Twenty-two years elapse. They are sitting at tea. The father, the mother and the oldest son, a handsome young man in a gray flannel suit. He kisses his mother and says:
“I must go now, mother dear. I have to take a Bible-class.”
He goes out (presumably to the Bible-class). The mother smiles with pride, the father glows with benignity and helps himself to another buttered muffin. Everything perfect. Suddenly the door opens, and an old man in a long gray beard and perambulating manner wanders into the room. He stares at the wife, and mumbles:
“Did you say Thursday or Friday?... My memory is not what it was....”
And the wife stares at the old man, and then at the blond organist. And the blond organist stares at the mother of his beautiful children, and then at the bearded interloper. And they all stare at each other and feel very embarrassed.
The story is familiar to you? Well, perhaps so. It is the story of the eternal triangle, the most useful pattern of geometrical forms in the construction of a romantic pattern.
Heigho! the trouble with human triangles is that they are never equilateral. Two sides together are invariably greater than the third side.
Jim Canning was the third side of a triangle, and he got flattened out. In fact, his wife used to flatten him out on every possible occasion. She was bigger than he, and she was aided by the tertium quid, Ted Woollams, who was nothing more or less than a professional pugilist. What was Jim to do? In every well-conducted epic the hero performs physical feats which leave you breathless. He is always tall and strong, and a bit too quick with the rapier for any villain who crosses his path. But what about a hero who is small and elderly, of poor physique, short-sighted, asthmatical, with corns which impede his gait? You may say that he has no place in the heroic arena. He should clear out, go and get on with his job, and leave heroism to people who know how to manage the stuff. And yet there was something heroic in the heart of Jim Canning: a quick sympathy, and an instinct for self-sacrifice.
He used to keep a second-hand furniture shop, which, you must understand, is a very different thing from an antique shop. Jim’s furniture had no determinate character such as that which is associated with the name of Chippendale, Sheraton or Heppelwhite. It was just “furniture.” Well-worn sofas, broken chairs and tables, mattresses with the stuffing exuding from holes, rusty brass beds with the knobs missing, broken pots and mirrors and dumb-bells; even clothes, and screws, false teeth and bird-cages, and ancient umbrellas. But his specialty was old iron. Trays and trays and baskets filled with scraps of old iron.
His establishment used to be known in Camden Town at that time as “The Muck Shop.” At odd times of the day you might observe his small pathetic figure trundling a barrow laden with the spoils of some hard-pressed inhabitant. What a tale the little shop seemed to tell! Struggle and poverty, homes broken up, drink, ugly passions, desperate sacrifices—a battered array of the symbols of distress. And, somehow, in his person these stories seemed to be embodied. One felt that he was sorry for the people whose property he bought. He was always known as a fair dealer. He paid a fair price and never took advantage of ignorance.