Sometimes he invented dreams, pretending he had really dreamt them. Judith always guessed when the dreams were untruths, though often they were very clever and absurd, just like real dreams. She made up dreams too, so he could not deceive her. She knew the recipe for the game; and that, try as you would, some betraying touch was bound to creep in.
In the same way he could not deceive her about the adventures he had had, the queer people he had met, plausible as they were. Made-up people were real enough, but only in their own worlds, which were each as different from the world your body lived in as the people who made them were different from each other. The others always believed him when they bothered to listen; they had not the imagination to find him out. Judith as a fellow artist was forced to judge his lies intellectually, in spite of moral indignation.
He was rather mean about sweets. Often he bought a bagful of acid drops, and after handing them round once went away and finished them by himself. Sometimes when Judith was with him he sucked away and never once said: ‘Have one.’ But another time he bought her eightpence worth all to herself and took her for a beetle walk. He adored beetles. He knew their names in Latin, and exactly how many thousand eggs a minute they laid and what they ate, and where and how long they lived. Coming back he put his arm round her and she was proud, though she wished he were Charlie.
He read a lot and sometimes he was secretive about it. He stayed in the bath room whole afternoons reading dictionaries or the Arabian Nights.
He was the only one who was said to know for certain how babies were born. When the others aired their theories he laughed in a superior way. Then one day after they had all been persuading him he said, surly and brief: ‘Well, haven’t you noticed animals, idiots?’ And after they had consulted amongst themselves a bit they all thought they understood, except Martin, and Marietta had to explain to him.
Julian played the piano better than Charlie; he played so that it was impossible not to listen. But he was not, as Charlie was, a pure vessel for receiving music and pouring it forth again. Judith thought Charlie undoubtedly lapped up music as a kitten lapped milk.
Julian said privately that he intended to write an opera. It was too thrilling for words. He had already composed a lovely thing called ‘Spring’ with trills, and an imitation of a cuckoo recurring in it. It was wonderful,—exactly like a real cuckoo. Another composition was called ‘The Dance of the Stag-Beetles.’ That was very funny. You simply saw the stag-beetles lumping solemnly round. It made everybody laugh—even the grandmother. Then Roddy invented a dance for it which was as funny as the music; and it became a regular thing to be done on rainy days. Julian himself preferred ‘Spring.’ He said it was a bigger thing altogether.
Roddy was the queerest little boy. He was the most unreal and thrilling of all because he was there so rarely. His parents were not dead like Julian’s and Charlie’s, or abroad like Martin’s or divorced and disgraced like Mariella’s. (Mariella’s mother had run away with a Russian Pole, whatever that was, when Mariella was a baby; and after that her father ... there Nurse had broken off impressively and tilted an imaginary bottle to her lips when she was whispering about it to the housemaid.)
Roddy’s parents lived in London and allowed him to come on a week’s visit once every holiday. Roddy scarcely ever spoke. He had a pale, flat secret face and yellow-brown eyes with a twinkling light remote at the back of them. He had a ruffled dark shining head and a queer smile that you watched for because it was not like anyone else’s. His lip lifted suddenly off his white teeth and then turned down at the corners in a bitter-sweet way. When you saw it you said ‘Ah!’ to yourself, with a little pang, and stared,—it was so queer. He had a trick of spreading out his hands and looking at them,—brown broad hands with long crooked fingers that were magical when they held a pencil and could draw anything. He had another trick of rubbing his eyes with his fist like a baby, and that made you say ‘Ah!’ too, with a melting, quick sort of pang, wanting to touch him. His eyes fluttered in a strong light: they were weak and set so far apart that, with their upward sweep, they seemed to go round the corners and, seen in profile, to be set in his head like a funny bird’s. He reminded you of something fabulous—a Chinese fairy-story. He was thin and odd and graceful; and there was a suggestion about him of secret animals that go about by night.
Once Judith saw a hawthorn hedge in winter, shining darkly with recent rain. Deep in the heart of its strong maze of twigs moved a shadowy bird pecking, darting silently about in its small mysterious confined loneliness after a glowing berry or two. Suddenly Judith thought of Roddy. It was ridiculous of course, but there it was: the suggestion came of itself with the same queer pull of surprise and tenderness. A noiseless, intent creature moving alone among small brilliancies in a profound maze: there was—oh, what was there that was all of Roddy in that?