Читать книгу CLAYHANGER - Arnold Bennett - Страница 53

Big James’s rendering of “The Miller of the Dee” had been renowned in the Five Towns since 1852. It was classical, hallowed. It was the only possible rendering of “The Miller of the Dee.” If the greatest bass in the world had come incognito to Bursley and sung “The Miller of the Dee,” people would have said, “Ah! But ye should hear Big James sing it!” It suited Big James. The sentiments of the song were his sentiments; he expressed them with natural simplicity; but at the same time they underwent a certain refinement at his hands; for even when he sang at his loudest Big James was refined, natty, and restrained. His instinctive gentlemanliness was invincible and all-pervading. And the real beauty and enormous power of his magnificent voice saved him by its mere distinction from the charge of being finicking. The simple sound of the voice gave pleasure. And the simple production of that sound was Big James’s deepest joy. Amid all the expected loud applause the giant looked naively for Edwin’s boyish mad enthusiasm, and felt it; and was thrilled, and very glad that he had brought Edwin. As for Edwin, Edwin was humbled that he should have been so blind to what Big James was. He had always regarded Big James as a dull, decent, somewhat peculiar fellow in a dirty apron, who was his father’s foreman. He had actually talked once to Big James of the wonderful way in which Maggie and Clara sang, and Big James had been properly respectful. But the singing of Maggie and Clara was less than nothing, the crudest amateurism, compared to these public performances of Big James’s. Even the accompanying concertina was far more cleverly handled than the Clayhanger piano had ever been handled. Yes, Edwin was humbled. And he had a great wish to be able to do something brilliantly himself—he knew not what. The intoxication of the desire for glory was upon him as he sat amid those shirt-sleeved men, near the brooding Indian god, under a crawling bluish canopy of smoke, gazing absently at the legend: “As a bird is known by its note—”

After an interval, during which Mr Enoch Peake was roused more than once, a man with a Lancashire accent recited a poem entitled “The Patent Hairbrushing Machine,” the rotary hairbrush being at that time an exceedingly piquant novelty that had only been heard of in the barbers’ shops of the Five Towns, though travellers to Manchester could boast that they had sat under it. As the principle of the new machine was easily grasped, and the sensations induced by it easily imagined, the recitation had a success which was indicated by slappings of thighs and great blowings-off of mirth. But Mr Enoch Peake preserved his tranquillity throughout it, and immediately it was over he announced with haste—

“Gentlemen all, Miss Florence Simcox—or shall us say Mrs Offlow, wife of the gentleman who has just obliged—the champion female clog-dancer of the Midlands, will now oblige.”