(I)
Dick Guiseley sat over breakfast in his rooms off Oxford Street, entirely engrossed in a local Yorkshire paper two days old.
His rooms were very characteristic of himself. They were five in number—a dining-room, two bedrooms, and two sitting-rooms divided by curtains, as well as a little entrance-hall that opened on to the landing, close beside the lift that served all the flats. They were furnished in a peculiarly restrained style—so restrained, in fact, that it was almost impossible to remember what was in them. One was just conscious of a sense of extreme comfort and convenience. There was nothing in particular that arrested the attention or caught the eye, except here and there a space or a patch of wall about which Dick had not yet made up his mind. He had been in them two years, indeed, but he had not nearly finished furnishing. From time to time a new piece of furniture appeared, or a new picture—always exceedingly good of its kind, and even conspicuous. Yet, somehow or other, so excellent was his taste, as soon as the thing was in place its conspicuousness (so to speak) vanished amidst the protective coloring, and it looked as if it had been there for ever. The colors were chosen with the same superfine skill: singly they were brilliant, or at least remarkable (the ceilings, for instance, were of a rich buttercup yellow); collectively they were subdued and unnoticeable. And I suppose this is exactly what rooms ought to be.
The breakfast-table at which he sat was a good instance of his taste. The silver-plate on it was really remarkable. There was a delightful Caroline tankard in the middle, placed there for the sheer pleasure of looking at it; there was a large silver cow with a lid in its back; there were four rat-tail spoons; the china was an extremely cheap Venetian crockery of brilliant designs and thick make. The coffee-pot and milk-pot were early Georgian, with very peculiar marks; but these vessels were at present hidden under the folded newspaper. There were four chrysanthemums in four several vases of an exceptional kind of glass. It sounds startling, I know, but the effect was not startling, though I cannot imagine why not. Here again one was just conscious of freshness and suitability and comfort.
But Dick was taking no pleasure in it all this morning. He was feeling almost physically sick, and the little spirit-heated silver dish of kidneys on his Queen Anne sideboard was undisturbed. He had cut off the top of an egg which was now rapidly cooling, and a milky surface resembling thin ice was forming on the contents of his coffee-cup. And meanwhile he read.
The column he was reading described the wedding of his uncle with Miss Jenny Launton, and journalese surpassed itself. There was a great deal about the fine old English appearance of the bridegroom, who, it appeared, had been married in a black frock-coat and gray trousers, with white spats, and who had worn a chrysanthemum in his button-hole (Dick cast an almost venomous glance upon the lovely blossom just beside the paper), and the beautiful youthful dignity of the bride, "so popular among the humble denizens of the country-side." The bride's father, it seemed, had officiated at the wedding in the "sturdy old church," and had been greatly affected—assisted by the Rev. Matthieson. The wedding, it seemed, had been unusually quiet, and had been celebrated by special license: few of the family had been present, "owing," said the discreet reporter, "to the express wish of the bridegroom." (Dick reflected sardonically upon his own convenient attack of influenza from which he was now completely recovered.) Then there was a great deal more about the ancient home of the Guiseleys, and the aristocratic appearance of Viscount Merefield, the young and popular heir to the earldom, who, it appeared, had assisted at the wedding in another black frock-coat. General Mainwaring had acted as best man. Finally, there was a short description of the presents of the bridegroom to the bride, which included a set of amethysts, etc....
Dick read it all through to the luxuriant end, down to the peals of the bells and the rejoicings in the evening. He ate several pieces of dry toast while he read, crumbling them quickly with his left hand, and when he had finished, drank his coffee straight off at one draught. Then he got up, still with the paper, sat down in the easy-chair nearest to the fire and read the whole thing through once more. Then he pushed the paper off his knee and leaned back.
It would need a complete psychological treatise to analyze properly all the emotions he had recently gone through—emotions which had been, so to say, developed and "fixed" by the newspaper column he had just read. He was a man who was accustomed to pride himself secretly upon the speed with which he faced each new turn of fortune, and the correctness of the attitude he assumed. Perhaps it would be fair to say that the Artistic Stoic was the ideal towards which he strove. But, somehow, those emotions would not sort themselves. There they all were—fury, indignation, contempt, wounded pride, resignation, pity—there were no more to be added or subtracted; each had its place and its object, yet they would not coalesce. Now fury against his uncle, now pity for himself, now a poisonous kind of contempt of Jenny. Or, again, a primitive kind of longing for Jenny, a disregard of his uncle, an abasement of himself. The emotions whirled and twisted, and he sat quite still, with his eyes closed, watching them.
But there was one more emotion which had made its appearance entirely unexpectedly as soon as he had heard the news, that now, greatly to his surprise, was beginning to take a considerable place amongst the rest—and this was an extraordinarily warm sense of affection towards Frank—of all people. It was composed partly of compassion, and partly of an inexplicable sort of respect for which he could perceive no reason. It was curious, he thought later, why this one figure should have pushed its way to the front just now, when his uncle and Jenny and, secondarily, that Rector ("so visibly affected by the ceremony") should have occupied all the field. Frank had never meant very much to Dick; he had stood for the undignified and the boyish in the midst of those other stately elements of which Merefield, and, indeed, all truly admirable life, was composed.
Yet now this figure stood out before him with startling distinctness.
First there was the fact that both Frank and himself had suffered cruelly at the hands of the same woman, though Frank incomparably the more cruelly of the two. Dick had the honesty to confess that Jenny had at least never actually broken faith with himself; but he had also the perspicuity to see that it came to very nearly the same thing. He knew with the kind of certitude that neither needs nor appeals to evidence that Jenny would certainly have accepted him if it had not been that Lord Talgarth had already dawned on her horizon, and that she put him off for a while simply to see whether this elderly sun would rise yet higher in the heavens. It was the same consideration, no doubt, that had caused her to throw Frank over a month or two earlier. A Lord Talgarth in the bush was worth two cadets in the hand. That was where her sensibleness had come in, and certainly it had served her well.
It was this community of injury, then, that primarily drew Dick's attention to Frank; and, when once it lead been so drawn, it lingered on other points in his personality. Artistic Stoicism is a very satisfying ideal so long as things go tolerably well. It affords an excellent protection against such misfortunes as those of not being appreciated or of losing money or just missing a big position—against all such ills as affect bodily or mental conveniences. But when the heart is touched, Artistic Stoicism peels off like rusted armour. Dick had seriously began to consider, during the last few days, whether the exact opposite of Artistic Stoicism (let us call it Natural Impulsiveness) is not almost as good an equipment. He began to see something admirable in Frank's attitude to life, and the more he regarded it the more admirable it seemed.
Frank, therefore, had begun to wear to him the appearance of something really moving and pathetic. He had had a communication or two from Jack Kirkby that had given him a glimpse of what Frank was going through, and his own extremely artificial self was beginning to be affected by it.
He looked round his room now, once or twice, wondering whether it was all worth while. He had put his whole soul into these rooms—there was that Jacobean press with the grotesque heads—ah! how long he had agonized over that in the shop in the King's Road, Chelsea, wondering whether or not it would do just what he wanted, in that space between the two doors. There was that small statue of a Tudor lady in a square head-dress that he had bought in Oxford: he had occupied at least a week in deciding exactly from what point she was to smile on him; there was the new curtain dividing the two rooms: he had had half a dozen patterns, gradually eliminated down to two, lying over his sofa-back for ten days before he could make up his mind. (How lovely it looked, by the way, just now, with that patch of mellow London sunlight lying across the folds!)
But was it all worth it?... He argued the point with himself, almost passively, stroking his brown beard meditatively; but the fact that he could argue it at all showed that the foundations of his philosophy were shaken.
Well, then ... Frank ... What about him? Where was he?