Antic Hay

  Gumbril Junior made an embarrassed gesture that half denied, half admitted the soft impeachment. Shearwater turned away, painfully reminded of what, for a moment, he had half forgotten. Gumbril Senior went on.

  ‘Will that prevent you from making as great a fool of yourself again to-morrow? It will not. It will most assuredly not.’ Gumbril Senior shook his head. ‘The inconveniences and horrors of the pox are perfectly well known to every one; but still the disease flourishes and spreads. Several million people were killed in a recent war and half the world ruined; but we all busily go on in courses that make another event of the same sort inevitable. Experientia docet? Experientia doesn’t. And that is why we must not be too hard on these honest citizens of London who, fully appreciating the inconveniences of darkness, disorder and dirt, manfully resisted any attempt to alter conditions which they had been taught from childhood onwards to consider as necessary, right and belonging inevitably to the order of things. We must not be too hard. We are doing something even worse ourselves. Knowing by a century of experience how beautiful, how graceful, how soothing to the mind is an ordered piece of town-planning, we pull down almost the only specimen of it we possess and put up in its place a chaos of Portland stone that is an offence against civilization. But let us forget about these old citizens and the labyrinth of ugliness and inconvenience which we have inherited from them, and which is called London. Let us forget the contemporaries who are making it still worse than it was. Come for a walk with me through this ideal city. Look.’

  And Gumbril Senior began expounding it to them.

  In the middle, there, of that great elliptical Piazza at the eastern end of the new City, stands, four-square, the Royal Exchange. Pierced only with small dark windows, and built of rough ashlars of the silvery Portland stone, the ground floor serves as a massy foundation for the huge pilasters that slide up, between base and capital, past three tiers of pedimented windows. Upon them rest the cornice, the attic and the balustrade, and on every pier of the balustrade a statue holds up its symbol against the sky. Four great portals, rich with allegory, admit to the courtyard with its double tier of coupled columns, its cloister and its gallery. The statue of Charles the Martyr rides triumphantly in the midst, and within the windows one guesses the great rooms, rich with heavy garlands of plaster, panelled with carved wood.

  Ten streets give on to the Piazza, and at either end of its ellipse the water of sumptuous fountains ceaselessly blows aloft and falls. Commerce, in that to the north of the Exchange, holds up her cornucopia, and from the midst of its grapes and apples the master jet leaps up; from the teats of all the ten Useful Arts, grouped with their symbols about the central figure, there spouts a score of fine subsidiary streams. The dolphins, the sea-horses and the Tritons sport in the basin below. To the south, the ten principal cities of the Kingdom stand in a family round the Mother London, who pours from her urn an inexhaustible Thames.

  Ranged round the Piazza are the Goldsmiths’ Hall, the Office of Excise, the Mint, the Post Office. Their flanks are curved to the curve of the ellipse. Between pilasters, their windows look out on to the Exchange, and the sister statues on the balustrades beckon to one another across the intervening space.

  Two master roads of ninety feet from wall to wall run westwards from the Exchange. New Gate ends the more northern vista with an Arch of Triumph, whose three openings are deep, shadowy and solemn as the entries of caverns. The Guildhall and the halls of the twelve City Companies in their livery of rose-red brick, with their lacings of white stone at the coigns and round the windows, lend to the street an air of domestic and comfortable splendour. And every two or three hundred paces the line of the house is broken, and in the indentation of a square recess there rises, conspicuous and insular, the fantastic tower of a parish church. Spire out of dome; octagon on octagon diminishing upwards; cylinder on cylinder; round lanterns, lanterns of many sides; towers with airy pinnacles; clusters of pillars linked by incurving cornices, and above them, four more clusters and above once more; square towers pierced with pointed windows; spires uplifted on flying buttresses; spires bulbous at the base – the multitude of them beckons, familiar and friendly, on the sky. From the other shore, or sliding along the quiet river, you see them all, you tell over their names; and the great dome swells up in the midst overtopping them all.

  The dome of St Paul’s.

  The other master street that goes westward from the Piazza of the Exchange slants down towards it. The houses are of brick, plain-faced and square, arcaded at the base, so that the shops stand back from the street and the pedestrian walks dry-shod under the harmonious succession of the vaultings. And there at the end of the street, at the base of a triangular space formed by the coming together of this with another master street that runs eastwards to Tower Hill, there stands the Cathedral. To the north of it is the Deanery and under the arcades are the booksellers’ shops.

  From St Paul’s the main road slopes down under the swaggering Italianate arches of Ludgate, past the wide lime-planted boulevards that run north and south within and without the city wall, to the edge of the Fleet Ditch – widened now into a noble canal, on whose paved banks the barges unload their freights of country stuff – leaps it on a single flying arch to climb again to a round circus, a little to the east of Temple Bar, from which, in a pair of diagonally superimposed crosses, eight roads radiate: three northwards towards Holborn, three from the opposite arc towards the river, one eastward to the City, and one past Lincoln’s Inn Fields to the west. The piazza is all of brick and the houses that compose it are continuous above the ground-floor level; for the roads lead out under archways, to one who stands in the centre at the foot of the obelisk that commemorates the victory over the Dutch, it seems a smooth well of brickwork pierced by eight arched conduits at the base and diversified above by the three tiers of plain, unornamented windows.

  Who shall describe all the fountains in the open places, all the statues and monuments? In the circus north of London Bridge, where the four roads come together, stands a pyramid of nymphs and Tritons – river goddesses of Polyolbion, sea-gods of the island beaches – bathing in a ceaseless tumble of white water. And here the city griffon spouts from its beak, the royal lion from between its jaws. St George at the foot of the Cathedral rides down a dragon whose nostrils spout, not fire, but the clear water of the New River. In front of the India House, four elephants of black marble, endorsed with towers of white, blow through their upturned trunks the copious symbol of Eastern wealth. In the gardens of the Tower sits Charles the Second, enthroned among a troop of Muses, Cardinal Virtues, Graces and Hours. The tower of the Customs-House is a pharos. A great water-gate, the symbol of naval triumph, spans the Fleet at its junction with the Thames. The river is embanked from Blackfriars to the Tower, and at every twenty paces a grave stone angel looks out from the piers of the balustrade across the water . . .

  Gumbril Senior expounded his city with passion. He pointed to the model on the ground, he lifted his arms and turned up his eyes to suggest the size and splendour of his edifices. His hair blew wispily loose and fell into his eyes, and had to be brushed impatiently back again. He pulled at his beard; his spectacles flashed, as though they were living eyes. Looking at him, Gumbril Junior could imagine that he saw before him the passionate and gesticulating silhouette of one of those old shepherds who stand at the base of Piranesi’s ruins demonstrating obscurely the prodigious grandeur and the abjection of the human race.

  CHAPTER XII

  ‘YOU? IS IT you?’ She seemed doubtful.

  Gumbril nodded. ‘It’s me,’ he reassured her. ‘I’ve shaved; that’s all.’ He had left his beard in the top right-hand drawer of the chest of drawers, among the ties and the collars.

  Emily looked at him judicially. ‘I like you better without it,’ she decided at last. ‘You look nicer. Oh no, I don’t mean to say you weren’t nice before,’ she hastened to add. ‘But – you know – gentler –’ She hesitated. ‘It’s a silly word,’ she
said, ‘but there it is: sweeter.’

  That was the unkindest cut of all. ‘Milder and more melancholy?’ he suggested.

  ‘Well, if you like to put it like that,’ Emily agreed.

  He took her hand and raised it to his lips. ‘I forgive you,’ he said.

  He could forgive her anything for the sake of those candid eyes, anything for the grave, serious mouth, anything for the short brown hair that curled – oh, but never seriously, never gravely – with such a hilarious extravagance round her head. He had met her, or rather the Complete Man, flushed with his commercial triumphs as he returned from his victory over Mr Boldero, had met her at the National Gallery. ‘Old Masters, young mistresses’; Coleman had recommended the National Gallery. He was walking up the Venetian Room, feeling as full of swaggering vitality as the largest composition of Veronese, when he heard, gigglingly whispered just behind him, his Open Sesame to new adventure, ‘Beaver’. He spun round on his tracks and found himself face to face with two rather startled young women. He frowned ferociously: he demanded satisfaction for the impertinence. They were both, he noticed, of gratifyingly pleasing appearance and both extremely young. One of them, the elder it seemed, and the more charming, as he had decided from the first, of the two, was dreadfully taken aback; blushed to the eyes, stammered apologetically. But the other, who had obviously pronounced the word, only laughed. It was she who made easy the forming of an acquaintance which ripened, half an hour later, over the tea-cups and to the strains of the most classy music on the fifth floor of Lyons’ Strand Corner House.

  Their names were Emily and Molly. Emily, it seemed, was married. It was Molly who let that out, and the other had been angry with her for what was evidently an indiscretion. The bald fact that Emily was married had at once been veiled with mysteries, surrounded and protected by silences; whenever the Complete Man asked a question about it, Emily did not answer and Molly only giggled. But if Emily was married and the elder of the two, Molly was decidedly the more knowledgeable about life; Mr Mercaptan would certainly have set her down as the more civilized. Emily didn’t live in London; she didn’t seem to live anywhere in particular. At the moment she was staying with Molly’s family at Kew.

  He had seen them the next day, and the day after, and the day after that; once at lunch, to desert them precipitately for his afternoon with Rosie; once at tea in Kew Gardens; once at dinner, with a theatre to follow and an extravagant taxi back to Kew at midnight. The tame decoy allays the fears of the shy wild birds; Molly, who was tame, who was frankly a flirting little wanton, had served the Complete Man as a decoy for the ensnaring of Emily. When Molly went away to stay with friends in the country, Emily was already inured and accustomed to the hunter’s presence; she accepted the playful attitude of gallantry, which the Complete Man, at the invitation of Molly’s rolling eyes and provocative giggle, had adopted from the first, as natural and belonging to the established order of things. With giggling Molly to give her a lead, she had gone in three days much further along the path of intimacy than, by herself, she would have advanced in ten times the number of meetings.

  ‘It seems funny,’ she had said the first time they met after Molly’s departure, ‘it seems funny to be seeing you without Molly.’

  ‘It seemed funnier with Molly,’ said the Complete Man. ‘It wasn’t Molly I wanted to see.’

  ‘Molly’s a very nice, dear girl,’ she declared loyally. ‘Besides, she’s amusing and can talk. And I can’t; I’m not a bit amusing.’

  It wasn’t difficult to retort to that sort of thing; but Emily didn’t believe in compliments; oh, quite genuinely not.

  He set out to make the exploration of her; and now that she was inured to him, no longer too frightened to let him approach, now, moreover, that he had abandoned the jocular insolences of the Complete Man in favour of a more native mildness, which he felt instinctively was more suitable in this particular case, she laid no difficulties in his way. She was lonely, and he seemed to understand everything so well; in the unknown country of her spirit and her history she was soon going eagerly before him as his guide.

  She was an orphan. Her mother she hardly remembered. Her father had died of influenza when she was fifteen. One of his business friends used to come and see her at school, take her out for treats and give her chocolates. She used to call him Uncle Stanley. He was a leather merchant, fat and jolly with a rather red face, very white teeth and a bald head that was beautifully shiny. When she was seventeen and a half he asked her to marry him, and she had said yes.

  ‘But why?’ Gumbril asked. ‘Why on earth?’ he repeated.

  ‘He said he’d take me round the world; it was just when the war had come to an end. Round the world, you know; and I didn’t like school. I didn’t know anything about it and he was very nice to me; he was very pressing. I didn’t know what marriage meant.’

  ‘Didn’t know?’

  She shook her head; it was quite true. ‘But not in the least.’

  And she had been born within the twentieth century. It seemed a case for the text-books of sexual psychology. ‘Mrs Emily X, born in 1901, was found to be in a state of perfect innocence and ignorance at the time of the Armistice, 11th November 1918,’ etc.

  ‘And so you married him?’

  She had nodded.

  ‘And then?’

  She had covered her face with her hands, she had shuddered. The amateur uncle, now professionally a husband, had come to claim his rights – drunk. She had fought him, she had eluded him, had run away and locked herself into another room. On the second night of her honeymoon he gave her a bruise on the forehead and a bite on the left breast which had gone on septically festering for weeks. On the fourth, more determined than ever, he seized her so violently by the throat, that a blood-vessel broke and she began coughing bright blood over the bedclothes. The amateur uncle had been reduced to send for a doctor and Emily had spent the next few weeks in a nursing home. That was four years ago; her husband had tried to induce her to come back, but Emily had refused. She had a little money of her own; she was able to refuse. The amateur uncle had consoled himself with other and more docile nieces.

  ‘And has nobody tried to make love to you since then?’ he asked.

  ‘Oh, lots of them have tried.’

  ‘And not succeeded?’

  She shook her head. ‘I don’t like men,’ she said. ‘They’re hateful, most of them. They’re brutes.’

  ‘Anch’io?’

  ‘What?’ she asked, puzzled.

  ‘Am I a brute too?’ And behind his beard, suddenly, he felt rather a brute.

  ‘No,’ said Emily, after a little hesitation, ‘you’re different. At least I think you are; though sometimes,’ she added candidly, ‘sometimes you do and say things which make me wonder if you really are different.’

  The Complete Man laughed.

  ‘Don’t laugh like that,’ she said. ‘It’s rather stupid.’

  ‘You’re perfectly right,’ said Gumbril. ‘It is.’

  And how did she spend her time? He continued the exploration.

  Well, she read a lot of books; but most of the novels she got from Boots’ seemed to her rather silly.

  ‘Too much about the same thing. Always love.’

  The Complete Man gave a shrug. ‘Such is life.’

  ‘Well, it oughtn’t to be,’ said Emily.

  And then, when she was in the country – and she was often in the country, taking lodgings here and there in little villages, weeks and months at a time – she went for long walks. Molly couldn’t understand why she liked the country; but she did. She was very fond of flowers. She liked them more than people, she thought.

  ‘I wish I could paint,’ she said. ‘If I could, I’d be happy for ever, just painting flowers. But I can’t paint.’ She shook her head. ‘I’ve tried so often. Such dirty, ugly smudges come out on the paper; and it’s all so lovely in my head, so lovely out in the fields.’

  Gumbril began talking with erudition about the
flora of West Surrey: where you could find butterfly orchis and green man and the bee, the wood where there was actually wild columbine growing, the best localities for butcher’s broom, the outcrops of clay where you get wild daffodils. All this odd knowledge came spouting up into his mind from some underground source of memory. Flowers – he never thought about flowers nowadays from one year’s end to the other. But his mother had liked flowers. Every spring and summer they used to go down to stay at their cottage in the country. All their walks, all their drives in the governess cart had been haunts after flowers. And naturally the child had hunted with all his mother’s ardour. He had kept books of pressed flowers, he had mummified them in hot sand, he had drawn maps of the country and coloured them elaborately with different coloured inks to show where the different flowers grew. How long ago all that was! Horribly long ago! Many seeds had fallen in the stony places of his spirit, to spring luxuriantly up into stalky plants and wither again because they had no deepness of earth; many had been sown there and had died, since his mother scattered the seeds of the wild flowers.