the Irish cause. His eloquence rolls up the table between two hedges of horrified silence. For a moment nothing can be heard but ardent nationalistic sentiments and the polite regurgitation of prune stones. In the presence of this shocking and unfamiliar phenomenon nobody knows exactly what to do. But Miss Carruthers rises, after the first moment, to the occasion.
‘Ah, but then, Mr. Dutt,’ she says, interrupting his tirade about oppressed nationalities, ‘you must remember that Mrs. Cloudesley Shove is English. You can hardly expect to understand what she feels. Can you?’
We all feel inclined to clap. Without waiting to hear Mr. Dutt’s reply, and leaving three prunes uneaten on her plate, Miss Carruthers gets up and sweeps with dignity towards the door. Loudly, in the corridor, she comments on the insolence of black men. And what ingratitude, too!
‘After I had made a special exception in his case to my rule against taking coloured people!’
We all sympathize. In the drawing-room the conversation proceeds. Headlong the trolley plunges.
A home away from home — that was how Miss Carruthers described her establishment in the prospectus. It was the awayness of it that first attracted me to the place. The vast awayness from what I had called home up till the time I first stayed there — that was what made me decide to settle for good at Miss Carruthers’s. From the house where I was born Miss Carruthers’s seemed about as remote as any place one could conveniently find.
‘I remember, I remember . . .’ It is a pointless and futile occupation, difficult none the less not to indulge in. I remember. Our house at Oxford was dark, spiky and tall. Ruskin himself, it was said, had planned it. The front windows looked out on to the Banbury Road. On rainy days, when I was a child, I used to spend whole mornings staring down into the thoroughfare. Every twenty minutes a tram-car drawn by two old horses, trotting in their sleep, passed with an undulating motion more slowly than a man could walk. The little garden at the back once seemed enormous and romantic, the rocking-horse in the nursery a beast like an elephant. The house is sold now and I am glad of it. They are dangerous, these things and places inhabited by memory. It is as though, by a process of metempsychosis, the soul of dead events goes out and lodges itself in a house, a flower, a landscape, in a group of trees seen from the train against the sky-line, an old snapshot, a broken pen-knife, a book, a perfume. In these memory-charged places, among these things haunted by the ghosts of dead days, one is tempted to brood too lovingly over the past, to live it again, more elaborately, more consciously, more beautifully and harmoniously, almost as though it were an imagined life in the future. Surrounded by these ghosts one can neglect the present in which one bodily lives. I am glad the place is sold; it was dangerous. Evviva Miss Carruthers!
Nevertheless my thoughts, as I lay on the water that morning, reverted from the Home Away to the other home from which it was so distant. I recalled the last visit I had paid to the old house, a month or two since, just before my mother finally decided herself to move out. Mounting the steps that led up to the ogival porch I had felt like an excavator on the threshold of a tomb. I tugged at the wrought-iron bell pull; joints creaked, wires wheezily rattled, and far off, as though accidentally, by an afterthought, tinkled the cracked bell.
In a moment the door would open, I should walk in, and there, there in the unrifled chamber the royal mummy would be lying — my own.
Nothing within those Gothic walls ever changed. Imperceptibly the furniture grew older; the wall-papers and the upholstery recalled with their non-committal russets and sage-greens the refinements of another epoch. And my mother herself, pale and grey-haired, draped in the dateless dove-grey dresses she had always worn, my mother was still the same. Her smile was the same dim gentle smile; her voice still softly modulated, like a studied and cultured music, from key to key. Her hair was hardly greyer — for it had whitened early and I was a late-born child — than I always remember it to have been. Her face was hardly more deeply wrinkled. She walked erect, seemed still as active as ever, she had grown no thinner and no stouter.
And she was still surrounded by those troops of derelict dogs, so dreadfully profuse, poor beasts! in their smelly gratitude. There were still the same moth-eaten cats picked up starving at a street corner to be harboured in luxury — albeit on a diet that was, on principle, strictly vegetarian — in the best rooms of the house. Poor children still came for buns and tea and traditional games in the garden — so traditional, very often, that nobody but my mother had ever heard of them; still came, when the season happened to be winter, for gloves and woolly stockings and traditional games indoors. And the writing-table in the drawing-room was piled high, as it had always been piled, with printed appeals for some deserving charity. And still in her beautiful calligraphy my mother addressed the envelopes that were to contain them, slowly, one after another — and each a little work of art, like a page from a mediaeval missal, and each destined, without reprieve, to the waste-paper basket.
All was just as it had always been. Ah, but not quite, all the same! For though the summer term was in full swing and the afternoon bright, the little garden behind the house was deserted and unmelodious. Where were the morris dancers, where the mixolydian strains? And remembering that music, those dances, those distant afternoons, I could have wept.
In one corner of the lawn my mother used to sit at the little harmonium; I sat beside her to turn the pages of the music. In the opposite corner were grouped the dancers. My mother looked up over the top of the instrument; melodiously she inquired:
‘Which dance shall we have next, Mr. Toft? “Trenchmore”? Or “Omnium Gatherum”? Or “John come kiss me now”? Or what do you say to “Up tails all”? Or “Rub her down with straw”? Or “An old man’s a bed full of bones”? Such an embarras de richesse, isn’t there?’
And Mr. Toft would break away from his little company of dancers and come across the lawn wiping his face — for ‘Hoite-cum-Toite’ a moment before had been a most furious affair. It was a grey face with vague indeterminate features and a bright almost clerical smile in the middle of it. When he spoke it was in a very rich voice.
‘Suppose we try “Fading,” Mrs. Chelifer,’ he suggested. ‘ ”Fading is a fine dance” — you remember the immortal words of the Citizen’s Wife in the Knight of the Burning Pestle? Ha ha!’ And he gave utterance to a little laugh, applausive of his own wit. For to Mr. Toft every literary allusion was a joke, and the obscurer the allusion the more exquisite the waggery. It was rarely, alas, that he found any one to share his merriment. My mother was one of the few people who always made a point of smiling whenever Mr. Toft laughed at himself. She smiled even when she could not track the allusion to its source. Sometimes she even went so far as to laugh. But my mother had no facility for laughter; by nature she was a grave and gentle smiler.
And so ‘Fading’ it would be. My mother touched the keys and the gay, sad mixolydian air came snoring out of the harmonium like a strangely dissipated hymn tune. ‘One, two, three . . .’ called Mr. Toft richly. And then in unison all five — the don, the two undergraduates, the two young ladies from North Oxford — would beat the ground with their feet, would prance and stamp till the garters of little bells round the gentlemen’s grey flannel trousers (it went without saying, for some reason, that the ladies should not wear them) jingled like the bells of a runaway hansom-cab horse. One, two, three. . . . The Citizen’s Wife (ha ha!) was right. Fading is a fine dance indeed. Everybody dances Fading. Poor Mr. Toft had faded out of Oxford, had danced completely out of life, like Lycidas (tee-hee!) before his prime. Influenza had faded him. And of the undergraduates who had danced here, first and last, with Mr. Toft — how many of them had danced Fading under the German barrage? Young Flint, the one who used always to address his tutor as ‘Mr. Toft — oh, I mean Clarence’ (for Mr. Toft was one of those genial boyish dons who insisted on being called by their Christian names), young Flint was dead for certain. And Ramsden too, I had a notion that Ramsden too was dead.
And then there were the young women from North Oxford. What, for example, of Miss Dewball’s cheeks? How had those cabbage roses weathered the passage of the years? But for Miss Higlett, of course, there could be no more fading, no further desiccation. She was already a harebell baked in sand. Unwithering Higlett, blowsy Dewball. . . .
And I myself, I too had faded. The Francis Chelifer who, standing by the dissipated harmonium, had turned the pages of his mother’s music, was as wholly extinct as Mr. Toft. Within this Gothic tomb reposed his mummy. My week-end visits were archaeological expeditions.
‘Now that poor Mr. Toft’s dead,’ I asked as we walked, my mother and I, that afternoon, up and down the little garden behind the house, ‘isn’t there any one else here who’s keen on morris dancing?’ Or were those folky days, I wondered, for ever past?
My mother shook her head. ‘The enthusiasm for it is gone,’ she said sadly. ‘This generation of undergraduates doesn’t seem to take much interest in that kind of thing. I don’t really know,’ she added, ‘what it is interested in.’
What indeed, I reflected. In my young days it had been Social Service and Fabianism; it had been long hearty walks in the country at four and a half miles an hour, with draughts of Five X beer at the end of them, and Rabelaisian song and conversations with yokels in incredibly picturesque little wayside inns; it had been reading parties in the Lakes and climbing in the Jura; it had been singing in the Bach Choir and even — though somehow I had never been able quite to rise to that — even morris dancing with Mr. Toft. . . . But Fading is a fine dance, and all these occupations seemed now a little queer. Still, I caught myself envying the being who had lived within my skin and joined in these activities.
‘Poor Toft!’ I meditated. ‘Do you remember the way he had of calling great men by little pet names of his own? Just to show that he was on terms of familiarity with them, I suppose. Shakespeare was always Shake-bake, which was short, in its turn, for Shake-Bacon. And Oven, tout court, was Beethoven.’
‘And always J. S. B. for Bach,’ my mother continued, smiling elegiacally.
‘Yes, and Pee Em for Philipp Emanuel Bach. And Madame Dudevant for George Sand, or, alternatively, I remember, “The Queen’s Monthly Nurse” — because Dickens thought she looked like that the only time he saw her.’ I recalled the long-drawn and delighted laughter which used to follow that allusion.
‘You were never much of a dancer, dear boy.’ My mother sadly shook her head over the past.
‘Ah, but at any rate,’ I answered, ‘at any rate I was a Fabian. And I went for hearty long walks in the country. I drank my pint of Five X at the Red Lion.’
‘I wish you could have gone without the beer,’ said my mother. That I had not chosen to be a total abstainer had always a little distressed her. Moreover, I had a taste for beefsteaks.
‘It was my substitute for morris dancing, if you follow me.’
But I don’t think she did follow me. We took two or three turns up and down the lawn in silence.
‘How is your paper doing?’ she asked at last.
I told her with a great show of enthusiasm about the cross between Angoras and Himalayans which we had just announced.
‘I often wish,’ she said after a pause, ‘that
you had accepted the college’s offer. It would have been so good to have you here, filling the place your dear father occupied.’
She looked at me sadly. I smiled back at her as though from across a gulf. The child, I thought, grows up to forget that he is of the same flesh with his parents; but they do not forget. I wished, for her sake, that I were only five years old.
CHAPTER IV
AT FIVE YEARS old, among other things, I used to write poems which my mother thoroughly and whole-heartedly enjoyed. There was one about larks which she still preserves, along with the locks of my pale childish hair, the faded photographs, the precocious drawings of railway trains and all the other relics of the period.
Oh lark, how you do fly
Right up into the sky.
How loud he sings
And quickly wags his wings.
The sun does shine,
The weather is fine.
Father says, Hark,
Do you hear the lark?
My mother likes that poem better, I believe, than anything I have written since. And I dare say that my father, if he had lived, would have shared her opinion. But then he was an ardent Wordsworthian. He knew most of the Prelude by heart. Sometimes, unexpectedly breaking that profound and god-like silence with which he always enveloped himself, he would quote a line or two. The effect was always portentous; it was as though an oracle had spoken.
I remember with particular vividness one occasion when Wordsworth broke my father’s prodigious silence. It was one Easter time, when I was about twelve. We had gone to North Wales for the holidays; my father liked walking among hills and even amused himself occasionally with a little mild rock climbing. Easter was early that year, the season backward and inclement; there was snow on all the hills. On Easter Sunday my father, who considered a walk among the mountains as the equivalent of church-going, suggested that we should climb to the top of Snowdon. We started early; it was cold; white misty clouds shut off the distant prospects. Silently we trudged upwards through the snow. Like the page of King Wenceslas I followed in my father’s footsteps, treading in the holes he had kicked in the snow. Every now and then he would look round to see how I was getting on. Icy dewdrops hung in his brown beard. Gravely he smiled down on me as I came panting up, planting my small feet in his large tracks. He was a huge man, tall and broad-shouldered, with a face that might have been the curly-bearded original of one of those Greek busts of middle-aged statesmen or philosophers. Standing beside him, I always felt particularly small and insignificant. When I had come up with him, he would pat me affectionately on the shoulder with his large heavy hand, then turning his face towards the heights he addressed himself once more to the climb. Not a word was spoken.
Complete Works of Aldous Huxley Page 58
