by Grant Allen
When Ernest received the letter in which Dr. Greatrex informed him that he might have the third mastership, he hardly knew how to contain his joy. He kissed Edie a dozen times over in his excitement, and sat up late making plans with her which would have been delightful but for poor Edie’s lasting sorrow. In a short time it was all duly arranged, and Ernest began to think that he must go back to London for a day or two, to let Lady Le Breton hear of his change of plans, and got everything in order for their quiet wedding. He grudged the journey sadly, for he was beginning to understand now that he must take care of the pence for Edie’s sake as well as for humanity’s — his abstraction was individualising itself in concrete form — but he felt so much at least was demanded of him by filial duty, and, besides, he had one or two little matters to settle at Epsilon Terrace which could not so well be managed in his absence even by his trusty deputy, Ronald. So he ran up to town once more in a hurry, and dropped in as if nothing had happened, at his mother’s house. It was no unusual matter for him to pass a fortnight at Wilton Place without finding time to call round at Epsilon Terrace to see Ronald, and his mother had not heard at all as yet of his recent change of engagement.
Lady Le Breton listened with severe displeasure to Ernest’s account of his quarrel with Lord Exmoor. It was quite unnecessary and wrong, she said, to prevent Lynmouth from his innocent boyish amusements. Pigeon-shooting was practised by the very best people, and she was quite sure, therefore, there could be no harm of any sort in it. She believed the sport was countenanced, not only by bishops, but even by princes. Pigeons, she supposed, had been specially created by Providence for our use and enjoyment— ‘their final cause being apparently the manufacture of pigeon-pie,’ Ronald suggested parenthetically: but we couldn’t use them without killing them, unfortunately; and shooting was probably as painless a form of killing as any other. Peter or somebody, she distinctly remembered, had been specially commanded to arise, kill, and eat. To object to pigeon-shooting indeed, in Lady Le Breton’s opinion, was clearly flying in the face of Providence. Of Ronald’s muttered reference to five sparrows being sold for two farthings, and yet not one of them being forgotten, she would not condescend to take any notice. However, thank goodness, the fault was none of hers; she could wash her hands entirely of all responsibility in the matter. She had done her best to secure Ernest a good place in a thoroughly nice family, and if he chose to throw it up at a moment’s notice for one of his own absurd communistical fads, it was happily none of her business. She was glad, at any rate, that he’d got another berth, with a conscientious, earnest, Christian man like Dr. Greatrex. ‘And indeed, Ernest,’ she said, returning once more to the pigeon-shooting question, ‘even your poor dear papa, who was full of such absurd religious fancies, didn’t think that sport was unchristian, I’m certain; for I remember once, when we were quartered at Moozuffernugger in the North-West Provinces, he went out into a nullah near our compound one day, and with his own hand shot a man-eating tiger, which had carried off three little native children from the thanah; so that shows that he couldn’t really object to sport; and I hope you don’t mean to cast disrespect upon the memory of your own poor father!’. All of which profound moral and religious observations Ernest, as in duty bound, received with the most respectful and acquiescent silence.
And now he had to approach the more difficult task of breaking to his mother his approaching marriage with Edie Oswald. He began the subject as delicately as he could, dwelling strongly upon poor Harry Oswald’s excellent position as an Oxford tutor, and upon Herbert’s visit with him to Switzerland — he knew his mother too well to suppose that the real merits of the Oswald family would impress her in any way, as compared with their accidental social status; and then he went on to speak as gently as possible about his engagement with little Edie. At this point, to his exceeding discomfiture, Lady Le Breton adopted the unusual tactics of bursting suddenly into a flood of tears.
‘Oh, Ernest,’ she sobbed out inarticulately through her scented cambric handkerchief, ‘for heaven’s sake don’t tell me that you’ve gone and engaged yourself to that designing girl! Oh, my poor, poor, misguided boy! Is there really no way to save you?’
‘No way to save me!’ exclaimed Ernest, astonished and disconcerted by this unexpected outburst.
‘Yes, yes!’ Lady Le Breton went on, almost passionately. ‘Can’t you manage somehow to get yourself out of it? I hope you haven’t utterly compromised yourself! Couldn’t dear Herbert go down to What’s-his-name Pomeroy, and induce the father — a grocer, if I remember right — induce him, somehow or other, to compromise the matter?’
‘Compromise!’ cried Ernest, uncertain whether to laugh or be angry.
‘Yes, compromise it!’ Lady Le Breton answered, endeavouring to calm herself. ‘Of course that Machiavellian girl has tried to drag you into it; and the family have aided and abetted her; and you’ve been weak and foolish — though not, I trust, wicked — and allowed them to get their net closed almost imperceptibly around you. But it isn’t too late to withdraw even now, my poor, dear, deluded Ernest. It isn’t too late to withdraw even now. Think of the disgrace and shame to the family! Think of your dear brothers and their blighted prospects! Don’t allow this designing girl to draw you helplessly into such an ill-assorted marriage! Reflect upon your own future happiness! Consider what it will be to drag on years of your life with a woman, no longer perhaps externally attractive, whom you could never possibly respect or love for her own internal qualities! Don’t go and wreck your own life, and your brothers’ lives, for any mistaken and Quixotic notions of false honour! You mayn’t like to throw her over, after you’ve once been inveigled into saying “Yes” (and the feeling, though foolish, does your heart credit); but reflect, my dear boy, such a promise, so obtained, can hardly be considered binding upon your conscience! I’ve no doubt dear Herbert, who’s a capital man of business, would get them readily enough to agree to a compromise or a compensation.’
‘My dear mother,’said Ernest white with indignation, but speaking very quietly, as soon as he could edge in a word, ‘you quite misunderstand the whole question. Edie Oswald is a lady by nature, with all a lady’s best feelings — I hate the word because of its false implications, but I can’t use any other that will convey to you my meaning — and I love and admire and respect and worship her with all my heart and with all my soul. She hasn’t inveigled me or set her cap at me, as you call it, in any way; she’s the sweetest, timidest, most shrinking little thing that ever existed; on the contrary, it is I who have humbly asked her to accept me, because I know no other woman to whom I could give my whole heart so unreservedly. To tell you the truth, mother, with my ideas and opinions, I could hardly be happy with any girl of the class that you would call distinctively ladies: their class prejudices and their social predilections would jar and grate upon me at every turn. But Edie Oswald’s a girl whom I could worship and love without any reserve — whom I can reverence for her beautiful character, her goodness, and her delicacy of feeling. She has honoured me by accepting me, and I’m going to marry her at the end of this month, and I want, if possible, to get your consent to the marriage before I do so. She’s a wife of whom I shall be proud in every way; I wish I could think she would have equal cause to be proud of her husband.’
Lady Le Breton threw herself once more into a paroxysm of tears. ‘Oh, Ernest,’ she cried, ‘do spare me! do spare me! This is too wicked, too unfeeling, too cruel of you altogether! I knew already you were very selfish and heartless and headstrong, but I didn’t know you were quite so unmanageable and so unkind as this. I appeal to your better nature — for you HAVE a better nature — I’m sure you have a better nature: you’re MY son, and you can’t be utterly devoid of good impulses. I appeal confidently to your better nature to throw off this unhappy, designing, wicked girl before it is too late! She has made you forget your duty to your mother, but not, I hope, irrevocably. Oh, my poor, dear, wandering boy, won’t you listen to the voice of reason? won
’t you return once more like the prodigal son, to your neglected mother and your forgotten duty?’
‘My dear mother,’ Ernest said, hardly knowing how to answer, ‘you WILL persist in completely misunderstanding me. I love Edie Oswald with all my heart; I have promised to marry her, because she has done me the great and undeserved honour of accepting me as her future husband; and even if I wanted to break off the engagement (which it would break my own heart to do), I certainly couldn’t break it off now without the most disgraceful and dishonourable wickedness. That is quite fixed and certain, and I can’t go back upon it in any way.’
‘Then you insist, you unnatural boy,’ said Lady Le Breton, wiping her eyes, and assuming the air of an injured parent, ‘you insist, against my express wish, in marrying this girl Osborne, or whatever you call her?’
‘Yes, I do, mother,’ Ernest answered quietly.
‘In that case,’ said Lady Le Breton, coldly, ‘I must beg of you that you won’t bring this lady, whether as your wife or otherwise, under my roof. I haven’t been accustomed to associate with the daughters of tradesmen, and I don’t wish to associate with them now in any way.’
‘If so,’ Ernest said, very softly, ‘I can’t remain under your roof myself any longer. I can go nowhere at all where my future wife will not be received on exactly the same terms that I am.’
‘Then you had bettor go,’ said Lady Le Breton, in her chilliest manner. ‘Ronald, do me the favour to ring the bell for a cab for your brother Ernest.’
‘I shall walk, thank you, mother,’ said Ernest quietly. ‘Good morning, dear Ronald.’
Ronald rose solemnly and opened the door for him. ‘Therefore shall a man leave his father and mother,’ he said in his clear, soft voice, ‘and shall cleave unto his wife; and they twain shall be one flesh. Amen.’
Lady Le Breton darted a withering glance at her younger son as Ernest shut the door after him, and burst once more into a sudden flood of uncontrollable tears.
CHAPTER XVII.
‘COME YE OUT AND BE YE SEPARATE.’
Arthur Berkeley’s London lodgings were wonderfully snug and comfortable for the second floor of a second-rate house in a small retired side street near the Embankment at Chelsea. He had made the most of the four modest little rooms, with his quick taste and his deft, cunning fingers: — four rooms, or rather boxes, one might almost call them; a bedroom each for himself and the Progenitor; a wee sitting-room for meals and music — the two Berkeleys would doubtless as soon have gone without the one as the other; and a tiny study where Arthur might work undisturbed at his own desk upon his new and original magnum opus, destined to form the great attraction of the coming season at the lately-opened Ambiguities Theatre. Things had prospered well with the former Oxford curate during the last twelve-month. His cantata at Leeds had proved a wonderful success, and had finally induced him to remove to London, and take to composing as a regular profession. He had his qualms about it, to be sure, as one who had put his hand to the plough and then turned back; he did not feel quite certain in his own mind how far he was justified in giving up the more spiritual for the more worldly calling; but natures like Arthur Berkeley’s move rather upon passing feeling than upon deeper sentiment; and had he not ample ground, he asked himself, for this reconsideration of the monetary position? He had the Progenitor’s happiness to insure before thinking of the possible injury to his non-existent parishioners. If he was doing Whippingham Parva or Norton-cum-Sutton out of an eloquent and valuable potential rector, if he was depriving the Church in the next half-century of a dignified and portly prospective archdeacon, he is at least making his father’s last days brighter and more comfortable than his early ones had ever been. And then, was not music, too, in its own way, a service, a liturgy, a worship? Surely he could do higher good to men’s souls — as they call them — to whatever little spark of nobler and better fire there might lurk within those dull clods of common clay he saw all around him — by writing such a work as his Leeds cantata, than by stringing together for ever those pretty centos of seventeenth-century conceits and nineteenth-century doubts or hesitations which he was accustomed to call his sermons! Whatever came of it, he must give up the miserable pittance of a curacy, and embrace the career open to the musical talents.
So he fitted up his little Chelsea rooms in his own economically sumptuous fashion with some bits of wall paper, a few jugs and vases, and an etching or two after Meissonier; planted the Progenitor down comfortably in a large easy-chair, with a melodious fiddle before him; and set to work himself to do what he could towards elevating the British stage and pocketing a reasonable profit on his own account from that familiar and ever-rejuvenescent process. He was quite in earnest, now, about producing a totally new effect of his own; and believing in his work, as a good workman ought to do, he wrought at it indefatigably and well in the retirement of a second-pair back, overlooking a yardful of fluttering clothes, and a fine skyline vista of bare, yellowish brick chimneys.
‘What part are you working at to-day, Artie?’ said the old shoemaker, looking over his son’s shoulder at the blank music paper before him. ‘Quartette of Biological Professors, eh?’
‘Yes, father,’ Berkeley answered with a smile. ‘How do you think it runs now?’ and he hummed over a few lines of his own words, set with a quaint lilt to his own inimitable and irresistible music: —
And though in unanimous chorus
We mourn that from ages before us
No single enaliosaurus
To-day should survive,
Yet joyfully may we bethink us,
With the earliest mammal to link us,
We still have the ornithorhyncus
Extant and alive!
‘How do you think the score does for that, father, eh? Catching air rather, isn’t it?’
‘Not a better air in the whole piece, Artie; but, my boy, who do you think will ever understand the meaning of the words. The gods themselves won’t know what you’re driving at.’
‘But I’m going to strike out a new line, Daddie dear. I’m not going to play to the gallery; I mean to play to the stalls and boxes.’
‘Was there ever such a born aristocrat as this young parson is!’ cried the old man, lifting up both his hands with a playful gesture of mock-deprecation. ‘He’s hopeless! He’s terrible! He’s incorrigible! Why, you unworthy son of a respectable Paddington shoemaker, if even the intelligent British artizans in the gallery don’t understand you, how the dickens do you suppose the oiled and curled Assyrian bulls in the stalls and boxes will have a glimmering idea of what you’re driving at? The supposition’s an insult to the popular intelligence — in other words, to me, sir, your Progenitor.’
Berkeley laughed. ‘I don’t know about that, father,’ he said, holding up the page of manuscript music at arm’s length admiringly before him; ‘but I do know one thing: this comic opera of mine is going to be a triumphant success.’
‘So I’ve thought ever since you began it, Artie. You see, my boy, there’s a great many points in its favour. In the first place you can write your own libretto, or whatever you call it; and you know I’ve always held that though that Wagner man was wrong in practice — a most inflated thunder-bomb, his Lohengrin — yet he was right in theory, right in theory, Artie; every composer ought to be his own poet. Well, then, again, you’ve got a certain peculiar vein of humour of your own, a kind of delicate semi-serious burlesque turn about you that’s quite original, both in writing and in composing; you’re a humourist in verse and a humourist in music, that’s the long and the short of it. Now, you’ve hit upon a fresh lode of dramatic ore in this opera of yours, and if my judgment goes for anything, it’ll bring the house down the first evening. I’m a bit of a critic, Artie; by hook or by crook, you know, paper or money, I’ve heard every good opera, comic or serious, that’s been given in London these last thirty years, and I flatter myself I know something by this time about operatic criticism.’
‘You’re wrong about Wagner, fa
ther,’ said Arthur, still glancing with paternal partiality at his sheet of manuscript: ‘Lohengrin’s a very fine work, a grand work, I assure you. I won’t let you run it down. But, barring that, I think you’re pretty nearly right in your main judgment. I’m not modest, and it strikes me somehow that I’ve invented a genre. That’s about what it comes to.’
‘If you’d confine yourself to your native tongue, Mr. Parson, your ignorant old father might have some chance of agreeing or disagreeing with you; but as he doesn’t even know what the thingumbob you say you’ve invented may happen to be, he can’t profitably continue the discussion of that subject. However, my only fear is that you may perhaps be writing above the heads of the audience. Not in the music, Artie; they can’t fail to catch that; it rings in one’s head like the song of a hedge warbler — tirree, tirree, lu-lu-lu, la-la, tirree, tu-whit, tu-whoo, tra-la-la — but in the words and the action. I’m half afraid that’ll be over their heads, even in the gallery. What do you think you’ll finally call it?’
‘I’m hesitating, Daddy, between “Evolution” and “The Primate of Fiji.” Which do you recommend — tell me?’
‘The Primate, by all means,’ said the old man gaily. ‘And you still mean to open with the debate in the Fijian Parliament on the Deceased Grandmother’s Second Cousin Bill?’
‘No, I don’t, Daddy. I’ve written a new first scene this week, in which the President of the Board of Trade remonstrates with the mermaids on their remissness in sending their little ones to the Fijian Board Schools, in order to receive primary instruction in the art of swimming. I’ve got a capital chorus of mermaids to balance the other chorus of Biological Professors on the Challenger Expedition. I consider it’s a happy cross between Ariosto and Aristophanes. If you like, I’ll give you the score, and read over the words to you.’ ‘Do,’ said the old man, settling himself down in comfort in his son’s easy-chair, and assuming the sternest air of an impartial critic. Arthur Berkeley read on dramatically, in his own clever airy fashion, suiting accent and gesture to the subject matter through the whole first three acts of that exquisitely humorous opera, the Primate of Fiji. Sometimes he hummed the tune over to himself as he went; sometimes he played a few notes upon his flute by way of striking the key-note; sometimes he rose from his seat in his animation, and half acted the part he was reading with almost unconscious and spontaneous mimicry. He read through the famous song of the President of the Local Government Board, that everybody has since heard played by every German band at the street corners; through the marvellously catching chorus of the superannuated tide-waiters; through the culminating dialogue between the London Missionary Society’s Agent and the Hereditary Grand Sacrificer to the King of Fiji. Of course the recital lacked everything of the scenery and dresses that give it so much vogue upon the stage; but it had at least the charmingly suggestive music, the wonderful linking of sound to sense, the droll and inimitable intermixture of the plausible and the impossible which everybody has admired and laughed at in the acted piece.
