Gone to Earth - Mary Webb (easy books to read in english .TXT) 📗

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The chapel and minister's house at God's Little Mountain were all in one--a long, low building of grey stone surrounded by the graveyard, where stones, flat, erect, and askew, took the place of a flower-garden. Away to the left, just over a rise, the hill was gashed by the grey steeps of the quarries. In front rose another curve covered with thick woods. To the right was the batch, down which a road--in winter a water-course--led into the valley. Behind the house God's Little Mountain sloped softly up and away apparently to its possessor.

Not the least of the mysteries of the place, and it was tense with mystery, was the Sunday congregation, which appeared to spring up miraculously from the rocks, woods and graves.

When the present minister, Edward Marston, came there with his mother he detested it; but after a time it insinuated itself into his heart, and gave a stronger character to his religion. He had always been naturally religious, taking on trust what he was taught; and he had an instinctive pleasure in clean and healthy things. But on winter nights at the mountain, when the tingling stars sprang in and out of their black ambush and frost cracked the tombstones; in summer, when lightning crackled in the woods and ripped along the hillside like a thousand devils, the need of a God grew ever more urgent. He spoke of this to his mother.

'No, dear, I can't say I have more need of our Lord here than in Crigton,' she said. 'In Crigton there was the bus to be afraid of, and bicycles. Here I just cover my ears for wind, put on an extra flannel petticoat for frost, and sit in the coal-house for thunder. Not that I'm forgetting God. God with us, of course, coal-house or elsewhere.'

'But don't you feel something ominous about the place, mother? I feel as if something awful would happen here, don't you?'

'No, dear. Nor will you when you've had some magnesia. Martha!' (Martha was the general who came in by the day from the first cottage in the batch)--'Martha, put on an extra chop for the master. You aren't in love, are you, my dear?'

'Gracious, no! Who should I be in love with, mother?'

'Quite right, dear. There is no one about here with more looks than a brussels sprout. Not that I say anything against sprouts. Martha, just go and see if there are any sprouts left. We'll have them for dinner.' Edward looked at the woods across the batch, and wondered why the young fresh green of the larches and the elm samaras was so sad, and why the cry of a sheep from an upper slope was so forlorn.

'I hope, Edward,' said Mrs. Marston, 'that it won't be serious music. I think serious music interferes with the digestion. Your poor father and I went to the "Creation" on our honeymoon, and thought little of it; then we went to the "Crucifixion," and though it was very pleasant, I couldn't digest the oysters afterwards. And then, again, these clever musicians allow themselves to become so passionate, one almost thinks they are inebriated. Not flutes and cornets, they have to think of their breath, but fiddlers can wreak their feelings on the instrument without suffering for it.'

Edward laughed.

'I hope the gentleman that's coming to-day is a nice quiet one,' she went on, as if Abel were a pony. 'And I hope the lady singer is not a contralto. Contralto, to my mind,' she went on placidly, stirring her porter in preparation for a draught, 'is only another name for roaring, which is unseemly.' She drank her porter gratefully, keeping the spoon in place with one finger.

If she could have seen father and daughter as they set forth, hilarious, to superimpose tumult on the peace of God's Little Mountain, she would have been a good deal less placid.

It was restful to sit and look at her kind old face, soft and round beneath her lace cap, steeped in a peace deeper than lethargy. She was one of nature's opiates, and she administered herself unconsciously to everyone who saw much of her. Edward's father, having had an overdose, had not survived. Mrs. Marston always spoke of him as 'my poor husband who fell asleep,' as if he had dozed in a sermon. Sleep was her fetish, panacea and art. Her strongest condemnation was to call a person 'a stirring body.' She sat to-day, while preparations raged in the kitchen, placidly knitting. She always knitted--socks for Edward and shawls for herself. She had made so many shawls, and she so felt the cold, that she wore them in layers--pink, grey, white, heather mixture, and a purple cross-over.

When Martha and the friend who had come to help quarrelled shrilly, she murmured, 'Poor things! putting themselves in such a pother!' When, after a crash, Martha was heard to say, 'There's the cream-jug now! Well, break one, break three!' she only shook her head, and murmured that servants were not what they used to be. When Martha's friend's little boy dropped the urn--presented to the late Mr. Marston by a grateful congregation, and as large as a watering-can--and Martha's friend shouted, 'I'll warm your buttons!' and proceeded to do so, Mrs. Marston remained self-poised as a sun.

At last supper was set out, the cloths going in terraces according to the various heights of the tables; the tea-sets--willow and Coalport, the feather pattern, and the seaweed--looking like a china-shop; the urn, now rakishly dinted, presiding. People paid for their supper on these occasions, and expected to have as much as they could eat. Mrs. Marston had rashly told Martha that she could have what was left as a perquisite, which resulted later in stormy happenings.

* * * * *

From the nook on the hillside where the chapel stood, as Abel ran hastily down the slope--the harp jogging on his shoulders and looking like some weird demon that clung round his neck and possessed him--came a roar of sound. The brass band from Black Mountain was in possession of the platform. The golden windows shone comfortably in the cold spring evening, and Hazel ran towards them as she would have run towards the wide-flung onyx doors of faery.

They arrived breathless and panting in the graveyard, where the tombstones seemed to elbow each other outside the shining windows, looking into this cave of saffron light and rosy joy as sardonically as if they knew that those within its shelter would soon be without, shelterless in the storm of death; that those who came in so gaily by twos and threes would go out one by one without a word. Hazel peered in.

'Fine raps they're having!' she whispered. 'All the band's there, purple with pleasure, and sweating with the music like chaps haying.'

Abel looked in.

'Eh, dear,' he said, 'they're settled there for the neet. We'll ne'er get a squeak in. There's nought for Black Mountain Band'll stop at when they're elbow to elbow; they eggs each other on cruel, so they do! Your ears may be dinned and deafened for life, and you lost to the bee-keeping (for hear you must, or you'm done, with bees), but the band dunna care! There! Now they've got a hencore--that's to say, do it agen; and every time they get one of them it goes to their yeads, and they play louder.'

'Ah, but you play better,' said Hazel comfortingly; for Abel's voice had trembled, and Hazel must comfort grief wherever she found it, for grief implied weakness.

'I know I do,' he assented; 'but what can I do agen ten strong men?'

At the mountain, as in the world of art and letters, it seemed that the artist must elbow and push, and that if he did not often stop his honeyed utterances to shout his wares he would not be heard at all.

'Dunna they look funny!' said Hazel with a giggle. 'All sleepy and quiet, like smoked bees. Is that the Minister? Him by the old sleepy lady--she's had more smoke than most!'

'Where?'

'There. He's got a black coat on and a kind face, sad-like.'

'Maybe if you took an axed him, he'd marry you--when the moon falls down the chapel chimney and rabbits chase the bobtailed sheep-dog!'

'I'm not for marrying anybody. Let's go in,' said Hazel.

She took off her hat and coat, to enter more splendidly. On her head, resting softly among the coils of ruddy hair, she put a wreath of violets, which grew everywhere at the Callow; a big bunch of them was at her throat like a cameo brooch.

When she entered the band faltered, and the cornet, a fiery young man whom none could tire, wavered into silence. Edward, turning to find out what had caused this most desirable event, saw her coming up the room with the radiant fatefulness of a fairy in a dream. His heart went out to her, not only for her morning air, her vivid eyes, her coronet of youth's rare violets, but for the wistfulness that was not only in her face, but in her poise and in every movement. He felt as he would to a small bright bird that had come, greatly daring, in at his window on a stormy night. She had entered the empty room of his heart, and from this night onwards his only thought was how to keep her there.

When she went up to sing, his eyes dwelt on her. She was the most vital thing he had ever seen. The tendrils of burnished hair about her forehead and ears curled and shone with life; her eyes danced with life; her body was taut as a slim arrow ready to fly from life's bow.

Abel sat down in the middle of the platform and began to play, quite regardless of Hazel, who had to start when she could.

'Harps in heaven played for you;
Played for Christ with his eyes so blue;
Played for Peter and for Paul,
But never played for me at all!

Harps in heaven, made all of glass,
Greener than the rainy grass.
Ne'er a one but is bespoken,
And mine is broken--mine is broken!

Harps in heaven play high, play low;
In the cold, rainy wind I go
To find my harp, as green as spring—
My splintered harp without a string!'

She sang with passion. The wail of the lost was in her voice. She had not the slightest idea what the words meant (probably they meant nothing), but the sad cadence suited her emotional tone, and the ideas of loss and exile expressed her vague mistrust of the world. Edward imagined her in her blue-green dress and violet crown playing on a large glass harp in a company of angels.

'Poor child!' he thought. 'Is it mystical longing or a sense of sin that cries out in her voice?'

It was neither of those things; it was nothing that Edward could have understood at that time, though later he did. It was the grief of rainy forests, and the moan of stormy water; the muffled complaint of driven leaves; the keening--wild and universal--of life for the perishing