And then with a spasm of satisfaction he thought of Lady Crowborough. With one if not both feet in the grave, she was kissing her hands as vigorously and contentedly as ever. Her conviction of perennial youth overrode the disabilities of years: age was a mere question of conviction: he had only to convince himself. Even at this moment she, who had attained middle-age before he was born, was lunching with a boy whose father he himself might be, and tasting all the delights of flirtation and unspeakable decoctions over a gas-stove.... "The new flirt...." He could hear her say it with unctuous serenity. And the "new flirt" was that child Charles, he who was so much younger than anyone Craddock had ever known. Of course Lady Crowborough was a freak, but if a woman did not feel old at ninety (according to her own account) what excuse was there for a man feeling middle-aged at fifty, or a little less? He determined to have no lunch whatever, but have a Turkish bath and a swim at the Bath Club instead.
Just as Craddock might have made a certain sinister suggestion to Philip Wroughton about Charles, had he known that after she left them she read and re-read two common-place little letters and regarded something that had once been a straw hat, so to-day he might not have foregone lunch and sat in the agreeable tropics underneath the Bath Club (as a matter of fact these processes made him so hungry that he indulged in a sandwich or two afterwards) in the heroic hue-and-cry after his vanished youth, if he had been aware of Charles' immediate occupation after he had left him. There was another canvas, a big one, leaning with averted face in the corner of his studio. It represented a girl kneeling among forget-me-nots at the edge of a stream. Behind was a spouting-weir. He had half a dozen sketches of the weir to help him, some very carefully finished, which he had made in preparation for that picture of the bathing-boy, and he had so many sketches, more vivid than these, more brilliantly lit by the steadfast lamp within his brain, to help him.
But he had felt he could not show this to Craddock: he did not know if he could ever show it to anybody, it was his own, or hers, if ever she cared for it or for him.... But it was not Craddock's. Eagerly now he pulled it into the light.
It mattered not what he worked on, in this picture, so long as he worked at it The figure that knelt there, dressed in stained blue, had suffused the whole, so that the grey camp sheltering below the weir, the loosestrife and meadow-sweet, the rope of hurrying water, woven by the force of the stream, were all part of her. Unsuspicious and trustful by nature, relying on Craddock's experience and knowledge of the world, on his brief assurance that there was nothing below the curt note which had given Charles leave to see his Reynolds' copy after the family had gone, he wiped off his mind, almost without an effort, the vague doubts that had for the last week or two tarnished and dimmed it. Craddock, who had been so uniformly kind to him, who had almost lapsed into parental sentiment to-day, had not thought his doubts worth a moment's debate. Besides, what could have occurred to change the friendliness of the family into this cold acidity? What, also, could be more reasonable than the explanation which Craddock threw off, over his shoulder, so to speak, of Philip's amazing solicitude for the complete provision of his own comfort.
"Blue! Blue! What a world of blues! Sky, dress, eyes, forget-me-nots, reflection of sky, reflection of dress, and eyes that looked straight into his." These reflections came not into his picture ... he caught and kept these....
Craddock's prophecy (the wish perhaps being father to it) that the two young men whom he had benefited would not find much in common, seemed at their first meeting to be likely of fulfilment. They met at the theatre, and Charles' enthusiastic appreciation of the piece, at the second time of witnessing it, seemed to rouse Armstrong's contempt.
"I wish you had told me you had seen it before," he said as they lounged and smoked between the acts, "and we could have gone to something else."
"But there's nothing else I should have liked so much," said Charles eagerly. "I think that scene between Violet and the curate is simply priceless. Do tell me about it? Did you know people like that?"
Frank beckoned to the man in the box-office.
"Just show me the returns for this week," he said. Then he answered Charles.
"Yes: I used to think they were like that," he said. "I expect they were far harder and meaner and fouler really. People can't be as gutless as I've made them all out to be."
"Oh, but they're not gutless, do you think? They are kind and jolly, and slightly ridiculous.... Isn't that it? Like most people in fact, but you've seen the funny side of them."
The man from the box-office had returned, and handed Armstrong a strip of paper.
"Fuller than ever, Mr. Armstrong, you see," he said with a sort of proprietorship, like the head-waiter at a restaurant when guests find a dish to their taste. "And advance bookings go well on to the other side of Christmas."
Unaccountably, the dish was not to Armstrong's taste.
"Blasted fools people are," he remarked, and nodded curtly to the man.
"I'm one of them, you know," said Charles.
"Yes: I forgot that. But don't you ever despise your pictures—anyhow distrust them—just because they are popular?"
Charles laughed.
"I haven't yet been in the position to find out what effect popularity would have on my own estimate," he said. "Oh, but wait a minute—I went to a gallery the other day, where there was a picture of mine, and there happened to be some people round it, so I went among them and listened to what they said. They were rather complimentary, and—and I think I liked them for it. Anyhow it didn't affect my own estimate."
Frank Armstrong glared at the well-dressed, well-fed loungers in the entrance.
"Somehow, I think fellows like these must be all wrong in their taste," he said.
"Then would you like unpopularity? Would you be better pleased if the theatre was empty, and there was no advance booking?"
Frank Armstrong grinned.
"No: I should curse like mad," he said. "It happened to me once, and I had no use for it."
Then his surliness broke down.
"I don't mind telling you," he said. "The fact is that I sold my play inside out from Iceland to Peru and Madagascar, and I don't get a penny more or less whether it runs to Doomsday or only New Year's Day. I feel all these people are defrauding me."
"Oh, what a pity!" said Charles. "I am sorry. But they'll come flocking to your next play."
The thought that there were three more plays of his to be pouched by Craddock sealed Armstrong's good humour up again. It had put in a very inconspicuous appearance, and now popped back like a lizard into its hole. He shrugged his shoulders.
"There's the bell," he said, "if you want to hear the third act."
"Don't want to miss a word," said Charles cordially.
Through the first half of the act Armstrong so yawned and fidgetted in the stall next him, that about the middle of it Charles felt that good manners prompted him to suggest that they should not remain till the end. Yet another way round, good manners were horrified at such a course. It would appear that the play bored him.... But he decided to risk it, Armstrong was so obviously tired of it all.
"Shall we go?" he suggested.
Armstrong slid from his seat into the gangway.
"I thought the third act would be too much for you," he observed.
They went quickly and quietly up through the swing-doors, and Charles, rather troubled, laid a hand on the other's arm.
"It wasn't that a bit, indeed it wasn't," he said. "But you were yawning and grunting, you know—I thought you wanted to get out. I—I was enjoying it."
Armstrong knew he was behaving rudely to his guest, but to-night the thronged theatre, also, in part, the buoyancy of the Serene Joyfulness, had got on his nerves.
"Then go back and enjoy the rest of it," he said.
Charles' good humour was quite unimpaired: it was as fresh as paint.
"I think I will," he said. "Thanks awfully for bringing me. I'm enjoying myself tremendously. Good night."
Somehow for the moment that annoyed Armstrong even more, and there is no doubt that he would have found a pungently-flavoured reply. But there was no reply possible: on the word Charles had turned and gone back through the swing-doors once more. Then it dawned on Armstrong that his annoyance with Charles was really annoyance with himself at his own ill-mannered behaviour. For half-a-minute he hesitated, more than half disposed to follow him, to say a whispered word of regret if necessary.... Then again the balance wavered, and he went out into the street. People with such infernally good tempers as his new acquaintance, he thought, should not be allowed at large. They did not fit in with his own ideas of the world, where everyone sought and grasped and snarled, unless he had some specific reason for making himself pleasant.
He looked aimlessly up and down Shaftesbury Avenue as he stood on the steps of the theatre, uncertain what to do with himself. There was a party he was bidden to, but he felt no inclination to stand and fire off the cheap neat gibes that he knew were considered his contribution to such gatherings, his payment for a supper and a cigarette, nor, as on some nights, did the illuminated street with the flaring sky-signs up above, and the flaring gaiety of the pavements below, allure him in the least. Sometimes he wandered up and down Piccadilly for an hour at a time in absorbed yet incurious observation of it all. It all bore out his theory of life: the spoiler and the spoiled, the barterer and bartered, everybody wanted something, everybody had to pay for it. But to-night the street seemed a mere galaxy of coloured shifting glass.... Should he then go home, and work for an hour on his remodelled "Lane without a Turning"?... He thought with a little spasm of inward amusement at the title that had occurred to him to-day, namely, "It's a Long Lane that has Five Turnings." They were all there in the play, five distinct turnings, parodies of passion; five separate times would the stalls make a fixed face so as not to show they were shocked, five separate times would they be utterly fooled and have fixed their faces for nothing. Those who happened to remember the original play—there would not be many of them—would laugh a little first because they would guess what wasnotgoing to happen: those who had never seen that sombre and serious work would merely find here the most entrancingly unexpected farcical situations developing on legitimate lines out of tragical data.
Strolling, he found himself underneath the brilliantly lit doors of Mr. Akroyd's theatre, where within at this hour, as Armstrong well knew, Mr. Fred Akroyd was being nobler than anybody who had ever yet worn a frock-coat and patent-leather shoes, with a pith helmet to indicate India. The third act would only just have begun: Akroyd was even now probably beginning to dawn like a harvest moon on the blackness of night and the plentiful crop. The moon would reach the zenith in about twenty minutes. Then it died in the garden of the Viceroy at Simla (blue incredible Himalayas behind) ... and, if he sent his card in, he felt sure that Mr. Akroyd (after death in the garden) would be charmed to talk to him for ten minutes. It would be well to make some sort of contract without delay in case Craddock changed his mind about an option on this bewildering topsy-turvy of a Lane. For the moment he even felt grateful to Craddock for the hint he had given him as to the possibility of getting a larger advance on royalties out of Akroyd than the thousand pounds which that eminent actor-manager had offered. He would certainly act on the suggestion.
Akroyd was just expiring when he arrived, and after waiting five minutes he was shown into his dressing-room. The actor was still a little prostrate and perspiring profusely, with his efforts, and extended a languid hand.... People sometimes said that if he acted on the stage as well as he acted off....
"Delighted to see you, my dear fellow," he said. "Sit down while I rest for a minute. It takes too much out of me, this last act. Cruel work! I feel the whole pulse of the theatre beating in my own veins ... arteries."
"Strong pulse for a dying man," observed Armstrong.
"Yes: very good. You don't know, you authors, how we slave for you. Well, well; as long as you give us good strong parts, we have no quarrel with you. How's 'Easter Eggs,' by the way?"
"Oh, booked full over Christmas," said Armstrong negligently. "Such rot as it is too! I don't wonder you refused to look at it. No strong part in it. But I've got something fully in my head, and partly on paper, which might suit you better. I hear that this—this present strain on you isn't likely to continue after the middle of December. So if you feel inclined you might come round to my rooms, and you can have some supper there while I read you what I've done, and tell you about the rest."
A reassuring alacrity possessed Akroyd at this, and he made a good and steady convalescence from his prostration. He always made a point of walking home after the theatre, for the sake of his health, he said. He did not walk very fast, and often he took off his hat, and held it in his hand, so as to get the refreshing breezes of the night on his brow which "much thought expands." His tall massive form and fine tragic face often attracted a good deal of attention, and people would whisper his name as he went by. But he put up with these small penalties of publicity: it was very good for the hair to let the wind play upon it....
Akroyd some ten years ago had sprung to the front of his profession by his masterly acting of a comedy part which verged on farce. Since then he had drifted into noble middle-aged parts, such as bachelor marquises who made marriage possible between fine young fellows and girls whom the marquis was secretly in love with, husbands of fifty with wives of twenty-five, all those parts in fact in which Tact, Nobility, Breadth of View and Unselfish Wisdom untie knots for everybody else and give everybody else a Splendid Time. But his drifting, though in part dictated by his conviction that he handled these virtues as if born to the job, was due also to the fact that during these years he had really not been given a comedy that seemed to him worth risking. He knew he could always make a success as a prime minister or a marquis without any risk at all, and his luck, as less fortunate managers called it, was proverbial, for he never had a failure. But it was not luck at all that was responsible for these successes: it was fine business capacity, and a knowledge of what his following among play goers expected of him. He always gave the public what they expected, and then never disappointed them. But in his secret heart he had a longing (provided the risk was not too great) to play a rousing comic part again, to set his stalls laughing instead of leaving them dim-eyed. He was aware that he must do it soon if he was going to do it at all ... there is an age when even the most self-reliant do not feel equal to the strain of being funny.
"It's rather out of your line," said Armstrong abruptly, as he sat Akroyd down to his oysters. "But you once did a part of the same kind: it was the first play I ever saw. You were marvellously good in it."
"Ah, 'The Brittlegings,'" said Akroyd, considerably stimulated. "Old history, I'm afraid. Time of the Georges."
"Well, it's the time of the Georges again," remarked Armstrong. "The play is called 'It's a Long Lane that has Five Turnings.'"
Akroyd when discussing theatrical matters always criticised freely. An author once had suggested forty-two as a suitable age for the part that he was to play. He had considered this and replied "Forty-three. I think forty-three."
"That's a very long title," he said.
"It was a long Lane," said Armstrong. "Anyhow, it is the title. Dramatis personae——"
"Tell me what you have designed to be my part," said Akroyd.
"I think I shall leave you to guess. There are many points, by the way, that want discussion, and I should like your advice. But I think I will read straight through the first act without interruption."
Akroyd, as has been stated, was a very shrewd business man, but his keen appreciation of the wit and effectiveness of this act made it difficult for him to bring his business capacity into full working order. Many times throughout it had he checked his laughter, throughout it too had heseenhimself in the glorious tragico-farcical situations provided for him, (he had no difficulty in guessing his part) in a sort of parody of his own manner. It was a brilliant piece of work, he saw himself brilliantly interpreting it. But at the end he, with an effort, put the cork into his admiration.
"Yes, yes: very clever, very sparkling," he said, "but hardly in my line, do you think? Hardly in yours, perhaps either. It would be taking a great risk: I should not expect there to be much money in it. Appreciative stalls perhaps: it is hard to say. However, read the scenario of the rest."
Frank Armstrong felt he knew quite well what this meant. It was the usual decrying of work by the intending purchaser, in order to get it cheaper, and it roused in him all the resentment that as producer he had so often felt for Craddock as capitalist. He threw the manuscript onto the table, resolved to play the same game.
"Hardly worth while," he said. "Obviously the play doesn't appeal to you, though I think it might have ten years ago, before you took to the heavy work business. I was thinking of you as I saw you first. Jove, it's thirsty work reading, and now I shall have to read it all over again to somebody else to-morrow."
"Ah, you rush at conclusions altogether too much," said Akroyd slightly alarmed. "Much necessarily depends on the working out of the play. It is admirably laid down: the scenes are full of wit and interest. I—I insist on hearing the rest."
"Shan't bother you," said Armstrong, taking whisky and soda, and enjoying himself keenly.
"Then let me take it away and read it," said Akroyd. "Really, my dear fellow, it is hardly fair to ask me here to listen to an act and the scenario of the rest, and then refuse."
"But I feel now I read it how much more suitable it would be for Tranby," said Armstrong. "I will telephone to him and read it to him to-morrow. He has been asking me if I hadn't got anything for him. I hope the oysters are good."
"Let me read it myself then, now," said Akroyd, holding out a hand that almost trembled with anxiety.
Frank gave up his obstinacy with an indifferent yawn.
"O, well: I'll tell you the rest of it," he said.
But having begun, his indifference vanished, while Akroyd's anxiety increased. To think of Tranby, his esteemed and gifted colleague, having this marvel of dexterous fooling submitted to him to-morrow, was to picture himself on the edge of a precipice. He felt giddy, his head swam at the propinquity of that catastrophic gulf. Fortunately he could crawl away now, for Armstrong was continuing.
Intentionally he did the utmost he could for the reading, giving drama and significance to the bare sketch. Here and there he had written upwards of a page of dialogue in his wonderful neat hand, and once, when he found a dozen lines of a speech by Akroyd, he passed them over to him, asking him to read them aloud (which he did, moving about the room with excellent gesticulations). Then as one of the ludicrous "turnings" approached Armstrong would drop his voice, speak slowly and huskily—"Surely he can't be fooling us this time," thought Akroyd—as the tragic moment approached. Then came another ludicrous legitimate situation of the impasse, another thwarting of ridiculous Destiny. Life became a series of brilliant conjuring tricks, all carefully explained, and the gorgeous conjuror was Akroyd.
He felt there must be no further mention of Tranby, for his nerves could not stand it. At the end he got up, and shook hands with Armstrong.
"I am much obliged to you for offering me the most brilliant piece of work I have seen for years," he said. "I will certainly accept it, and put it on when we open after Christmas. I will send you a contract to sign to-morrow——"
Frank Armstrong lit a cigarette.
"We might talk over the lines of it to-night," he said. "Else perhaps I might not sign it."
Akroyd, as was his custom, became so great an artist and so magnificent a gentleman when any question of money was brought forward that it was almost impossible to proceed.
"I am sure you will find my proposals framed on the most generous lines," he said.
Armstrong allowed the faintest shadow of a grin to hover about his mouth.
"No doubt," he said, "but there is no reason that you should not tell me what they are. Advance, for instance, on account of royalties. What do you propose?"
Akroyd put a hand to his fine brow, frowning a little.
"I think I suggested some sum to you," he said. "Eight hundred pounds advance, was it? Something like that."
Again Armstrong boiled within himself.... Yet after all this was business. Akroyd wanted to pay as little as he could: he himself wanted to obtain the most possible. But it was mean, when he knew quite well that he had himself proposed a thousand pounds. It was great fun, too ... the thought of Craddock now on the bosom of the treacherous Mediterranean, perhaps being sea-sick....
"Oh, no," he said quite good naturedly. "A thousand was the sum you proposed. But I don't accept it."
The interview did not last long after this: a mere mention of Tranby's name was enough, and a quarter of an hour afterwards Akroyd went home in a taxi (as the streets were now empty) having yielded on every point, but well pleased with his acquisition. Fifteen hundred pounds down and royalties on a high scale was a good deal to give. But it seemed to him that there was a good deal to be got.
Frank sat up for another half-hour alone, in a big arm-chair, hugging his knees, and occasionally bursting out into loud unaccountable laughter. What an excellent ten-minutes scene the last half-hour would make in a play called, say "The Actor Manager" or "The Middleman." How mean people were! And how delightful fifteen hundred pounds was! But what work, what work to bring his play up to the level of the first act! But he would do it: he was not going to be content with anything but his best.
Then he laughed again.
"'The Middleman ... The Sweater Thwarted.' Good play for Tranby."
He put down his expired pipe, and rose to open the window. The room was full of tobacco-smoke, the table hideous with remains of supper: it was all rather stale and sordid. Stale and sordid, too, now it was over, was his encounter with Akroyd, and his complete victory. He had scored, oh, yes, he had scored.
He leaned out for a moment into the cool freshness of the night-air, that smelt of frost, finding with distaste that his coat-sleeve on which he leaned his face reeked of tobacco. It reeked of Akroyd, too, somehow, of meanness and cunning and his own superior cunning. It was much healthier out of the window....
"Gosh, I wish I hadn't been such a pig to that jolly fellow at the play," he said to himself.
Philip Wroughton was sitting (not on the steps, for that would have been risky, but on a cushion on the steps of the Mena Hotel) occasionally looking at his paper, occasionally looking at the Pyramids, in a state of high content. To relieve the reader's mind at once, it may be stated that Egypt thoroughly suited him, he had not sneezed nor ached nor mourned since he got here nearly a month ago. The voyage from Marseilles, it is true, had been detestably rough, but he blamed nobody for that since he had come under the benediction of the Egyptian sun, not the captain, nor Messrs. Thomas Cook & Sons, nor Joyce—nobody. This was the sun's doing: there never was such a sun: it seemed regulated for him as a man can order the regulation of the temperature of his bath-water. It was always warm enough; it was never too hot. If you had your white umbrella you put it up; if you had forgotten it, it didn't matter: several times he had assured Joyce that it didn't matter. In every way he felt stronger and better than he had done for years, and to-day, greatly daring, he was going to mount himself, with assistance, on an Egyptian ass, and ride to see the Sphinx and make the tour of the great pyramid, in company with Craddock. It may be added that his reason for sitting on the hotel steps was largely in order to make a minute survey of the donkeys on hire just beyond. He wanted one that was not too spirited, or looked as if it wanted to canter. There was a pinkish one there that might do, but it flapped its ears in rather an ominous manner.... Perhaps Craddock would choose one for him. And glancing again at his paper he observed with singular glee that there were floods in the Thames valley.
Lady Crowborough and Joyce had gone into Cairo that morning to do some shopping and lunch with friends. This happened with considerable frequency. Not infrequently also they went to a dinner or a dance in that gay city, and stopped the night there. These dinners and dances had at first been supposed to be for Joyce's sake; they were actually, and now avowedly, for Lady Crowborough's sake, though Joyce, for more reasons than one, was delighted to accompany her. On such days as the two did not go into town, it was pretty certain that small relays of British officers and others would ride out to have lunch or tea with them at Ulena, and Lady Crowborough had several new flirts. Altogether she was amazing, prodigious. She rode her donkey every morning, as beveiled as the Temple, in a blue cotton habit and with a fly-whisk, accompanied by a handsome young donkey-boy with milk white teeth, and an engaging smile. He called her "Princess," being a shrewd young man, and it is to be feared that he was to be numbered also among the new flirts. Also, as he ran behind her donkey he used to call out in Arabic "Make way for the bride O-ah!" which used to evoke shouts of laughter from his fellows. Then Lady Crowborough would ask what he was saying that made them all laugh, and with an ingenuous smile he explained that he told the dogs to get out of the way of the Princess. "And they laugh," he added "'cause they very glad to see you." This was perfectly satisfactory and she said "None of your nonsense."
Joyce beyond any doubt whatever was enjoying it all very much. The sun, the colour, the glories of the antique civilization, the kaleidoscopic novelties of the Oriental world, the gaiety and hospitality so lavishly welcoming her grandmother and herself, all these made to a girl accustomed to the restrictions and bondage of her dutiful filialness to a thoroughly selfish father, a perpetual festa and spectacle. But though she was in no way beginning to weary of it, or even get accustomed to it, she found as the full days went by that two questions, one retrospective, the other anticipatory, were beginning to occupy and trouble her. With regard to the future she was aware that Craddock was exercising his utmost power to please her and gratify her, and felt no doubt whatever as to what this accumulation of little benefits was leading up to. Before long she knew well he would ask her again to give him the right to think for her always, to see after her welfare in things great and small. In a hundred ways, too, she knew that her father wished him all success in his desire. Often he made dreadfully disconcerting remarks that were designed to be understood in the way Joyce understood them. "Ah, Joyce," he would say, "Mr. Craddock as usual has seen to that for you.... I declare Mr. Craddock guesses your inclination before you know it yourself. He has ordered your donkey for half-past ten."... She felt that assuredly Mr. Craddock was going to send his bill in—"account rendered" this time—and ask for payment. But not possibly, not conceivably could she imagine herself paying it.
The retrospective affair occupied her more secretly, but more engrossingly. Behind all the splendour and gaiety and interest and sunlight there hung a background which concerned her more intimately than any of those things: compared with it, nothing else had colour or brightness. And her father had told her that this background was stained and daubed with dirt, with commonness, with things not to be associated with.... Never had the subject been ever so remotely alluded to again between them: Charles' name had not crossed her lips or his. She had never asked him who his informant was, but she felt that any such question was superfluous. She knew; her whole heart and mind told her that she knew. Whether she had ever actually believed the tale she scarcely remembered: anyhow she had accepted it as far as action went. But now, without further evidence on the subject, she utterly and passionately disbelieved it. By communing with herself she had arrived at the unshakeable conviction that it not only was not, but could not be true. Through quietly thinking of Charles, through telling over, like rosary beads, the hours of their intercourse together, she had seen that. It was as clear as the simplest logical proposition.
But she saw also that when Craddock repeated the question he had asked her last June, he would ask it far more urgently and authentically. There had been no fire behind it then: now, she saw that he was kindled. Before, he used to look at her with unconcealed glances of direct admiration, make her great speeches of open compliment, comparing her to a Greek Victory, a Bacchante. Now he looked at her more shyly, more surreptitiously, and he paid her compliments no longer, just because they no longer expressed all he had to say about her: they had become worn, like defaced coins out of currency.
But this acquired seriousness and sincerity of feeling on his part, which before would have earned at any rate her sympathy, now, in the conviction she held that it was he who had spoken of Charles to her father, made him the more detestable as a wooer, even as in ordinary converse he now excited her disgustful antipathy. He was as pleasant, as agreeable, as clever and adaptable as before, but her conjectured knowledge had spread through his whole personality staining and poisoning it. He had thought—so she now supposed—to put a rival out of the field by this treacherous stab in the back, to unhorse him and ride over him. In that he had bitterly erred, and though still thinking he had succeeded, deep in her heart was his disgraceful failure blazoned. And daily she felt the nightmare of his renewed proposal was coming nearer. Very possibly, she thought, he was delaying speech until they should go up the Nile, and should be leading a more leisurely, and, she was afraid, a more intimate life in the comparative quietude of Luxor, where they proposed to make a long stay. For that reason, largely, she gladly joined her grandmother in her amazing activities in Cairo and gave the kindliest welcome to those pleasant young English soldiers who were so ready to come out to them.
But most of all Joyce loved to wander over the hot yellow sands of the desert, or go out alone if possible, and sit looking at the pyramids, or at the wonderful beast that lay looking earthwards with fathomless eyes of everlasting mystery, as if waiting patiently through the unnumbered centuries for the dawning of some ultimate day. Or else, ensconced in some wrinkles of the undulating ground, she would watch the hawks circling in the fathomless sky, or let her eyes wander over the peacock green of the springing crops to the city sparkling very small and bright on the edge of the Nile. A long avenue of carob trees, giving the value of Prussian blue against the turquoise of the sky and the vivid green of the rising maize and corn led in a streak across the plain to it.
She was not conscious of consecutive or orderly thought in these solitary vigils. But she knew that in some way, even as her mind and her eye were expanded by those new wonders of old time that waited alert and patient among the desert sands, so her soul also was growing in the stillness of its contemplation. She made no efforts to pry it open, so to speak, to unfold its compacted petals, for it basked in the sun and psychical air that was appropriate to it, expanding daily, silent, fragrant....
Philip had not to wait long for his escorting Craddock. He mused gleefully over the news of floods in the Thames valley, he remembered it was New Year's day to-morrow, he kept his eye on the pinkish donkey, and felt confidently daring. The pinkish donkey looked very quiet, except for the twitching ears; he hoped that Craddock would approve his choice and not want to mount him on the one that shook itself. Craddock had proposed this expedition himself, and for a minute or two Philip wondered whether he wanted to talk about anything special, Joyce for example. But he felt so well that he did not care just now what Craddock talked about, or what happened to anybody. He felt sure, too, that he would be hungry by lunch time. Really, it was insane to have let that Reynolds hang on the wall so many years and rot like blotting paper in the Thames valley. But then he had no notion that he could get five thousand pounds for it. He owed a great deal to Craddock, who at this moment came out of the hotel, large and fat and white, reassuring himself as to that point about a whisker.... Suddenly he struck Philip as being rather like a music-master on holiday at Margate who had ordered new smart riding-clothes in order to create an impression on the pier. But he looked rich.
As usual he was very, very deferential and attentive, highly approved Philip's penchant for the pinkish donkey, and selected for himself a small one that resembled in some essential manner a depressed and disappointed widow. His large legs almost touched the ground on either side of it, he could almost have progressed in the manner of the ancient velocipede. And Philip having made it quite clear that if his donkey attempted to exceed a foot's pace, he should go straight home, and give no backshish at all, they made a start as smooth and imperceptible as the launching of a ship.
Craddock had interesting communications to make regarding the monarchs of the fourth dynasty, but his information was neither given nor taken as if it was of absorbing importance. Philip, indeed, was entirely wrapped up in observation of his donkey's movements, and the satisfaction he felt in not being in the Thames valley.
"Indeed, so long ago as that," he said. "How it takes one back! And even then the Nile floods came up here did they? Ah, by the way, the Thames is in flood. Probably my lawn is under water: I should have been a cripple with rheumatism if I had stopped there. Don't make those clicking noises, Mohammed. We are going quite fast enough. Yes, and there were three dynasties before that! I don't find the movement at all jerky or painful, my dear Craddock. I should not wonder if I rode again. Fancy my riding! I should not have believed it possible. As for you, you manage like a positive jockey. What do I say, Mohammed, if I should want to stop?"
The positive jockey, whose positiveness apparently consisted in size and weight, decided to slide away from the fourth dynasty to times and persons who more immediately concerned him.
"Indeed it is difficult to imagine such things as floods and rain," he said, "when we bask in this amazing illumination. I can't express to you my gratitude in allowing me to join your happy harmonious party."
Philip just waved his fly-whisk in the direction of the Sphinx, as if to acknowledge without making too much of its presence.
"Dear Joyce!" he said. "I think it has been and will continue to be a happy time for her. It gave me a great deal of satisfaction to be able to bring her out, though of course it entailed a certain sacrifice. Alone, I should have been able to compass the journey, I think, on the interest of what the Reynolds picture brought me: with her I have had necessarily to part with capital. Still, of what use is money except to secure health and enjoyment for others? She is looking wonderfully well."
Craddock, who had till now been standing outside his topic, took a sudden header into the very depth of it, rather adroitly.
"There is no money I would not spend on Miss Joyce's health and enjoyment," he said. "There is nothing nearer to my heart than that."
This sounded very pleasing and satisfactory, for the more Philip saw of Craddock, the more he liked him as a prospective son-in-law. But everything seemed slightly remote and unimportant to-day, in comparison with his own sense of comfort and well-being.
"My dear friend, I renew my assurance of sympathy and good wishes," he said. "Ah, I was afraid my donkey was going to stumble then. But I held it up: I held it up."
Craddock's habit of attention to Philip found expression before he continued that which he had come out to say.
"Anyone can see you are a rider," he said rather mechanically. "Of course you must know that my pleasure in being out here with you consisted largely in the furthering of the hope that is nearest my heart. But since we have been here (I am coming to you for counsel) I have seen so little of Miss Joyce. Often, of course, she is engaged, and that I quite understand. But she has seemed to me rather to avoid me, to—to shun my presence. And hers, I may say, grows every day more dear and precious to me."
Craddock was really moved. Beneath his greed for money, his unscrupulousness in getting it, his absorption in his plundering of and battening on those less experienced than he, there was something that was capable of feeling, and into that something Joyce had certainly made her way. The depth of the feeling was not to be gauged by the fact, that, in its service, he would do a dishonourable thing, for that, it is to to be feared, was a feat that presented no overwhelming natural difficulties to him. But his love for Joyce had grown from liking and admiration into a thing of fire, into a pure and luminous element. It did not come wholly from outside; it was not like some rainbow winged butterfly, settling for a moment on carrion. It was more like some celestial-hued flower growing, if you will, out of a dung-heap. It might, it is true, have been fed and nourished in a soil of corruption and dishonour, but by that divine alchemy that love possesses, none of this had passed into its colour and its fragrance. It was not dimmed or cankered by the nature of the soil from which it grew, it was splendid with its own nature. And every day, even as he had said, it became more dear and precious to him.
"I don't know if you have noticed any of this, I mean any of her avoidance of me."
Philip was able to console, quite truthfully. He hadn't noticed anything at all, being far too much taken up in himself.
"Indeed I have seen nothing of the kind," he said, "and I do not think I am naturally very unobservant. Besides, Joyce, I think, guesses how warmly I should welcome you as a son-in-law. Ah, I held my donkey up again! He would have been down unless I had been on the alert. No, no, my dear Craddock, you are inventing trouble for yourself. Lovers habitually do that: they fancy their mistress is unkind. I recommend you to wait a little, be patient, until we get out of all thisva-et-vientof Cairo. It is true Joyce is much taken up with my mother and her social excesses—I think I am not harsh in calling them excesses at her age. In the romance and poetry of—of Luxor and all that—you will find my little Joyce a very tender-hearted girl, very affectionate, very grateful for affection. Not that I admit she has shunned or avoided you, not for a moment. Far from it. Don't you remember how pleased she was when she knew you were coming with us? Mohammed, stop the donkey: I am out of breath."
Craddock reined in also: the depressed widow was not very unwilling to stop and he stepped off her, and stood by Philip.
"This is not too much for you, I hope," he said.
"Not at all, not at all. I am enjoying my ride, and positively I have not had to use my fly-whisk at all. I was wondering how I should manage it as well as my reins. But there are no flies. No, my dear fellow, don't be down-hearted. Joyce likes you very well."
"Then I shall tempt my fate without waiting any longer," he said. "If I am fortunate, I shall be happiest of men, and, I may add, the cheerfulest of travelling companions. If otherwise, I think I shall go back to England at once. The situation would be intolerable."
Philip was perfectly aghast. For a moment he could say nothing whatever.
"But that would be out of the question," he said. "I do not see how we could get on without you. Who would make our arrangements, and settle the hundred little questions that arise when one is travelling. I could not do it: my health would completely break down. Perhaps, too, my mother will stay on in Cairo: if it suits her fancy, I am sure she will, and Joyce is utterly incapable of arranging for our comfort in the way in which you do. I should be left without a companion, for, as you see, Joyce has become totally independent of me. And your valet, who, at your direction, is so kind as to look after me, and pack for me, and see to my clothes, no doubt you would take him with you. It was understood, I thought, that you would make the entire journey with us: you can hardly mean what you have just said. It would spoil everything; it would break up our party altogether. Pray assure me that you do not mean what you say. The idea agitates me, and any agitation, as you know, is so bad for me. Besides, of course this is the root of the whole matter—that is why I state it to you last after those minor considerations—your best opportunity, your most favourable chance, is when we are alone and quiet up the Nile. We are living in a mere railway station here: none of us have a minute to ourselves."
Till he heard this rapid staccato speech, Craddock felt he had never really known what egotism meant. Here it wasin excelsis:almost grand and awe-compelling in this gigantic and inspired exhibition of it....
"I am very much agitated," said Philip, haloing and crowning it. "Do not leave my donkey, Mohammed."
In spite of the danger of prolonging this agitation Craddock was silent for a moment, and Philip had one more remark to make.
"It would be very selfish," he said, "and very unlike you. And I am sure it would not be wise."
Craddock hesitated no longer. He had received a certain assurance—though he could not estimate its value—that his interpretation of Joyce's bearing towards him was mistaken; he had been recommended, a course which seemed sensible, to wait for the comparative quiet of Luxor, where the relations of their party would naturally be more intimate and familiar; he had also had ocular evidence that Philip was perfectly capable of having a fit, if he precipitated matters unsuccessfully, and returned home. All these considerations pointed one way.
"Certainly I will continue your journey with you," he said. "It is delightful to me to find how solidly you have been counting on me. And from my point of view—my own personal point of view—I think you have probably indicated to me the most promising course. I exceedingly regret the agitation I have caused you."
Philip mopped his forehead.
"It is nothing," he said. "I will make an effort, and become my own master again. But I do not think I feel up to continuing our ride. Let us turn. Perhaps to-morrow I shall feel more robust. I should like to rest a little before lunch. And take heart of grace, my dear man: I felt just like you once, and how happily it turned out for me."
This was not true: Philip had never been in love with anybody. Joyce's mother, however, had soon overcome his somewhat feeble resistance to her charms, and had led him a fine life for the few years that she was spared to him.
Our party had designed to stay in Egypt two months altogether, and a month being now spent and Lady Crowborough being at length a little fatigued by her whirl of gaiety in Cairo, it was settled that day at lunch that they should proceed southwards up the Nile in a few days' time, going by steamer all the way, in order to save Philip's nerves the jar and jolting of the ill-laid line. Lady Crowborough's flirts came in flocks to see her off, bringing bouquets and confectionery enough to fill both her cabin and Joyce's, and she made a variety of astounding speeches in a brilliant monologue to them all, addressing first one and then another.
"All you young men are trying to spoil me," she said, "and it's lucky I've got my grand-daughter with me to play chaperone and see you don't go too far. And are these chocolates for me, too? Joyce, my dear, put them in my cabin, and lock them up; I shall have a good blow-out of them as soon as we start. As for you, Mr. Wortledge, I daren't stop in Cairo a day longer because of you. You'd be coming round for me in a cab and driving me off to a mosque or a synagogue or some such heathen place of worship, to be married to you, under pretence of showing me the antiquities, and what would Mr. Stuart do then? I never saw such roses, Mr. Stuart. Joyce, my dear—oh, she's gone with the chocolate. I shall wear a fresh one every day, that's what I shall do, and make pot-pourri of the leaves, and put it among my clothes, if that'll content you. And there's a note attached to them, I see. I shan't open that till I'm alone, so that no one shall see my blushes. And I'll be bound you'll all be flirting with some other old woman the moment my back's turned, because I know your ways."
A shrill whistle warned her that this courtde congémust draw to an end, and she began shaking hands with them all.
"You've all made my stay in Cairo uncommonly pleasant," she said, "and I thank you all with all my heart. You're dear nice boys, all of you, and I'm really broken-hearted to say goodbye to you. Goodbye all of you."
And this charming old lady, with real tears in her eyes, put up all her veils, and kissed away handfuls of her delicious little white fingers, as the boat began to churn the green Nile water into foam. Then she went to her cabin, had a good blow-out of chocolate, and slept the greater part of the three days' voyage up to Luxor with intervals for food, and a few expeditions to temples on donkey-back. She had bought ropes and ropes of ancient Egyptian beads in the bazaars, with which she adorned herself, and when a professor of antiquities (otherwise promising) hinted that they were modern and came from Manchester, she told him he knew nothing about it, and was dead cuts with him ever afterwards.
Craddock, now that he was committed not to separate himself from the party, was in no hurry to put his fortune to the test. In spite of Philip's assurance, he still fancied he had been right regarding Joyce's avoidance of him, and until their stay was beginning to draw to an end and Philip had begun to fuss about having a sufficiency of warmer underclothing put in his steamer trunk, so that even when the weather grew colder as they sailed northwards again across the Mediterranean, he should be able to sit out on deck without risk of chill, devoted himself to restoring Joyce's confidence in and ease of intercourse with him. Many times, it so happened, he was alone with her, going on some expedition that Philip declared himself not equal to, while Lady Crowborough's appetite for antiquities had proved speedily satiated. Indeed, she announced when she had been at Luxor a week that the sight of any more temples would make her sick. Thus he was often Joyce's only companion and, while waiting his time, made himself an admirable guide and comrade. He had studied the eighteenth and nineteenth dynasties before, and with the air of a friendly tutor interested her in the history and monuments. He soon saw how apt she was to learn and appreciate, and by degrees re-established unembarrassing relations with her, winning her back to frank intercourse with him. With his knowledge and his power of vividly and lightly presenting it, he succeeded in weaving their true antique charm about the temples and silent tombs, and Joyce found herself taking the keenest enjoyment in their long sunny days together. To her immense relief, he seemed to have banished altogether his yearning for another relationship, and she told herself she must have been quite wrong in imagining that he would approach her again, and this time with fire. Yet she had been so convinced of it, and here he was with day-long opportunities at his disposal, plunging her to her infinite satisfaction in the heresies of Amenhotep, and the Elizabethan rule of Hatasoo. He unfolded the stories of the carven walls for her, with their hawk-faced gods or adoring kings. He traced for her the merchandise that the queen's expedition to the Land of Plenty brought back with it, ivory and apes, as in the days of Solomon, and gold weighed in the balances by overseers. He told her of Sen-mut the architect of Deir-el-Bahari, to whom the queen showed all her heart, and entrusted with the secrets of her will, and how Thothmes, on his mother's death, erased from the inscriptions all mention of the low-born fellow.... Then day by golden day went on, and Joyce's confidence increased, and her debt of pleasant hours to him grew heavier and was less felt by her. But never did she quite get out of her mind that it was he who had said, she knew not quite what, to her father, speaking evil of the boy who painted beside the weir. Could she have been wrong about that, too? If so, she had indeed wronged this large kindly man, who was never weary of his pleasant efforts to interest her. Her manner to him changed as her confidence returned, and with the changing of her manner, he drew nearer to confidence in himself.
But it must not be imagined that all life's inner workings, with regard to Craddock, were centred in this successful charming of Joyce to comradeship with him, nor in restraining himself from attempting to pluck the fruit while clearly unripe. Week by week there came to him the most satisfactory accounts from the box-office with regard to the reaped and ever-ripening harvest, so to speak, of "Easter Eggs." But against that solid asset he had to set, not indeed a positive loss, but a sacrifice of what might have been a tremendous gain. For "The Long Lane that had Five Turnings"—was there ever so insolently careless a title?—had appeared early in January, and all London rocked with it. Akroyd had clearly made the biggest hit of his industrious career, and the author had leaped at this second spring over the heads of all other dramatists. Critics, even the most cautious of them, seemed to have lost their heads, and "Sheridan redivivus" was among their less extravagant expressions. His informant as to all this was Frank Armstrong himself, who very thoughtfully sent him a stout packet of these joyful cries, as supplied to him by a press-agency, and with it a letter that seemed to touch the pinnacles of impertinence.
"You have often told me," wrote this amiable young man, "of the great interest you take in my work, and so I am certain you will be pleased to hear of the success of the play. I have to thank you also for the hint you so kindly gave me about screwing Akroyd up to favourable terms, and I made a bargain for myself about the scale of royalties that really was stupendous. About the play itself—it is not being a very good theatrical season generally, and even Peter, I hear, isn't panning out very well, but you should see the queues at the Pall-Mall. Golly! It's the same in the stalls and boxes. Mrs. Fortescue has taken a box every night next week, and I think I have persuaded Akroyd to raise prices. He says it is illegitimate, but I rather think he will do it. After all the rule of supply and demand must affect prices. I'm afraid 'Easter Eggs' is bound to suffer; indeed, it was distressingly empty the other night, but the box office says it will recover again ... I see there is a flat vacant just below yours in Berkeley Square. I am thinking of taking it. It will be nice to be near you. I can never forget what you did for me over my first play.... Also, after an unpropitious beginning, I have struck up a friendship with Charles Lathom. He has told me, in confidence, how you played Providence to him. I hope you will do well over him. I should think you would, people are talking about him, and he has several sitters. I tried to tell him all you have done for me, but the recollection was too much. The words wouldn't come, so I pretended to burn my finger over a pipe I was lighting, and said 'Damn!' Was not that clever and dramatic?
"I enclose quantities of press-notices, and I wish I could see your delight over them. It was very vexing that you were not here for the first night, for I should have liked to have seen what you said. But perhaps when I saw it, I shouldn't have liked it, as I remember you didn't think very much of the play when I read it to you. Perhaps I shall take a long holiday now, not write again at all for a year or two. I am besieged with repeats, of course."
That threat did not much alarm Craddock. He felt as convinced, as he felt with regard to the rising of the sun, that the young man could not keep off it. But there was the very scorpion of a sting in the sentence immediately preceding, in which he was reminded of his own rejection of the play. His wits must have been wandering that night; hisflairfor anticipating public taste had never betrayed him with so desperate a lapse of perception. And somehow it gave him unease to think that an assured enemy of his, sharper than a serpent's tooth, should have thus leaped into affluence as well as prominence. Nor did he like this growing friendship between Charles and the other—he did not like any of the letter, nor any of the press notices. His evening was completely spoiled and Mr. Wroughton beat him at bézique. But next morning, with that power which was not the least of his gifts, he switched his mind off these disturbances and fixed himself heart and soul on that which lay before him here and now.
Thus passed for them at Luxor a complete moon, which among other celestial offices had magically illumined for them an hour of night among the ruins of Karnak. Then, too, they had gone about, and there up till then had come the hardest struggle in restraint for him. All the spell of the starry-kirtled night was woven round them while the huge monoliths and spent glory of the columned hall reminded him, urgently, insistently, how short life was, how soon for the generations of men nothing but the hard granite of their work remains, no joy, no rapture any more, for eyes are closed and mouths dumb, and the soft swift limbs laid to rest, where at the most they can but feel the grasses that wave over their graves, or, more horribly, injected and wrapped in cero-cloth and bitumen to be preserved as a parody and mocking of what they once were. And this—these few years—was his time, his innings before the silence that preceded closed in on him again. All he wanted stood in front of him now, as Joyce leaned on a fragment of wall white and tall in the moonlight, and let her great eyes wander over the outlined columns, with young fresh mouth a little parted, and hand almost resting on his.
"Yes, it is all later than——" he heard his voice saying, and suddenly he stopped, feeling that to talk here and now and to her of Egyptian kings was a mere profanity, in this temple which his love had built, so much holier than all that had ever been made with hands.
But at his sudden cessation, he saw Joyce withdraw herself a little, instinctively on guard. Bitterly he saw that.
"It is all so woundingly sad," he said, "this eternal glorious moon and sky, looking down on to what in so few years is but ruin and decay. And yet they thought that their houses would endure for ever——"
Joyce instantly recovered her confidence, and flowed to meet him on this.
"Oh, yes, oh yes," she said, "all this month that has been haunting me. I think I hate the moon to-night. It is like some dreadful imperishable governess, always presiding and watching us poor children."
That broke the tension.
"Oh, Mistress Moon," said Craddock laughing. "But she is a governess of remarkable personal attractions...."
Then the last day of their sojourn came. Joyce, immensely reassured by her own mistaken conviction that he was going to speak that night at Karnak, and slightly ashamed of herself, had nothing left of the trouble she had anticipated at Cairo, and with regard to retrospect, that which had also been a conviction to her, though not absolutely vanished, was as remote as the imperishable governess. That day the two companions had settled to spend not in detailed study, for indeed they had gathered a most creditable crop, nor even in farewell visits to shrines, but in a general out-door survey and assimilation of river and temple and desert and sky, a long exposed photograph, so to speak, of panorama to take back to the fogs of a northern February. Soon after breakfast they took ferry over the Nile, and joining their donkeys there, rode straight away from the river, going neither to the right nor left, up the narrow path between fast-rising stretches of lengthening crops, past the two great silent dwellers on the plain, who, looking ever eastward, wait for the ultimate dawn that shall touch mute lips again to song, through the huddled mud-houses of Gûrnak, and up and beyond and out till the level green was left below them, and they met the sand-dried untainted air of the desert. Here on the brow of the sandstone cliffs they dismounted, while Josef bestowed their lunch in a cool shadow of a rock in this thirsty land.
Joyce sat down on this bluff.
"We can't dispose of the flesh-pots of Egypt yet," she said, nodding at the provision basket. "May we sit here a little, Mr. Craddock, and will you let me say my eighteenth dynasty catechism, and then——"
Joyce turned to him.
"We must plan out this day so carefully," she said, "as it is the last. I want to sit here quite silent for about half-an-hour, and if it isn't rude, out of sight of you, and everybody, and just look, look, get all that—the river, the crops, the sky, the temples, right deep down. Then let us have lunch, and then let us go a long ride out into the desert, where there isn't anybody or anything. And then, oh, oh, we shall have to go back, and the last day will be over. I promised father to go and call on the chaplain after tea with him. Chaplain! He's a dear man, but think—chaplain on the last day!"
Joyce's desired menu of the mind was served to her. She said her eighteenth dynasty kings, and then strolled along the edge, of the cliffs till she was out of sight and sound of donkey and donkey-boy and Craddock. The magic of the land indeed had made its spell for her, and now she wanted just to look, to absorb, to be wrapped in it. Then, just because she had planned this her mind grew restive and fidgetty.... She had determined on her own account to speak a grateful word to Mr. Craddock to-day for all he had done for her, and she felt she must thank him too for his unremitting attention to her father. He, she felt sure, would not do so, and Joyce felt that the family must discharge that indebtedness. It seemed a simple task enough to perform, but she could not in imagination frame a suitable sentence, either about that or her own debt to him, and insensibly beginning to worry about it, she lost the mood that she had come here to capture. Craddock and her imminent acknowledgment to him "drave between her and the sun" and her half hour alone proved a not very satisfactory item.
She went back to him at the end of it, and found that he had already spread their lunch.
"And you have had a 'heart-to-heart' talk with Egypt?" he asked. "I thought I heard sobs."
Joyce laughed.
"They were sobs of rage then," she said. "My plan broke down. I could think of everything under the sun except Egypt. Just because I meant to gaze and meditate, I could not meditate at all. But I am so hungry; that is something. How good of you to have made ready!"
Hard-boiled eggs and sandwiches, however hungry the attack, do not need much time for their due disposition, and in a quarter of an hour Craddock had lit a cigarette, preparatory for their ride into the desert. And this seemed to Joyce a very suitable moment for the dischargal of her thanks and compliments.
"I've had a burden on my mind so long, Mr. Craddock," she said, "and that is to let you know just in so many words how I appreciate all that you have done for us. Your presence has made the whole difference to my father——"
She had begun to speak, not looking at him, but at the hot sand at her feet. But here a sudden movement of his, a shifting of his place so that he sat just a little nearer her, made her look up. At the same moment she saw that he flung away the cigarette he had only just lit. Then she looked at his face, and saw that his mouth was a little open, and that his breath came quickly. And she knew the moment she had feared a month ago, but had allowed herself to think of as averted, hovered close to her.
"And has my presence made any difference to you?" he asked.
Joyce knew the futility of fencing, as everybody does who knows a crisis is inevitable. But until the end of the world everybody will continue to fence.
"Of course it has," she said. "I was just going to speak of that and thank you for it all."
He drew himself quite close to her.
"There is just one way, and no more in which you can thank me," he said, "and it is by letting me offer for your acceptance all my services and all my devotion."
The fire, the authentic primal need was there, and though she shrank from it, though instinctively she hated it, she could refuse it neither with respect nor sympathy. She could not interrupt him, either: what he had to say must come: it was his bare right to speak.
He took up her hand, and clasped it with both of his, enclosing it, as it were, in a damp dark cavern. At that, without being able to help it, she drew back a little.
"O stop: don't," she said.
He seemed not to hear.
"I offer you much more than I knew was mine to offer last June," he said. "You were so right, Joyce, to refuse me. But it is so different now. You have woke in me, or created in me, a power for love which I did not know was mine. Surely you know that. You created it: it is yours. Take it, for what you made is me."
He paused a moment; then seemed suddenly to realize that he had said all that could be said.... A little wind drove upwards from the plain below, fluttering the papers which had held their sandwiches. Joyce hated herself for noticing that. Then she tried to withdraw her hand.
"Oh I am so sorry, so sorry," she said. "It is quite impossible, more impossible than ever. I mean—I don't know what I mean. But I can't."
She knew very well what she meant when she said "more impossible than ever." And mixed with her regret which was wholly genuine, was a sort of nausea of her soul.... Once more she felt she knew who had spoken to her father of Charles. The motive, too, was as clear as the sunshine. She loathed this continued contact. But it only lasted a second more. The tone of her reply would have carried conviction to the most ardent of lovers. He dropped her hand.
"I have done," he said.
He got up, and walked a few paces away, and stood there with his back to her. A quantity of disconnected pictures went through the blank impassivity of his mind. He remembered the look of the green packet of tickets for their passage down the Nile to-morrow, which he had seen on his table before he went out this morning. He heard Philip's voice say, "Take care of my little Joyce!" He felt himself licking the envelope which contained Mr. Ward's cheque for five thousand pounds. He had the vision of another cheque for ten thousand and one hundred pounds. He saw the sketch of Joyce that had stood beneath the lamp in her room on the evening the chimneys smoked at the Mill House. He heard himself console Charles for the "queer note" Philip Wroughton had written him. Collectively, these presented their whole case, his whole connection with the Wroughtons, succinctly and completely. And the curtain fell on them.
He went back to Joyce, who was sitting by the side of the fluttering paper with her head in her hands.
"What would you like to do?" he said. "Shall we take our ride into the desert or go home?"
Joyce got up.
"Oh, let us go home," she said. "Please call Mohammed. And do realize I am sorry, I am very sorry."
But there was nothing in him now that could respond to or help the girl's evident distress. It seemed that the wonderful flower that grew out of him had been plucked.... Only the soil out of which it grew remained, and that was exactly what it had always been.
That night when Lady Crowborough went up to bed, she was not surprised to hear Joyce's tap on her door a moment afterwards. She had felt the constraint that had hung over dinner like a thunder-cloud, though Philip, flushed with victory at the ideal disposition in the packing of his underclothing which had occurred to him as he dozed or slept,—he thought "slept,"—before dinner, had been unconscious of all else.
"Come in, my dear," she said, "and tell me all that's happened."
"Oh, Granny, he has proposed again," said Joyce.
"Lor', my dear, do you think I didn't guess that? And you needn't trouble to tell me that you refused him. Well, Joyce, I can't say I'm sorry, though I suppose he's rich and agreeable enough, for I never could stand stout white men myself. Give me one of my cigarettes, dear, and sit down and have a talk. There's nothing I enjoy more than a cigarette and a talk about love just before going to bed. Gives such pleasant dreams."
Joyce could not help giggling. But she knew well the golden heart that beat behind these surprising flippancies.
"But I'm sorry, Granny," she said, "but—but I'm afraid I'm not sorry enough."
"No, my dear," said this astute old lady, "if you were sorry enough you'd say 'yes' instead of 'no.' Let me see, this is the second go, isn't it?"
"Yes."
"Well, then I hope this time that you made it plain. The man whom you don't mean to have gets tedious if he goes on. I used to tell them so."
Joyce had come here to do much more than merely announce the event to her grandmother. There was so much more she wanted to say, but she felt it would be easier if it came out in answer to questions. Probably Grannie was wise enough to ask the right questions....
"I think I made it plain," she said. "I said it was quite impossible: more impossible than ever."
Lady Crowborough in the dusk allowed herself to beam all over her face.
"And what did you mean by that, my dear?" she said. "To me it sounds as if there was nobody else last June, but somebody else now."
"Oh, Grannie, it means just that," said Joyce in a whisper.
"And was it any of my flirts in Cairo?" asked Lady Crowborough, who liked a little joking even when her heart was most entirely tender and sympathetic. Quite truly, she believed it "helped things out" to grin over them.
Joyce grinned.
"No, not in Cairo," she said.
"Then it was that flirt of mine down at the Mill House, who's going to paint my picture," she exclaimed. "Don't deny it, my dear. A nice boy, too, though he ain't got a penny. However, we'll talk about the pennies afterwards. Now do you think he fancies you at all? Don't be so silly, Joyce, hiding your face like that."
"Yes, Grannie, I think he does. I can't be sure, you know I—I haven't had any experience."
"Lor', my dear, what do you want with experience over that sort o' thing?" asked Lady Crowborough. "And if you're too modest to say, I'll say it for you. He does like you and you know it. I saw him, the wretch, looking at you in the right way. So I don't understand what all the fuss is about. You like him, and he likes you. Eh?"
The cleverest of grandmothers could not guess the further confidence that Joyce wanted to make. She had to open it herself.
"But—but there's a difficulty, Grannie," she said. "Somebody has told father that he's not—not nice, that he isn't the sort of person he would like me to know. Father wouldn't let him come down to see his copy of the Reynolds while we were there because of that. And I feel sure I know who it is who told him that, and why he said it."
"That Craddock?" asked Lady Crowborough quickly.
"Yes: and I can't believe it is true. I don't believe it. Oh, Grannie, dear, what a comfort you are."
Lady Crowborough's shrewd little face entirely ceased to beam.
"And I don't believe it either, my dear," she said. "He seemed as decent a young fellow as I ever saw. But you can leave that to me. I'll find out, if it was your Craddock who said it first of all. It's only your suspicion as yet, Joyce, and whatever you do, my dear, don't you go through life suspecting anybody, and then not doing him the justice to find out if you're right. And then after that we must find out if there's any truth in it, and what the truth is."
"Oh, but will you, can you?" asked Joyce.
"Yes, my dear, unless I die in the night, which God forbid. I'll Craddock him! And here am I doing just the same as you, and treating your suspicions as true before I know. Lor, but it does seem likely, don't it? And now about what has happened to-day? Are you going to tell your father or is he?"
"Mr. Craddock thought we had better say nothing about it at present," said Joyce. "I expect he is quite right. He said he thought father would be very much upset. That was as we rode back. Oh, Grannie, fancy saying that! I think he meant it as a sort of final appeal. Or perhaps he meant it quite nicely. I'm sure Father wanted me to marry him. But that didn't seem a good enough reason."
Lady Crowborough began to beam again.
"Not with your Mr. Lathom waiting for you," she said. "Well, now, my dear, you must let me go to bed. I'm glad you told me all about it, and I can tell you now I should have thought very poorly of you if you had accepted this Mr. Craddock. Did he kiss you, my dear?"
Joyce again felt an inward bubble of laughter.
"No, thank goodness," she said.
"That's a good thing. You wait till you get back to town. There's somebody there—bless me, how I keep getting ahead. Now send me my maid, Joyce, and don't give way, my dear. And when I say my prayers I'm not sure I shan't give thanks that you ain't going to be Mrs. Craddock. I don't like the man and I don't like the name, and that's sufficient."
In spite of this distaste, Lady Crowborough did Craddock the justice to admit that he behaved very well next day. His invaluable gift for "switching off" stood him in good stead, his manner was perfectly normal again, and sitting on the deck of the northward going steamer after lunch he talked to her about the Exhibition of old Masters at Burlington House, which was now open.
"There are a dozen fine Reynolds there," he said, "but none finer, I think, than the one that used to be at the Mill House."
Lady Crowborough affected a very skilful carelessness.