The Roll-Call - Arnold Bennett (top ten books to read TXT) 📗

the conscience of the creative artist and of the competitor began to annoy him and spur him. The perspective drawing did not quite satisfy--and there was still time. The point of view for the perspective drawing was too high up, and the result was a certain marring of the nobility of the lines, and certainly a diminishment of the effect of the tower. He had previously started another perspective drawing with a lower view-point, but he had mistakenly cast it aside. He ought to finish the first one and substitute it for the second one. 'The perspective drawing had a moral importance; it had a special influence on the assessors and committees. Horrid, tiresome labour! Three, four, five, or six hours of highly concentrated tedium. Was it worth while? It was not. Mr. Enwright liked the finished drawing. He, George, could not face a further strain. And yet he was not content.... Pooh! Who said he could not face a further strain? Of course he could face it. If he did not face it, his conscience would accuse him of cowardice during the rest of his life, and he would never be able to say honestly: "I did my level best with the thing." He snapped his fingers lightly, and in one second had decided to finish the original perspective drawing, and in his very finest style. He would complete it some time during the night. In the morning it could be mounted. The drawings were to go to the north in a case on the morrow by passenger train, and to be met at their destination by a commissionaire common to several competitors; this commissionaire would deliver them to the Town Clerk in accordance with the conditions. In a few minutes George was at work, excited, having forgotten all fatigue. He was saying to himself that he would run out towards eight o'clock for a chop or a steak. As he worked he perceived that he had been quite right to throw over the second drawing; he wondered that he could have felt any hesitation; the new drawing would be immeasurably superior.

Mr. Haim 'stepped up,' discreetly knocking, entering with dignity. The relations between these two had little by little resumed their old, purely formal quality. Both seemed to have forgotten that passionate anger had ever separated them and joined them together. George was young, and capable of oblivion. Mr. Haim had beaten him in the struggle and could afford to forget. They conversed politely, as though the old man had no daughter and the youth had never had a lover. Mr. Haim had even assisted with the lettering of the sheets--not because George needed his help, but because Mr. Haim's calligraphic pride needed to help. To refuse the stately offer would have been to insult. Mr. Haim had aged, but not greatly.

"You're wanted on the telephone, Mr. Cannon."

"Oh! Dash it!... Thanks!"

After all George was no longer on the staff of Lucas & Enwright, and Mr. Haim was conferring a favour.

Down below in the big office everybody had gone except the factotum.

George seized the telephone receiver and called brusquely for attention.

"Is that Mr. Cannon?"

"Yes. Who is it?"

"Oh! It's you, George! How nice to hear your voice again!"

He recognized, but not instantly, the voice of Lois Ingram. He was not surprised. Indeed he had suspected that the disturber of work must be either Lois or Miss Wheeler, or possibly Laurencine. The three had been in London again for several days, and he had known from Lucas that a theatre-party had been arranged for that night to witness the irresistible musical comedy, _The Gay Spark_, Lucas and M. Defourcambault were to be of the party. George had not yet seen Lois since her latest return to London; he had only seen her twice since the previous summer; he had not visited Paris in the interval. The tone of her voice, even as transformed by the telephone, was caressing. He had to think of some suitable response to her startling amiability, and to utter it with conviction. He tried to hold fast in his mind to the image of the perspective with its countless complexities and the co-ordination of them all; the thing seemed to be retreating from him, and he dared not let it go.

"Do you know," said Lois, "I only came to London to celebrate the sending-in of your design. I hear it's marvellous. Aren't you glad you've finished it?"

"Well, I haven't finished it," said George. "I'm on it now."

What did the girl mean by saying she'd only come to London to celebrate the end of his work? An invention on her part! Still, it flattered him. She was very strange.

"But Everard's told us you'd finished a bit earlier than you'd expected. We counted on seeing your lordship to-morrow. But now we've got to see you to-night."

"Awfully sorry I can't."

"But look here, George. You must really. The party's all broken up. Miss Wheeler's had to go back to Paris to-night, and Jules can't come. Everything's upset. The flat's going to be closed, and Laurencine and, I will have to leave to-morrow. It's most frightfully annoying. We've got the box all right, and Everard's coming, and you must make the fourth. We must have a fourth. Laurencine's here at the phone, and she says the same as me."

"Wish I could!" George answered shortly. "Look here! What train are you going by to-morrow? I'll come and see you off. I shall be free then."

"But, George. We _want_ you to come to-night." There seemed positively to be tears in the faint voice. "Why can't you come? You must come."

"I haven't finished one of the drawings. I tell you I'm on it now. It'll take me half the night, or more. I'm just in the thick of it, you see." He spoke with a slight resentful impatience--less at her over-persuasiveness than at the fact that his mind and the drawing were being more and more separated. Soon he would have lost the right mood, and he would be compelled to re-create it before he could resume the work. The forcible, gradual dragging away of his mind from its passionately gripped objective was torture. He had an impulse to throw down the receiver and run off.

The distant squeaking voice changed to the petulant:

"You are horrid. You could come right enough if you wanted to."

"But don't you understand? It's awfully important for me."

He was astounded, absolutely astounded. She would not understand. She had decided that he must go to the musical comedy and nothing else mattered. His whole future did not matter.

"Oh! Very well, then," Lois said, undisguisedly vexed. "Of course, if you won't, you won't. But really when two girls _implore_ you like that.... And we have to leave to-morrow, and everything's upset!... I do think it's ... However, good night."

"Here! Hold hard a sec. I'll come for an hour or so. What's the number of the box?"

"Fourteen," said the voice brokenly.

Immediately afterwards she rang off. George was hurt and bewildered. The girl was incredibly ruthless. She was mad. Why had he yielded? Only a silly conventional feeling had made him yield. And yet he was a great scorner of convention. He went upstairs again to the perspective drawing. He looked at his watch. He might work for half an hour before leaving to dress. No, he could not. The mood had vanished. The perspective had slipped into another universe. He could not even pick up a pen. He despised himself terribly, despairingly, for yielding.


II


In spite of all this he anticipated with pleasure the theatre-party. He wanted to go; he was glad he was going; the memory of Lois in the tea-palace excited him. And he could refuse a hearing to his conscience, and could prevent himself from thinking uncomfortably of the future, as well as most young men. His secret, unadmitted voluptuous eagerness was alloyed only by an apprehension that after the scene over the telephone Lois might be peevish and ungracious. The fear proved to be baseless.

Owing to the imperfections of the club laundry and the erring humanity of Downs, he arrived late. _The Gay Spark_ had begun. He found a darkened auditorium and a glowing stage. In the dim box Lois and Laurencine were sitting in front on gilt chairs. Lucas sat behind Laurencine, and there was an empty chair behind Lois. Her gesture, her smile, her glance, as she turned to George and looked up, were touching. She was delighted to see him; she had the mien of a child who has got what it wanted and has absolutely forgotten that it ever pouted, shrieked, and stamped its foot. She was determined to charm her uttermost. Her eye in the gloom was soft with mysterious invitations. George looked about the interior of the box; he saw the rich cloaks of the girls hanging up next to glossy masculine hats, the large mirror on the wall, and mother-of-pearl opera-glasses, chocolates, and flowers on the crimson ledge. He was very close to the powerfully built and yet plastic Lois. He could watch her changing curves as she breathed; the faint scent she used rose to his nostrils. He thought, with contained rapture: "Nothing in the world is equal to this." He did not care a fig for the effect of perspective drawings or the result of the competition. Lois, her head half-turned towards him, her gaze lost in the sombre distances of the auditorium, talked in a low tone, ignoring the performance. He gathered that the sudden departure of Irene Wheeler had unusually impressed and disconcerted and, to a certain extent, mortified the sisters, who could not explain it, and who resented the compulsion to go back to Paris at once. And he detected in Lois, not for the first time, a grievance that Irene kept her, Lois, apart from the main current of her apparently gorgeous social career. Obviously an evening at which the sole guests were two girls and a youth all quite unknown to newspapers could not be a major item in the life of a woman such as Irene Wheeler. She had left them unceremoniously to themselves at the last moment, as it were permitting them to do what they liked within the limits of goodness for one night, and commanding them to return sagely home on the morrow. A red-nosed actor, hands in pockets, waddled self-consciously on to the stage, and the packed audience, emitting murmurs of satisfaction, applauded. Conversations were interrupted. George, expectant, gave his attention to the show. He knew little or nothing of musical comedy, having come under influences which had taught him to despise it. His stepfather, for example, could be very sarcastic about musical comedy, and through both Enwright and John Orgreave George had further cultivated the habit of classical music, already acquired in boyhood at home in the Five Towns. In the previous year, despite the calls upon his time of study for examinations, George had attended the Covent Garden performances of the Wagnerian "Ring" as he might have attended High Mass. He knew by name a considerable percentage of the hundred odd themes in "The Ring," and it was his boast that he could identify practically all the forty-seven themes in _The Meistersingers_. He raved about Ternina in _Tristan_. He had worshipped the Joachim quartet. He was acquainted with all the popular symphonies of Beethoven, Schubert, Schumann, Mozart, Glazounov, and Tschaikovsky. He even frequented the Philharmonic Concerts, which were then conducted by a composer of sentimental drawing-room ballads, and though he would not class this conductor with Richter or Henry J. Wood, he yet believed that somehow, by the magic