I stopped at a case of Wedgwood ware, marked ‘Perkins Collection.’
‘By Jove!’ I exclaimed, pointing to a vase. ‘What a body!’
He was enchanted by my enthusiasm.
‘Funny you should have hit on that,’ said he. ‘Old Daddy Perkins always called it his ewe-lamb.’
Thus spoken, the name of the greatest authority on Wedgwood ware that Europe has ever known curiously impressed me.
‘I suppose you knew him?’ I questioned.
‘Considering that I was one of the pall-bearers at his funeral, and caught the champion cold of my life!’
‘What sort of a man was he?’
‘Outside Wedgwood ware he wasn’t any sort of a man. He was that scourge of society, a philanthropist,’ said Mr Brindley. ‘He was an upright citizen, and two thousand people followed him to his grave. I’m an upright citizen, but I have no hope that two thousand people will follow me to my grave.’
‘You never know what may happen,’ I observed, smiling.
‘No.’ He shook his head. ‘If you undermine the moral character of your fellow-citizens by a long course of unbridled miscellaneous philanthropy, you can have a funeral procession as long as you like, at the rate of about forty shillings a foot. But you’ll never touch the great heart of the enlightened public of these boroughs in any other way. Do you imagine anyone cared a twopenny damn for Perkins’s Wedgwood ware?’
‘It’s like that everywhere,’ I said.
‘I suppose it is,’ he assented unwillingly.
Who can tell what was passing in the breast of Mr Brindley? I could not. At least I could not tell with any precision. I could only gather, vaguely, that what he considered the wrong-headedness, the blindness, the lack of true perception, of his public was beginning to produce in his individuality a faint trace of permanent soreness. I regretted it. And I showed my sympathy with him by asking questions about the design and construction of the museum (a late addition to the Institution), of which I happened to know that he had been the architect.
He at once became interested and interesting. Although he perhaps insisted a little too much on the difficulties which occur when original talent encounters stupidity, he did, as he walked me up and down, contrive to convey to me a notion of the creative processes of the architect in a way that was in my experience entirely novel. He was impressing me anew, and I was wondering whether he was unique of his kind or whether there existed regiments of him in this strange parcel of England.
‘Now, you see this girder,’ he said, looking upwards.
That’s surely something of Fuge’s, isn’t it?’ I asked, indicating a small picture in a corner, after he had finished his explanation of the functions of the girder.
As on the walls of the staircase and corridors, so on the walls here, there were many paintings, drawings, and engravings. And of course the best were here in the museum. The least uninteresting items of the collection were, speaking generally, reproductions in monotint of celebrated works, and a few second—or third-rate loan pictures from South Kensington. Aside from such matters I had noticed nothing but the usual local trivialities, gifts from one citizen or another, travel-jottings of some art-master, careful daubs of apt students without a sense of humour. The aspect of the place was exactly the customary aspect of the small provincial museum, as I have seen it in half-a-hundred towns that are not among ‘the great towns’. It had the terrible trite ‘museum’ aspect, the aspect that brings woe and desolation to the heart of the stoutest visitor, and which seems to form part of the purgatorio of Bank-holidays, wide mouths, and stiff clothes. The movement for opening museums on Sundays is the most natural movement that could be conceived. For if ever a resort was invented and fore-ordained to chime with the true spirit of the British sabbath, that resort is the average museum. I ought to know. I do know.
But there was the incomparable Wedgwood ware, and there was the little picture by Simon Fuge. I am not going to lose my sense of perspective concerning Simon Fuge. He was not the greatest painter that ever lived, or even of his time. He had, I am ready to believe, very grave limitations. But he was a painter by himself, as all fine painters are. He had his own vision. He was Unique. He was exclusively preoccupied with the beauty and the romance of the authentic. The little picture showed all this. It was a painting, unfinished, of a girl standing at a door and evidently hesitating whether to open the door or not: a very young girl, very thin, with long legs in black stockings, and short, white, untidy frock; thin bare arms; the head thrown on one side, and the hands raised, and one foot raised, in a wonderful childish gesture—the gesture of an undecided fox-terrier. The face was an infant’s face, utterly innocent; and yet Simon Fuge had somehow caught in that face a glimpse of all the future of the woman that the girl was to be, he had displayed with exquisite insolence the essential naughtiness of his vision of things. The thing was not much more than a sketch; it was a happy accident, perhaps, in some day’s work of Simon Fuge’s. But it was genius. When once you had yielded to it, there was no other picture in the room. It killed everything else. But, wherever it had found itself, nothing could have killed IT. Its success was undeniable, indestructible. And it glowed sombrely there on the wall, a few splashes of colour on a morsel of canvas, and it was Simon Fuge’s unconscious, proud challenge to the Five Towns. It WAS Simon Fuge, at any rate all of Simon Fuge that was worth having, masterful, imperishable. And not merely was it his challenge, it was his scorn, his aristocratic disdain, his positive assurance that in the battle between them he had annihilated the Five Towns. It hung there in the very midst thereof, calmly and contemptuously waiting for the acknowledgement of his victory.
‘Which?’ said Mr Brindley.
That one.’
‘Yes, I fancy it is,’ he negligently agreed. ‘Yes, it is.’
‘It’s not signed,’ I remarked.
‘It ought to be,’ said Mr Brindley; then laughed, ‘Too late now!’
‘How did it get here?’
‘Don’t know. Oh! I think Mr Perkins won it in a raffle at a bazaar, and then hung it here. He did as he liked here, you know.’
I was just going to become vocal in its praise, when Mr Brindley said—
‘That thing under it is a photograph of a drinking-cup for which one of our pupils won a national scholarship last year!’
Mr Aked appeared in the distance.
‘I fancy the old boy wants to be off to bed,’ Mr Brindley whispered kindly.
So we left the Wedgwood Institution. I began to talk to Mr Brindley about music. The barbaric attitude of the Five Towns towards great music was the theme of some very lively animadversions on his part.
VI
The Tiger was very conveniently close to the Wedgwood Institution. The Tiger had a ‘yard’, one of those long, shapeless expanses of the planet, partly paved with uneven cobbles and partly unsophisticated planet, without which no provincial hotel can call itself respectable. We came into it from the hinterland through a wooden doorway in a brick wall. Far off I could see one light burning. We were in the centre of Bursley, the gold angel of its Town Hall rose handsomely over the roof of the hotel in the diffused moonlight, but we might have been in the purlieus of some dubious establishment on the confines of a great seaport, where anything may happen. The yard was so deserted, so mysterious, so shut in, so silent, that, really, infamous characters ought to have rushed out at us from the obscurity of shadows, and felled us to the earth with no other attendant phenomenon than a low groan. There are places where one seems to feel how thin and brittle is the crust of law and order. Why one should be conscious of this in the precincts of such a house as the Tiger, which I was given to understand is as respectable as the parish church, I do not know. But I have experienced a similar feeling in the yards of other provincial hotels that were also as correct as parish churches. We passed a dim fly, with its shafts slanting forlornly to the ground, and a wheelbarrow. Both looked as though they had been abandoned for ever. Then we came to t
he lamp, which illuminated a door, and on the door was a notice: ‘Private Bar. Billiards.’
I am not a frequenter of convivial haunts. I should not dare to penetrate alone into a private bar; when I do enter a private bar it is invariably under the august protection of an habitue, and it is invariably with the idea that at last I am going to see life. Often has this illusion been shattered, but each time it perfectly renewed itself. So I followed the bold Mr Brindley into the private bar of the Tiger.
It was a small and low room. I instinctively stooped, though there was no necessity for me to stoop. The bar had no peculiarity. It can be described in a breath: Three perpendicular planes. Back plane, bottles arranged exactly like books on bookshelves; middle plane, the upper halves of two women dressed in tight black; front plane, a counter, dotted with glasses, and having strange areas of zinc. Reckon all that as the stage, and the rest of the room as auditorium. But the stage of a private bar is more mysterious than the stage of a theatre. You are closer to it, and yet it is far less approachable. The edge of the counter is more sacred than the footlights. Impossible to imagine yourself leaping over it. Impossible to imagine yourself in that cloistered place behind it. Impossible to imagine how the priestesses got themselves into that place, or that they ever leave it. They are always there; they are always the same. You may go into a theatre when it is empty and dark; but did you ever go into a private bar that was empty and dark? A private bar is as eternal as the hills, as changeless as the monomania of a madman, as mysterious as sorcery. Always the same order of bottles, the same tinkling, the same popping, the same time-tables, and the same realistic pictures of frothing champagne on the walls, the same advertisements on the same ash-trays on the counter, the same odour that wipes your face like a towel the instant you enter; and the same smiles, the same gestures, the same black fabric stretched to tension over the same impressive mammiferous phenomena of the same inexplicable creatures who apparently never eat and never sleep, imprisoned for life in the hallowed and mystic hollow between the bottles and the zinc.
In a tone almost inaudible in its discretion, Mr Brindley let fall to me as he went in—
This is she.’
She was not quite the ordinary barmaid. Nor, as I learnt afterwards, was she considered to be the ordinary barmaid. She was something midway in importance between the wife of the new proprietor and the younger woman who stood beside her in the cloister talking to a being that resembled a commercial traveller. It was the younger woman who was the ordinary barmaid; she had bright hair, and the bright vacant stupidity which, in my narrow experience, barmaids so often catch like an infectious disease from their clients. But Annie Brett was different. I can best explain how she impressed me by saying that she had the mien of a handsome married woman of forty with a coquettish and superficially emotional past, but also with a daughter who is just going into long skirts. I have known one or two such women. They have been beautiful; they are still handsome at a distance of twelve feet. They are rather effusive; they think they know life, when as a fact their instinctive repugnance for any form of truth has prevented them from acquiring even the rudiments of the knowledge of life. They are secretly preoccupied by the burning question of obesity. They flatter, and they will pay any price for flattery. They are never sincere, not even with themselves; they never, during the whole of their existence, utter a sincere word, even in anger they coldly exaggerate. They are always frothing at the mouth with ecstasy. They adore everything, including God; go to church carrying a prayer-book and hymn-book in separate volumes, and absolutely fawn on the daughter. They are stylish—and impenetrable. But there is something about them very wistful and tragic.
In another social stratum, Miss Annie Brett might have been such a woman. Without doubt nature had intended her for the role. She was just a little ample, with broad shoulders and a large head and a lot of dark chestnut hair; a large mouth, and large teeth. She had earrings, a brooch, and several rings; also a neat originality of cuffs that would not have been permitted to an ordinary barmaid. As for her face, there were crow’s-feet, and a mole (which had selected with infinite skill a site on her chin), and a general degeneracy of complexion; but it was an effective face. The little thing of twenty-three or so by her side had all the cruel advantages of youth and was not ugly; but she was ‘killed’ by Annie Brett. Miss Brett had a maternal bust. Indeed, something of the maternal resided in all of her that was visible above the zinc. She must have been about forty; that is to say, apparently older than the late Simon Fuge. Nevertheless, I could conceive her, even now, speciously picturesque in a boat at midnight on a moonstruck water. Had she been on the stage she would have been looking forward to ingenue parts for another five years yet—such was her durable sort of effectiveness. Yes, she indubitably belonged to the ornamental half of the universe.
‘So this is one of them!’ I said to myself.
I tried to be philosophical; but at heart I was profoundly disappointed. I did not know what I had expected; but I had not expected THAT. I was well aware that a thing written always takes on a quality which does not justly appertain to it. I had not expected, therefore, to see an odalisque, a houri, an ideal toy or the remains of an ideal toy; I had not expected any kind of obvious brilliancy, nor a subtle charm that would haunt my memory for evermore. On the other hand, I had not expected the banal, the perfectly commonplace. And I think that Miss Annie Brett was the most banal person that it has pleased Fate to send into my life. I knew that instantly. She was a condemnation of Simon Fuge. SHE, one of the ‘wonderful creatures who had played so large a part’ in the career of Simon Fuge! Sapristi! Still, she WAS one of the wonderful creatures, etc. She HAD floated o’er the bosom of the lake with a great artist. She HAD received his homage. She HAD stirred his feelings. She HAD shared with him the magic of the night. I might decry her as I would; she had known how to cast a spell over him—she and the other one! Something there in her which had captured him and, seemingly, held him captive.
‘Good-EVENING, Mr Brindley,’ she expanded. ‘You’re quite a stranger.’ And she embraced me also in the largeness of her welcome.
‘It just happens,’ said Mr Brindley, ‘that I was here last night. But you weren’t.’
‘Were you now!’ she exclaimed, as though learning a novel fact of the most passionate interest. The truth is, I had to leave the bar to Miss Slaney last night. Mrs Moorcroft was ill—and the baby only six weeks old, you know—and I wouldn’t leave her. No, I wouldn’t.’
It was plain that in Miss Annie Brett’s opinion there was only one really capable intelligence in the Tiger. This glimpse of her capability, this out-leaping of the latent maternal in her, completely destroyed for the moment my vision of her afloat on the bosom of the lake.
‘I see,’ said Mr Brindley kindly. Then he turned to me with characteristic abruptness. ‘Well, give it a name, Mr Loring.’
Such is my simplicity that I did not immediately comprehend his meaning. For a fraction of a second I thought of the baby. Then I perceived that he was merely employing one of the sacred phrases, sanctified by centuries of usage, of the private bar. I had already drunk mercurey, green Chartreuse, and coffee. I had a violent desire not to drink anything more. I knew my deplorable tomorrows. Still, I would have drunk hot milk, cold water, soda water, or tea. Why should I not have had what I did not object to having? Herein lies another mystery of the private bar. One could surely order tea or milk or soda water from a woman who left everything to tend a mother with a six-weeks-old baby! But no. One could not. As Miss Annie Brett smiled at me pointedly, and rubbed her ringed hands, and kept on smiling with her terrific mechanical effusiveness, I lost all my self control; I would have resigned myself to a hundred horrible tomorrows under the omnipotent, inexplicable influence of the private bar. I ejaculated, as though to the manner born—
‘Irish.’
It proved to have been rather clever of me, showing as it did a due regard for convention combined with a pretty idiosyncrasy. Mr Bri
ndley was clearly taken aback. The idea struck him as a new one. He reflected, and then enthusiastically exclaimed—
‘Dashed if I don’t have Irish too!’
And Miss Brett, delighted by this unexpected note of Irish in the long, long symphony of Scotch, charged our glasses with gusto. I sipped, death in my heart, and rakishness in my face and gesture. Mr Brindley raised his glass respectfully to Miss Annie Brett, and I did the same. Those two were evidently good friends.
She led the conversation with hard, accustomed ease. When I say ‘hard’ I do not in the least mean unsympathetic. But her sympathetic quality was toughened by excessive usage, like the hand of a charwoman. She spoke of the vagaries of the Town Hall clock, the health of Mr Brindley’s children, the price of coal, the incidence of the annual wakes, the bankruptcy of the draper next door, and her own sciatica, all in the same tone of metallic tender solicitude. Mr Brindley adopted an entirely serious attitude towards her. If I had met him there and nowhere else I should have taken him for a dignified mediocrity, little better than a fool, but with just enough discretion not to give himself away. I said nothing. I was shy. I always am shy in a bar. Out of her cold, cold roving eye Miss Brett watched me, trying to add me up and not succeeding. She must have perceived, however, that I was not like a fish in water.
There was a pause in the talk, due, I think, to Miss Annie Brett’s preoccupation with what was going on between Miss Slaney, the ordinary barmaid, and her commercial traveller. The commercial traveller, if he was one, was reading something from a newspaper to Miss Slaney in an indistinct murmur, and with laughter in his voice.
‘By the way,’ said Mr Brindley, ‘you used to know Simon Fuge, didn’t you?’
‘Old Simon Fuge!’ said Miss Brett. ‘Yes; after the brewery company took the Blue Bell at Cauldon over from him, I used to be there. He would come in sometimes. Such a nice queer old man!’
The Grim Smile of the Five Towns Page 17
