Leonora - Arnold Bennett (most life changing books .TXT) 📗

'I've never seen anything half so charming as your home, Mrs. Stanway.'

Both were extremely well satisfied with the course of the conversation. Both wished that the interview might last for indefinite hours, for they had slipped, as into a socket, into the supreme topic, and into intimacy. They were happy and they knew it. The egotism of each tingled sensitively with eager joy. They felt that this was 'life,' one of the justifications of existence.

She shook her head slowly.

'Yes,' he continued, 'it's you who stay quietly at home that are to be envied.'

'And you, a free bachelor, say that! Why, I should have thought----'

'That's just it. You're quite wrong, if you'll let me say so. Here am I, a free bachelor, as you call it. Can do what I like. Go where I like. And yet I would sell my soul for a home like this. Something ... you know. No, you don't. People say that women understand men and what men feel, but they can't--they can't.'

'No,' said Leonora seriously, 'I don't think they can--still, I have a notion of what you mean.' She spoke with modest sympathy.

'Have you?' he questioned.

She nodded. For a fraction of an instant she thought of her husband, stolid with all his impulsiveness, over at David Dain's.

'People say to me, "Why don't you get married?"' Twemlow went on, drawn by the subtle invitation of her manner. 'But how can I get married? I can't get married by taking thought. They make me tired. I ask them sometimes whether they imagine I keep single for the fun of the thing.... Do you know that I've never yet been in love--no, not the least bit.'

He presented her with this fact as with a jewel, and she so accepted it.

'What a pity!' she said, gently.

'Yes, it's a pity,' he admitted. 'But look here. That's the worst of me. When I get talking about myself I'm likely to become a bore.'

Offering him the cigarette cabinet she breathed the old, effective, sincere answer: 'Not at all, it's very interesting.'

'Let me see, this house belongs to you, doesn't it?' he said in a different casual tone as he lighted a cigarette.

Shortly afterwards he departed. John had not returned from Dain's, but Twemlow said that he could not possibly stay, as he had an appointment at Hanbridge. He shook hands with restrained ardour. Her last words to him were: 'I'm so sorry my husband isn't back,' and even these ordinary words struck him as a beautiful phrase. Alone in the drawing-room, she sighed happily and examined herself in the large glass over the mantelpiece. The shaded lights left her loveliness unimpaired; and yet, as she gazed at the mirror, the worm gnawing at the root of her happiness was not her husband's precarious situation, nor his deviousness, nor even his mere existence, but the one thought: 'Oh! That I were young again!'

* * * * *


'Mother, whatever do you think?' cried Millicent, running in eagerly in advance of Ethel at ten o'clock. 'Lucy Turner's sister died to-day, and so she can't sing in the opera, and I am to have her part if I can learn it in three weeks.'

'What is her part?' Leonora asked, as though waking up.

'Why, mother, you know! Patience, of course! Isn't it splendid?'

'Where are father and Mr. Twemlow? Ethel inquired, falling into a chair.


CHAPTER V


THE CHANCE

Leonora was aware that she had tamed one of the lions which menaced her husband's path; she could not conceive that Arthur Twemlow, whatever his mysterious power over John, would find himself able to exercise it now; Twemlow was a friend of hers, and so disarmed. She wished to say proudly to John: 'I neither know nor wish to know the nature of the situation between you and Arthur Twemlow. But be at ease. He is no longer dangerous. I have arranged it.' The thing was impossible to be said; she was bound to leave John in ignorance; she might not even hint. Nevertheless, Leonora's satisfaction in this triumph, her pleasure in the mere memory of the intimate talk by the fire, her innocent joyous desire to see Twemlow again soon, emanated from her in various subtle ways, and the household was thereby soothed back into a feeling of security about John. Leonora ignored, perhaps deliberately, that Stanway had still before him the peril of financial embarrassment, that he was mortgaging the house, and that his colloquies with David Dain continued to be frequent and obviously disconcerting. When she saw him nervous, petulant, preoccupied, she attributed his condition solely to his thought of the one danger which she had secretly removed. She had a strange determined impulse to be happy and gay.

An episode at an extra Monday night rehearsal of the Amateur Operatic Society seemed to point to the prevalence of certain sinister rumours about Stanway's condition. Milly, inspired by dreams of the future, had learnt her part perfectly in five days. She sang and acted with magnificent assurance, and with a vivid theatrical charm which awoke enthusiasm in the excitable breasts of the male chorus. Harry Burgess lost his air of fatigued worldliness, and went round naively demanding to be told whether he had not predicted this miracle. Even the conductor was somewhat moved.

'She'll do, by gad!' said that man of few illusions to his crony the accompanist.

But it is not to be imagined that such a cardinal event as the elevation of a chit like Millicent Stanway to the principal role could achieve itself without much friction and consequent heat. Many ladies of the chorus thought that the committee no longer deserved the confidence of the society. At least three suspected that the conductor had a private spite against themselves. And one, aged thirty-five, felt convinced that she was the victim of an elaborate and scandalous plot. To this maid had been offered Milly's old part of Ella; it was a final insult--but she accepted it. In the scene with Angela and Bunthorne in the first act, the new Ella made the same mistake three times at the words, 'In a doleful train,' and the conductor grew sarcastic.

'May I show you how that bit goes, Miss Gardner?' said Milly afterwards with exquisite pertness.

'No, thank you, Milly,' was the freezing emphasised answer; 'I dare say I shall be able to manage without _your_ assistance.'

'Oh, ho!' sang Milly, delighted to have provoked this exhibition, and she began a sort of Carmen dance of disdain.

'Girls grow up so quick nowadays!' Miss Gardner exclaimed, losing control of herself; 'who are _you_, I should like to know!' and she proceeded with her irrelevant inquiries: 'who's _your_ father? Doesn't every one know that he'll have gone smash before the night of the show?' She was shaking, insensate, brutal.

Millicent stood still, and went very white.

'Miss Gardner!'

'_Miss_ Stanway!'

The rival divas faced each other, murderous, for a few seconds, and then Milly turned, laughing, to Harry Burgess, who, consciously secretarial, was standing near with several others.

'Either Miss Gardner apologises to me at once,' she said lightly, 'at _once_, or else either she or I leave the Society.'

Milly tapped her foot, hummed, and looked up into Miss Gardner's eyes with serene contempt. Ethel was not the only one who was amazed at the absolute certitude of victory in little Millicent's demeanour. Harry Burgess spoke apart with the conductor upon this astonishing contretemps, and while he did so Milly, still smiling, hummed rather more loudly the very phrase of Ella's at which Miss Gardner had stumbled. It was a masterpiece of insolence.

'We think Miss Gardner should withdraw the expression,' said Harry after he had coughed.

'Never!' said Miss Gardner. 'Good-bye all!'

Thus ended Miss Gardner's long career as an operatic artist--and not without pathos, for the ageing woman sobbed as she left the room from which she had been driven by a pitiless child.

* * * * *


According to custom Harry Burgess set out from the National School, where the rehearsals were held, with Ethel and Milly for Hillport. But at the bottom of Church Street Ethel silently fell behind and joined a fourth figure which had approached. The two couples walked separately to Hillport by the field-path. As Harry and Milly opened the wicket at the foot of Stanway's long garden, Ethel ran up, alone again.

'That you?' cried a thin voice under the trees by the gate. It was Rose, taking late exercise after her studies.

'Yes, it's us,' replied Harry. 'Shall you give me a whisky if I come in?'

And he entered the house with the three girls.

'I'm certain Rose saw you with Fred in the field, and if she did she's sure to split to mother,' Milly whispered as she and Ethel ran upstairs. They could hear Harry already strumming on the piano.

'I don't care!' said Ethel callously, exasperated by three days of futility at the office, and by the manifest injustice of fate.

'My dear, I want to speak to you,' said Leonora to Ethel, when the informal supper was over, and Harry had buckishly departed, and Rose and Milly were already gone upstairs. Not a word had been mentioned as to the great episode of the rehearsal.

'Well, mother?' Ethel answered in a tone of weary defiance.

Leonora still sat at the supper-table, awaiting John, who was out at a meeting; Ethel stood leaning against the mantelpiece like a boy.

'How often have you been seeing Fred Ryley lately?' Leonora began with a gentle, pacific inquiry.

'I see him every day at the works, mother.'

'I don't mean at the works; you know that, Ethel.'

'I suppose Rose has been telling you things.'

'Rose told me quite innocently that she happened to see Fred in the field to-night.'

'Oh, yes!' Ethel sneered with cold irony. 'I know Rose's innocence!'

'My dear girl,' Leonora tried to reason with her. 'Why will you talk like that? You know you promised your father----'

'No, I didn't, ma,' Ethel interrupted her sharply. 'Milly did; I never promised father anything.'

Leonora was astonished at the mutinous desperation in Ethel's tone. It left her at a loss.

'I shall have to tell your father,' she said sadly.

'Well, of course, mother,' Ethel managed her voice carefully. 'You tell him everything.'

'No, I don't, my dear,' Leonora denied the charge like a girl. 'A week last night I heard Fred Ryley talking to you at your window. And I have said nothing.'

Ethel flushed hotly at this disclosure.

'Then why say anything now?' she murmured, half daunted and half daring.

'Your father must know. I ought to have told him before. But I have been wondering how best to act.'

'What's the matter with Fred, mother?' Ethel demanded, with a catch in her throat.

'That isn't the point, Ethel. Your father has distinctly said that he won't permit any'--she stopped because she could not bring herself to say the words; and then continued: 'If he had the slightest suspicion that there was anything between _you_ and Fred