Читать книгу The Challoners - E F Benson - Страница 5

Her slumber had slightly dishevelled Lady Sunningdale, and as she poured forth this surprising nonsense she effected various small repairs and generally made the crooked straight. Sahara, the delinquent dachshund, recalled by shrill whistling from Stella, waddled pathetically up to her, and a violent wagging of heliotrope in a flower-bed near probably indicated the locality of Suez Canal.

“And we are going to send you to London or Paris or Rome, Martin,” she continued. “And we don’t quite know which. Tell me, is your father naturally solemn, or is his solemnity beautifully assumed. I don’t think any one could really be as solemn as he appears to be. He sat next me at dinner last night and was quite fascinating. I shall have seven candlesticks on my dressing-table for the future, and he extremely reserved. Dear me, I suppose it would have been better not to have said that. But really his attitude about you is ridiculous. Do imitate him. I am sure you can.”

The corners of Martin’s mouth quivered slightly.

“I think I won’t,” he said.

“You mean you can.”

“I think, perhaps, I could,” said Martin, guardedly.

“Ah, do. Imitate our conversation last night about matters of high-and low-church. Wasn’t it dreadful? I mixed them up, and I don’t know which is which now. Why will Suez Canal always leap about in garden-beds when there is the whole lawn? Naughty! Martin, we have been talking a great deal about you. I am rather bored with you. I stop here over Sunday, and I shall go to church if your father preaches. I think that will give me more influence with him. He said he would very likely come over to tea to-day. I shall never forgive him if he does not, because I want to talk to him about you. We are not going to let you blush unseen any more, and waste your sweetness on the parsonage air. You’ve got to go and work. Men must work, though I never saw the slightest need for women to weep. I haven’t wept for years, except the other night at the ‘Götterdämmerung.’ What a charming picture of domestic life, Martin reading Greek history at the table and Mrs. Martin sobbing violently in the corner! Yes. How I run on! I suppose you really ought to go to Germany and eat cherry jam with your chicken.”

“How horrible!” said Stella. “Must one take it?”

“If you want to enter into the essential Teutonic spirit you must. You might as well hope to feel like an Anglo-Saxon without being always in a rage or playing violent games as try to be German without jam. How I hate women who play games! They are nearly as odious as men who don’t. Let us go indoors, and Martin shall play to us till tea-time. Afterwards he shall play till dinner-time.”

Lady Sunningdale surged slowly to her feet and looked helplessly about.

“Where are the dogs?” she said. “It is too tiresome. They are sure to stray into the woods, and Flints’s horrid pheasants will peck them. My darlings! Ah, there they are amid what was once begonias. It looks more like a battlefield now. How naughty! Come at once, all of you!”

There was no doubt whatever that Martin’s piano-playing was of a very remarkable order, and before he was half-way through Chopin’s first ballade, Stella, who had been accustomed to consider the piano as an instrument for the encouragement of conversation after dinner, or at the most as the introduction to the vocal part of a concert, found herself sitting bolt upright in her chair with a strange tingling excitement spreading through her and a heightened and quickened beating of the blood. She was essentially unmusical; but something in this was extraordinarily arresting; her nerves, if not her sense of melody, were at attention. As for Lady Sunningdale, she always gasped when Martin played, and did so now.

“Too heavenly,” she said at the end. “Now make me miserable. Play the rain on the roof. Tum, tum, tum, tum, don’t you know. Yes, how clever of you to guess.”

It was rather clever, for Lady Sunningdale’s rendering did not really resemble any one tune in the world more than any other.

Martin paused a moment. Then the slow, sullen drip of hot, steady rain on the roof began, as it sounded to a man who was alone in an alien land. It fell with hopeless regular iteration from grey skies, then there was the gurgle of some choked gutter, and the collected water overflowed and was spilt with a little chuckle. Very distantly on the horizon remote lightning winked and flickered, but there was as yet no sound of thunder in the dark sultriness of the afternoon, but only the endless, monotonous rhythm of the dropping rain. Then, faintly at first but with slow crescendo, there was heard the distant drums of thunder, buffeting and rumbling among the hills. Then all at once the rain grew heavier; larger drops, as if of lead, fell beating with a resonant insistance on the roof, and the voice of the storm grew angry and articulate. Suddenly with an appalling crash it burst immediately overhead, drowning for a moment the beat of the rain, and by the blaze of the simultaneous flash sea, sky, and the wave-beaten rocks of Majorca leapt into light. Then, as thunder will, it drew away, and for a time the rain was not so heavy, but again the storm swept up, and once more the chariots of God crashed on their way above them, and the wild lantern of the storm flared this way and that, and once more again after that stupendous riot in the skies the hot darkness was punctuated by the dreadful melancholy of the dripping rain. Then the storm growled itself away into the distance; a little light came back into the weeping skies; the pulse of the rain grew fainter, and again a choked gutter gurgled and overflowed. Suddenly, through some unconjectured rift in the clouds, one beam of the sun, divinely clear, shot down for a moment on them with excellent brightness. Yet it was only for a moment; again the clouds drifted up, and the rain, which for that minute had ceased, began again, dripping with hopeless regular iteration on to the roof as evening closed in, some evening far away in a land of exile beneath an alien sky.

Effusive as she usually was, and accustomed to fill any interval of silence that might conceivably occur with discursive volubility, even Lady Sunningdale was silent except for an “Oh, Martin,” which she no more than whispered. For there was that in the room which, in spite of her superficial frivolity and the dragon-fly dartings of her mind, she knew and recognized and adored, that the touch of art which makes even of things that are common and unclean gems and jewels. Stella too said nothing, but sat still, much more upright than her lolling wont, holding the arms of her chair. From where she sat she could see Martin’s profile cut with great clearness of outline against a brocaded screen of scarlet and gold that stood beyond the piano, and between the music and the musician she was dumb. Even in the desultory accidental conversation which she had had with him during the slumbers of Lady Sunningdale there had been something arresting to her in his brilliant boyish personality, and now from his finger-tips there flowed out, so it seemed to her, a personality just as brilliant, but either very mature or by the instinct of genius still boyish, but clad, as it were, in the purple of the artistic nature. There was nothing amateurish about it; and, unmusical as she was, she could not help recognising the certainty of the performance.

For a few moments after the last note had died into silence he sat silent also, with head bent over the keys. Then he looked up.

“Is that enough, Lady Sunningdale?” he asked.

“No, you angel from heaven, it is never enough!” she cried; “but play something different—something brilliant; I should expire with several hollow church-yard groans if you played that again. It makes me miserable. Play something virtuoso, and let me come closer, where I can see your hands.”

She moved to a low chair to the right of the piano.

“Brahms’s ‘Paganini Variations,’” he suggested.

“Ah, yes, do. It makes me shriek with laughter.”

Then, with the same absolute facility and certainty, with the same cleanness and perfection, suggesting, indeed, a slim poised figure, he took a header into that ridiculous theme. But out of the foam and bubble beneath his hands flowers grew, stars were scattered, and all nature went mad with dancing. But when the riot of jubilance was at its height, a tall, severe figure suddenly appeared at the French window of the drawing-room, advanced very audibly on the bare boards, and spoke sufficiently loud to be heard.

“Ah, Lady Sunningdale,” said Mr. Challoner, “how are you? And Martin wasting his time at the piano, as usual. How kind of you to let him play to you!”

Martin wasted no more time there; at the noise of interruption, before his brain had conjectured who it was, his hands stopped, the eager, active vitality died out of his face, as when a candle is blown out, and he banged a random chord in sheer rage. Then, instantaneously, he recognized the voice, and he rose quickly from the music-stool, trembling.

“Yes, wasting my time, as usual,” he said, excitedly, the artist in him suddenly struck dead, leaving just an angry, startled boy. “I must go home, Lady Sunningdale. Thank you so much for letting me play to you, and I hope I haven’t bored you. Good-bye. I have a lot of work to do.”

He closed the piano lid as he spoke, but it slipped from his fingers and shut with a bang that set all the strings jarring.

“Ah, how could you interrupt like that?” cried Lady Sunningdale to his father. “Yes, how are you, Mr. Challoner? Martin, pray begin it again. We will all sit quite quiet without stirring a finger or breathing. You are superb!”

His father sat down, distressed at Martin’s rudeness, but honestly desirous of being sympathetic.

“Dear boy, I am so sorry,” he said. “Pray, play your piece.”

“I can’t,” said Martin. “I don’t know it.”

For a moment father and son looked at each other, the one with surprise and indignation, the other in impetuous rebellion and anger.

“Lady Sunningdale asks you to play again what you were playing,” said his father, the desire to be sympathetic vanishing, the sternness deserved by this deplorable lack of manners in Martin increasing every moment.

“It is quite impossible that I should play it,” said Martin. “I couldn’t play a note of it.”

“You seemed to me to know it,” said Mr. Challoner. “Surely you have played it a hundred times at home.”

Martin was really incapable in the shock of this transition from the world which he loved and in which he was at home to this other world of decent behaviour.

“More like a thousand times,” he said and simply, and directly left the room.

There was a somewhat awkward pause. Mr. Challoner was seriously angry with his ill-behaved son; Lady Sunningdale was disgusted at being deprived of her music, and Stella, with a natural eye for drama, was immensely interested. It seemed to her there might be a good deal of drama behind this little incident. Then, luckily perhaps, Lady Sunningdale remembered that she was, so to speak on a mission to the dark ignorance of Mr. Challoner, that savage in matters of art, on behalf of Martin, and she put her disgust in her pocket.

“It was charming of you to have come over to see me,” she said to him, with her easy-natured charm. “Yes, I suppose Martin wastes a terrible lot of time at the piano when he should be doing Greek history. Demosthenes! How fascinating! Stella dearest, do see what Suez Canal is doing, and slap him. And will you tell us when tea is ready? Do you know, Mr. Challoner, Martin plays remarkably—really remarkably?”

Stella, as she was wont to do, strolled out through the window by which catastrophe had entered, leaving the two others alone.

“Yes, it is that incessant waste of time that distresses me,” said Mr. Challoner. “But the piano at the parsonage is so old that he hardly cares to play on it. But, first, I must apologise to you, Lady Sunningdale, for the extremely rude way in which Martin behaved to you. I promise you he shall make his apologies in person.”

For a moment her irritation mastered her.

“He apologise?” she cried. “It ought to be you. Dear Mr. Challoner, how rude I am! Pray forgive me. But you don’t know, you can’t know, what music is to Martin. You don’t know what divine, glorious mood in him you shattered. It was like throwing a brick at an iridescent soap-bubble. I suppose Brahms is a name to you like Smith or Jones.”

Then she recalled diplomacy again.

“So difficult to understand Brahms, is it not?” she said. “That is the fascination of it. But I assure you it is worth thinking over. Martin is wonderful. He has improved so enormously, too. He is not second-rate or third-rate, but first-rate. What have you been doing to him?”

“You mean at playing the piano?” asked Mr. Challoner, as if he had said “sweeping a crossing.”

Lady Sunningdale longed for Sahara to bite him.

“Yes, at playing the piano,” she said, swallowing her irritation again. “He ought to study, you know. He is wasting his time, that is quite true, but not at the piano. I am dreadfully impertinent, am I not? But Flints is an old friend and Martin is his nephew, and music is music, so I feel it very strongly. Of course it is only natural that you, Mr. Challoner, with your earnest nature and your serious aims and all that—you were too interesting last night, I lay awake for hours thinking over what you had said—should consider poor Martin very frivolous, but he is an artist to his finger-tips. It is his nature. Mon Dieu! what finger-tips, too! You know he was playing, and playing, I assure you, with consummate ease when you interrup—when you came in, a thing that really great pianists require to practice for months!”

“You are too kind to take such an interest in my lazy son,” said Mr. Challoner, still very stiffly—so stiffly, in fact, that Lady Sunningdale looked hastily at the fireplace, thinking he must have swallowed the tongs.

“I assure you it is not kindness that prompts me at all,” she said. “It is mere justice and mere economy. I am very economical. Ask Sunningdale. The world cannot afford to lose a talent like that. If he is like that when he is practically uneducated, to what may not he grow? Heaven knows, the world is so very stupid that we should hoard and save every grain of talent that exists. It is like what you so beautifully said to me last night about the ten talents in a napkin.”

“Surely not,” said Mr. Challoner, a faint smile breaking his gravity.

“Well, the one talent, then. I have no head for numbers. And poor Martin’s talent seems to me to be put in a very damp napkin, except now and then when somebody like me lifts up a corner of it and lets the sparkle of gold appear.”

It happened very rarely that Lady Sunningdale was stirred into such coherence and earnestness. As a rule, her multifarious little interests were like children playing “King of the Castle,” rapidly pulling each other down from their momentary pre-eminence, first one and then another perching precariously on the summit. But certainly the most long-lived “King” there was music, and Martin’s future, with the rain-storm of Chopin and the mad frolic of Brahms still in her ears, was very securely throned.

“Think me impertinent, my dear Mr. Challoner,” she went on. “Think me what you will, only do give your most serious attention to what I say. Martin devoting his fingers, his brain, the power of his extraordinary artistic nature to ancient history is a thing to make Julius Cæsar weep. The pity of it when he might be starting us all on a new chapter in music! Really I believe that to be possible. And really I am in earnest; and when, as I hope, you know me better, and see how completely scatter-brained I usually am, you will appreciate how deeply I feel this.”

“You mean that my son should devote the most useful, the most active years of his life to playing the piano?” he asked.

“Playing the piano?” she cried, feeling it was almost hopeless to try to make him understand. “That is, of course, a thread in the golden garment of music; but to take piano-playing as synonymous with music would be the same as calling the baptism of those of riper years the same thing as Christianity. Music—music, that must be his life. Flints told me this morning that you found him slack, lazy. So would you be if you had to learn scales, just as he may be—I am sure he is—at classical studies.”

“What do you propose, then?” he asked, inwardly rather rebelling at the consideration he felt somehow forced to give to her eagerness. For, in spite of her discursiveness, it was clearly impossible not to recognise the surprising quickness and intuition of her mental processes.

“Why, just what I have been telling you. First let him throw his dictionaries and histories into the fire.”

“I have an immense, a vital belief in the educating power of the classics,” said Mr. Challoner.

“For everybody? You cannot mean it! Can you tell from looking at a picture if the artist knew Latin? Or pick me a piece of Greek out of ‘Tristan und Isolde.’ In any case, Martin has spent some ten years at them, he tells me, and what is the result? He fails to pass his examinations. Whether they are a criterion of education, or whether they are an instrument, he or they have failed. He is second-rate at that, third-rate—it is all one. There is first-rate, and—the rest of the world. What is the good of turning another second-rate person into the sheepfold of the second-rate, particularly when on other lines that person has all the appearance, anyhow, of being first-rate? Well, that is what I think. How kind of you to let me talk so. Where are my angels? Is it not tea-time?”

Lady Sunningdale’s unparalleled effort in concentration of thought here broke completely down, and a whole tribe of clamouring competitors invaded the castle of her mind, dethroning the “King.”

“Yes, Martin really was playing too divinely,” was the “King’s” expiring cry. “So like a great artist, too, to bang down the piano lid when he was interrupted. Beethoven did it too, you know, and shouted, ‘I play no more to such swine.’ So delicious of him. And Helen, how is she? You must bring her over. Frank Yorkshire is dying, if not dead, to see her. He is one of those people, you know, who does nothing and appreciates so much. So infinitely better than doing a great deal rather badly, and not recognizing the first-rate when you see it. And are you going to preach on Sunday? I should have been so happy if I had been a man, to have lived in a country-place like this and just spend my days in doing a little good among these simple people. How beautiful it must be! I abhor London—so shallow. Yes. You really must preach on Sunday, Mr. Challoner; otherwise I shall stay at home and read improper novels. You would not like to have that on your conscience, would you? People are growing terribly slack about Sunday, are they not? Yes, shall we try to find some tea? Talking makes one so hungry.”