Chapter 95
Philip laughed. He was exhilarated by the scene, the funny little man in his odd clothes, the panelled room and the Spanish furniture, the English fare: the whole thing had an exquisite incongruity.
"You laugh, my boy, you can't imagine marrying beneath you. You want a wife who's an intellectual equal. Your head is crammed full of ideas of comrades.h.i.+p. Stuff and nonsense, my boy! A man doesn't want to talk politics to his wife, and what do you think I care for Betty's views upon the Differential Calculus? A man wants a wife who can cook his dinner and look after his children. I've tried both and I know. Let's have the pudding in."
He clapped his hands and presently Sally came. When she took away the plates, Philip wanted to get up and help her, but Athelny stopped him.
"Let her alone, my boy. She doesn't want you to fuss about, do you, Sally?
And she won't think it rude of you to sit still while she waits upon you.
She don't care a d.a.m.n for chivalry, do you, Sally?"
"No, father," answered Sally demurely.
"Do you know what I'm talking about, Sally?"
"No, father. But you know mother doesn't like you to swear."
Athelny laughed boisterously. Sally brought them plates of rice pudding, rich, creamy, and luscious. Athelny attacked his with gusto.
"One of the rules of this house is that Sunday dinner should never alter.
It is a ritual. Roast beef and rice pudding for fifty Sundays in the year.
On Easter Sunday lamb and green peas, and at Michaelmas roast goose and apple sauce. Thus we preserve the traditions of our people. When Sally marries she will forget many of the wise things I have taught her, but she will never forget that if you want to be good and happy you must eat on Sundays roast beef and rice pudding."
"You'll call when you're ready for cheese," said Sally impa.s.sively.
"D'you know the legend of the halcyon?" said Athelny: Philip was growing used to his rapid leaping from one subject to another. "When the kingfisher, flying over the sea, is exhausted, his mate places herself beneath him and bears him along upon her stronger wings. That is what a man wants in a wife, the halcyon. I lived with my first wife for three years. She was a lady, she had fifteen hundred a year, and we used to give nice little dinner parties in our little red brick house in Kensington.
She was a charming woman; they all said so, the barristers and their wives who dined with us, and the literary stockbrokers, and the budding politicians; oh, she was a charming woman. She made me go to church in a silk hat and a frock coat, she took me to cla.s.sical concerts, and she was very fond of lectures on Sunday afternoon; and she sat down to breakfast every morning at eight-thirty, and if I was late breakfast was cold; and she read the right books, admired the right pictures, and adored the right music. My G.o.d, how that woman bored me! She is charming still, and she lives in the little red brick house in Kensington, with Morris papers and Whistler's etchings on the walls, and gives the same nice little dinner parties, with veal creams and ices from Gunter's, as she did twenty years ago."
Philip did not ask by what means the ill-matched couple had separated, but Athelny told him.
"Betty's not my wife, you know; my wife wouldn't divorce me. The children are b.a.s.t.a.r.ds, every jack one of them, and are they any the worse for that?
Betty was one of the maids in the little red brick house in Kensington.
Four or five years ago I was on my uppers, and I had seven children, and I went to my wife and asked her to help me. She said she'd make me an allowance if I'd give Betty up and go abroad. Can you see me giving Betty up? We starved for a while instead. My wife said I loved the gutter. I've degenerated; I've come down in the world; I earn three pounds a week as press agent to a linendraper, and every day I thank G.o.d that I'm not in the little red brick house in Kensington."
Sally brought in Cheddar cheese, and Athelny went on with his fluent conversation.
"It's the greatest mistake in the world to think that one needs money to bring up a family. You need money to make them gentlemen and ladies, but I don't want my children to be ladies and gentlemen. Sally's going to earn her living in another year. She's to be apprenticed to a dressmaker, aren't you, Sally? And the boys are going to serve their country. I want them all to go into the Navy; it's a jolly life and a healthy life, good food, good pay, and a pension to end their days on."
Philip lit his pipe. Athelny smoked cigarettes of Havana tobacco, which he rolled himself. Sally cleared away. Philip was reserved, and it embarra.s.sed him to be the recipient of so many confidences. Athelny, with his powerful voice in the diminutive body, with his bombast, with his foreign look, with his emphasis, was an astonis.h.i.+ng creature. He reminded Philip a good deal of Cronshaw. He appeared to have the same independence of thought, the same bohemianism, but he had an infinitely more vivacious temperament; his mind was coa.r.s.er, and he had not that interest in the abstract which made Cronshaw's conversation so captivating. Athelny was very proud of the county family to which he belonged; he showed Philip photographs of an Elizabethan mansion, and told him:
"The Athelnys have lived there for seven centuries, my boy. Ah, if you saw the chimney-pieces and the ceilings!"
There was a cupboard in the wainscoting and from this he took a family tree. He showed it to Philip with child-like satisfaction. It was indeed imposing.
"You see how the family names recur, Thorpe, Athelstan, Harold, Edward; I've used the family names for my sons. And the girls, you see, I've given Spanish names to."
An uneasy feeling came
Lx.x.xVIII
There was a knock at the door and a troop of children came in. They were clean and tidy, now. Their faces shone with soap, and their hair was plastered down; they were going to Sunday school under Sally's charge.
Athelny joked with them in his dramatic, exuberant fas.h.i.+on, and you could see that he was devoted to them all. His pride in their good health and their good looks was touching. Philip felt that they were a little shy in his presence, and when their father sent them off they fled from the room in evident relief. In a few minutes Mrs. Athelny appeared. She had taken her hair out of the curling pins and now wore an elaborate fringe. She had on a plain black dress, a hat with cheap flowers, and was forcing her hands, red and coa.r.s.e from much work, into black kid gloves.
"I'm going to church, Athelny," she said. "There's nothing you'll be wanting, is there?"
"Only your prayers, my Betty."
"They won't do you much good, you're too far gone for that," she smiled.
Then, turning to Philip, she drawled: "I can't get him to go to church.
He's no better than an atheist."
"Doesn't she look like Rubens' second wife?" cried Athelny. "Wouldn't she look splendid in a seventeenth-century costume? That's the sort of wife to marry, my boy. Look at her."
"I believe you'd talk the hind leg off a donkey, Athelny," she answered calmly.
She succeeded in b.u.t.toning her gloves, but before she went she turned to Philip with a kindly, slightly embarra.s.sed smile.
"You'll stay to tea, won't you? Athelny likes someone to talk to, and it's not often he gets anybody who's clever enough."
"Of course he'll stay to tea," said Athelny. Then when his wife had gone: "I make a point of the children going to Sunday school, and I like Betty to go to church. I think women ought to be religious. I don't believe myself, but I like women and children to."
Philip, strait-laced in matters of truth, was a little shocked by this airy att.i.tude.
"But how can you look on while your children are being taught things which you don't think are true?"
"If they're beautiful I don't much mind if they're not true. It's asking a great deal that things should appeal to your reason as well as to your sense of the aesthetic. I wanted Betty to become a Roman Catholic, I should have liked to see her converted in a crown of paper flowers, but she's hopelessly Protestant. Besides, religion is a matter of temperament; you will believe anything if you have the religious turn of mind, and if you haven't it doesn't matter what beliefs were instilled into you, you will grow out of them. Perhaps religion is the best school of morality. It is like one of those drugs you gentlemen use in medicine which carries another in solution: it is of no efficacy in itself, but enables the other to be absorbed. You take your morality because it is combined with religion; you lose the religion and the morality stays behind. A man is more likely to be a good man if he has learned goodness through the love of G.o.d than through a perusal of Herbert Spencer."
This was contrary to all Philip's ideas. He still looked upon Christianity as a degrading bondage that must be cast away at any cost; it was connected subconsciously in his mind with the dreary services in the cathedral at Tercanbury, and the long hours of boredom in the cold church at Blackstable; and the morality of which Athelny spoke was to him no more than a part of the religion which a halting intelligence preserved, when it had laid aside the beliefs which alone made it reasonable. But while he was meditating a reply Athelny, more interested in hearing himself speak than in discussion, broke into a tirade upon Roman Catholicism. For him it was an essential part of Spain; and Spain meant much to him, because he had escaped to it from the conventionality which during his married life he had found so irksome. With large gestures and in the emphatic tone which made what he said so striking, Athelny described to Philip the Spanish cathedrals with their vast dark s.p.a.ces, the ma.s.sive gold of the altar-pieces, and the sumptuous iron-work, gilt and faded, the air laden with incense, the silence: Philip almost saw the Canons in their short surplices of lawn, the acolytes in red, pa.s.sing from the sacristy to the choir; he almost heard the monotonous chanting of vespers. The names which Athelny mentioned, Avila, Tarragona, Saragossa, Segovia, Cordova, were like trumpets in his heart. He seemed to see the great gray piles of granite set in old Spanish towns amid a landscape tawny, wild, and windswept.
"I've always thought I should love to go to Seville," he said casually, when Athelny, with one hand dramatically uplifted, paused for a moment.
"Seville!" cried Athelny. "No, no, don't go there. Seville: it brings to the mind girls dancing with castanets, singing in gardens by the Guadalquivir, bull-fights, orange-blossom, mantillas, mantones de Manila. It is the Spain of comic opera and Montmartre. Its facile charm can offer permanent entertainment only to an intelligence which is superficial. Theophile Gautier got out of Seville all that it has to offer. We who come after him can only repeat his sensations. He put large fat hands on the obvious and there is nothing but the obvious there; and it is all finger-marked and frayed. Murillo is its painter."
Athelny got up from his chair, walked over to the Spanish cabinet, let down the front with its great gilt hinges and gorgeous lock, and displayed a series of little drawers. He took out a bundle of photographs.
"Do you know El Greco?" he asked.
"Oh, I remember one of the men in Paris was awfully impressed by him."
"El Greco was the painter of Toledo. Betty couldn't find the photograph I wanted to show you. It's a picture that El Greco painted of the city he loved, and it's truer than any photograph. Come and sit at the table."
Philip dragged his chair forward, and Athelny set the photograph before him. He looked at it curiously, for a long time, in silence. He stretched out his hand for other photographs, and Athelny pa.s.sed them to him. He had never before seen the work of that enigmatic master; and at the first glance he was bothered by the arbitrary drawing: the figures were extraordinarily elongated; the heads were very small; the att.i.tudes were extravagant. This was not realism, and yet, and yet even in the photographs you had the impression of a troubling reality. Athelny was describing eagerly, with vivid phrases, but Philip only heard vaguely what he said. He was puzzled. He was curiously moved. These pictures seemed to offer some meaning to him, but he did not know what the meaning was. There were portraits of men with large, melancholy eyes which seemed to say you knew not what; there were long monks in the Franciscan habit or in the Dominican, with distraught faces, making gestures whose sense escaped you; there was an a.s.sumption of the Virgin; there was a Crucifixion in which the painter by some magic of feeling had been able to suggest that the flesh of Christ's dead body was not human flesh only but divine; and there was an Ascension in which the Saviour seemed to surge up towards the empyrean and yet to stand upon the air as steadily as though it were solid ground: the uplifted arms of the Apostles, the sweep of their draperies, their ecstatic gestures, gave an impression of exultation and of holy joy.
The background of nearly all was the sky by night, the dark night of the soul, with wild clouds swept by strange winds of h.e.l.l and lit luridly by an uneasy moon.
"I've seen that sky in Toledo over and over again," said Athelny. "I have an idea that when first El Greco came to the city it was by such a night, and it made so vehement an impression upon him that he could never get away from it."
Philip remembered how Clutton had been affected by this strange master, whose work he now saw for the first time. He thought that Clutton was the most interesting of all the people he had known in Paris. His sardonic manner, his hostile aloofness, had made it difficult to know him; but it seemed to Philip, looking back, that there had been in him a tragic force, which sought vainly to express itself in painting. He was a man of unusual character, mystical after the fas.h.i.+on of a time that had no leaning to mysticism, who was impatient with life because he found himself unable to say the things which the obscure impulses of his heart suggested. His intellect was not fas.h.i.+oned to the uses of the spirit. It was not surprising that he felt a deep sympathy with the Greek who had devised a new technique to express the yearnings of his soul. Philip looked again at the series of portraits of Spanish gentlemen, with ruffles and pointed beards, their faces pale against the sober black of their clothes and the darkness of the background. El Greco was the painter of the soul; and these gentlemen, wan and wasted, not by exhaustion but by restraint, with their tortured minds, seem to walk unaware of the beauty of the world; for their eyes look only in their hearts, and they are dazzled by the glory of the unseen. No painter has shown more pitilessly that the world is but a place of pa.s.sage. The souls of the men he painted speak their strange longings through their eyes: their senses are miraculously acute, not for sounds and odours and colour, but for the very subtle sensations of the soul. The n.o.ble walks with the monkish heart within him, and his eyes see things which saints in their cells see too, and he is unastounded. His lips are not lips that smile.