“I was ashamed of you,” he said; “I was ashamed that a son of mine could behave with such abominable3 rudeness to Lady Sunningdale and me. A few years ago, when such behaviour would have been more excusable, because you were younger, I should have given you a whipping!”
“I am sure you would,” said Martin.
Mr. Challoner’s face grew a shade paler.
“Martin, I wish you to understand once and for all,” he said, “that I will be treated by you both in public and in private with ordinary respect and courtesy.”
“I have already told you I was sorry I was rude to you,” said Martin, speaking very quickly and incisively4, with an odd little tremor5 of angry fright in his voice.{56}
“You have often told me you were sorry lately,” said his father, “and almost before the words were out of your mouth I have had occasion to find fault with you for something else.”
Martin gave a short, mirthless laugh.
“That is quite true,” he said; “I can’t do right, it appears.”
Mr. Challoner paused a moment; Martin had never before come to open words with him like this.
“What do you mean by speaking to me like that?” he asked, in a voice scarcely audible.
There was no answer.
“I have asked you a question, Martin,” he said, his voice rising suddenly.
Martin pushed back his hair with a hopeless gesture.
“What answer do you expect me to give?” he asked, impatiently. “There is no answer to such a question. You get angry with me and you frighten me. I think you do it on purpose. You have frightened me into silence all my life, now you have frightened me at last into answering you. I hate anger; it makes me sick. And you have been angry with me every day since I came home for my holidays.”
He sat down on a chair behind him with a sort of dull, indifferent acquiescence6 in whatever might happen, his face sullen7, frightened, joyless. It seemed as if it could scarcely be the same radiant boy who had played Brahms an hour ago.
There was a pause, and all the imprisoned8 longing9 for love in the father beat dismally10 at its bars, for he felt, and felt truly, that just now Martin almost hated him. It seemed terribly hard that his own daily and constant desire that Martin should grow up a useful{57} God-fearing man, industrious11 and earnest, should be the bar that separated them, yet so he knew it to be. Had he been a weak, indulgent father, one who had not implanted in him the unbending, ineradicable sense of his duty towards the son whom God had given him, how sweet might have been the human relations between them. His love for his son was the very reason why he corrected him,—that and the duty attached to his own fatherhood; and when he saw him slack, lazy, or as now wanting in courtesy and respect, it was still from sheer duty that his anger sprang. And now for the first time from Martin’s own lips he heard the effect. He frightened him, on purpose, so it appeared. Was this, then, one of the hopeless, incomprehensible puzzles that God seems sometimes to set his groping children, this fight between duty and love, in which one must lose, and be vanquished12. It seemed to him cruelly hard if this was so.
Martin felt his mouth go suddenly dry as he spoke13, but he was past really caring what might happen. His father, he knew, was about as angry with him as he could be, and he himself hated and feared his anger in the instinctive14 unreasoning way in which a grown man will fear something which can really hurt him no longer, but which he feared in childhood. That vibrating note was in his father’s voice which he associated with early failures of his own in Latin declensions, and the hint of what would have happened to him if he had been younger also carried him back to early, dreadful scenes. But finding his father did not reply, he looked up at him, and saw that the anger in his face had been extinguished like a wind-blown lamp. But all tenderness, all sense of being intimate with him{58} was so alien to Martin that he did not trouble to guess what emotion had taken the place of anger. Anger, however, was gone, taking his own fear with it, and with a certain mercilessness characteristic of youth, he deliberately15, so to speak, hit back.
“Whatever I do, you find fault with,” he said. “I try to please you, it is no use. Would it not be better if I went away? There is no good in my stopping here; I don’t suppose this sort of thing gives you any pleasure. Uncle Rupert, I am sure, would let me go and stay with him in London next week till the Long Term begins at Cambridge. That will be in another fortnight. You told me you wished me to be up there all the time. So would it not be much better if I went away?”
His father did not reply at once, but sat fingering his writing things with rather tremulous hands.
“Are you not happy at home?” he asked at length.
“No,” said Martin, shortly.
The brevity and certainty of this struck more deeply yet. If Martin a few months before had felt sick at his father’s anger, the latter was certainly the more to be pitied now.
“Martin, what is the matter between us?” he said.
“I don’t know; but it’s the same as it has always been, only it’s rather worse. I can’t please you, I suppose, and you are always down on me for something. It is to be hoped it is doing some good, because otherwise it seems,—well, rather unnecessarily unpleasant. First it was my work, then what I said to Helen, then ‘The Mill on the Floss,’ and now this. To-morrow it will be something else. There is sure to be something. I daresay I don’t understand you, and I know you{59} don’t understand me. This afternoon, for instance. Oh, it’s no use trying to explain,” he said.
“It may be the utmost use. It may make the greatest difference. I only wish that you had said to me years ago what you are saying now. I have tried to be a good father to you, but sometimes, often, I have been puzzled as to what to do. You don’t confide16 in me, you don’t tell me your joys and pleasures, and let me share them. I often hear you laughing when I am not with you. But when I am, not so often.”
Martin half shrugged17 his shoulders, as if to say, “There we are again.”
“That is quite true,” he said. “But what can I do when music, which to me is the greatest joy and pleasure in life, seems to you just a waste of time. You have often told me so. You don’t know one bit what it means to me; and as it seems to you a waste of time, how can I confide in you about a thing you don’t really approve of and of which, you will pardon me, you are absolutely ignorant? In the middle of the Brahms, or whatever it was, you come in and interrupt by saying that I am wasting my time, as usual. I might as well come in in the middle of prayers and say you were wasting—there I go again. I am sorry. That will show you how hopeless it all is.”
Mr. Challoner was silent a moment, really too much pained to speak. But he was wise enough to recognise that to say anything just then would be to effectually stop the only confidence that Martin had reposed18 in him for years.
“Well, Martin,” he said, after a moment.
“Ah, it’s no use,” he said. “Even at the very instant when I am consciously trying to be careful, I{60} say something like that, and you are shocked at it. But I meant it: it exactly expressed what I meant. Music is to me like that. You never thought that possible. All these years you have been thinking that I was very fond of music—just that—and wasted a great deal of time at the piano. Whereas it seems to me that I am wasting time when I am reading ‘Thucydides.’”
“That is what Lady Sunningdale said. She talked to me about it after you went away. You know her well, do you not?”
“Yes; she has been tremendously kind to me.”
His father rose.
“You must go now, dear lad,” he said. “I have got some work to do before to-morrow. And let us try, both of us, to find more of a friend in each other. I shall never have another son, and you will never have another father. It would be very sad, would it not, if we did not, each of us, make the best of that relation?”
There came into his beautiful brown eyes the shadow of tears, and Martin wondered.
“I will try, father,” he said.
Mr. Challoner did not at once begin the work which he wished to finish before bedtime when Martin left him, but sat with his head resting on his hand, thinking very deeply. He was much troubled and perplexed19, and his future line of action, usually so clear to him, so precisely20 indicated by his sense of duty, and, to do him justice, so undeviatingly followed, was now very misty21 and ill defined. Hitherto he had never entertained any serious doubts that he was not doing the best possible for Martin, both in always correcting and admonishing22 when he seemed to be idle, even in trifles where some small carelessness on his part indicated{61} the danger of his falling into slack or slovenly23 habits, and in his convictions that school and college education in classical subjects was the best possible method of training and developing his mind. He did not in the least even now, with regard to the latter, think it certain that he was mistaken, but it had been brought home to him very clearly in the last twenty-four hours that other people thought he was. For his brother’s opinion he always felt a considerable respect, but for Lady Sunningdale’s, though he wondered at it, he could not help feeling more. A dozen times yesterday at dinner, a dozen times more this afternoon, he had asked himself how the observations of a woman who really appeared to be scarcely capable of consecutive24 orderly thought could be worth consideration, but as often some plump grain of solid sense, showing acuteness and perception amid the husks and chaff25, answered the question. He himself was conscious of not being quite at his ease with her, but he could not help admiring her intense vitality26, her speed, her busy, acute inquisitiveness27. And it was she who hailed Martin, poor, desultory28, idle Martin, as a genius.
Suppose he took their advice and let his son go free into that world of which he himself knew so little, of which, however, he had so abundant a mistrust, how dangerous and hazardous29 an experiment! Martin, with his slackness, his ineradicable tendency to what was easy and pleasant; Martin, above all, with this apparently30 so great musical gift, unsuspected by his father, but adored by others, was exactly the sort of boy to be petted, spoiled, ruined by the careless, highly-coloured butterflies which Mr. Challoner believed to dance there all day in the sun. To them music, painting,{62} drama, the visible arts, were ends in themselves, the object being enjoyment31, while to him such a doctrine32 savoured almost of profanity. To him painting, sculpture, music, were recreations which might at intervals33 be innocently allowed to the earnest worker, but even in such times of refreshment34 the Christian35 would look for something more, and find in beauty that which should lead his thoughts to the Fountain and Creator of it. Such, however, was not the view, as he was aware, of the world of Art into which he was invited to let Martin plunge36; to them music was sweet sound and led the soul nowhere but to music; painting was line and colour; sculpture was form, and the end and fulfilment and consummation of it was perfection of form and the appreciation37 thereof. About this latter branch of art he had never been able to come to a definite conclusion. Certainly studies in the nude38 seemed to him to be things dangerous, if not inherently sensual.
“All Art is perfectly39 useless.” He remembered having read that sentence in some book of Martin’s which he had found lying about. A rapid glance at it on that occasion had justified40 its confiscation41 and a few words to Martin on the subject. But that sentence occurred to him again now, for there in half a line was expressed tritely42 and unmistakeably the exact opposite of what he held to be the truth. All Art, he would have said himself, that does not—apart from the natural and innocent enjoyment of it—raise and elevate the soul, is not art at all. As a corollary, the highest form of painting in his eyes was religious painting, because it led by a direct road to its goal, the highest form of music, religious music. These two{63} were wholly laudable; Raphael, so to speak, shook hands with missionaries43, and Handel took Luther’s arm. But at the other end of the line of artists came those who, however consummate44 was their art, treated of themes which in themselves were dangerous, or, worst of all, who by clothing sin in melodious45 and beautiful garb46 rendered it, even if not attractive, at any rate more venial47. He himself, as has been seen, was not musical; but when a few weeks ago he had found himself in London with Martin, and with the eminently48 laudable desire of getting more into sympathy with his son, had taken him to see “Tannh?user” at the opera, the evening had not been wholly a success, for the curtain had not risen ten minutes on Venusberg before his incredulous horror had deepened into certainty, and he had got swiftly up and peremptorily49 ordered Martin to leave also. And Wagner was hustled50 by him into the outer darkness to gnash teeth in company with Zola, George Eliot, and Titian.
Here, then, is stated in brief, so that the real and soul-searching difficulty in his course of action with regard to Martin’s future may be better understood, the attitude of Mr. Challoner towards Art. With the whole force of his strenuous51, upright soul he believed that one thing in the world alone mattered, and that art, science, knowledge were at the best but by-paths that led on to the great high-road of the Gospel. In that they contained many things of beauty the worker was allowed to wander in their coolnesses at times for the refreshment of his weariness, but all the beauty he found there was but the sign-post pointing him back to the high-road. Other by-paths were there also, beautiful as these, if one looked on the outward form{64} only, but instinct with danger, and of an evil glitter. Such led through tangled52 gardens of vivid meretricious53 gaudiness54, but if one stooped to pluck those poisonous flowers, they were vitriol to the fingers, and the unnameable beasts of darkness, coiled among the leaves, alert and ready to spring, would fasten on the hand.
Martin had left his father’s presence that evening with an idea that was really quite new to him. The truism, in fact, that a father loved his son had suddenly emerged from those dull ranks and taken its place in the far more notable array of truths. For the interview which had begun in a manner so dismally familiar to him, except that in this case it was set one or two octaves higher than usual, had ended in a manner unexpected and unprecedented55. Never before had he known, though he had vaguely56 taken it for granted, that his father really cared for intimacy57 and love in his relations with himself. At any rate he had never seen the fact bare and exposed, for whenever it had shewn itself it had always been wrapped up, so to speak, in the memory of some rebuke58. But to-night it had flashed on him; he had seen through these coverings, and a heart of gold shone and beat within. And with the natural instinctive generosity59 of youth he himself was quick to respond; and though his habitual60 reserve and shyness with his father could not at once be dispersed61, so as to allow him any effusive62 rejoinder, his response had been very genuine, and his resolve, as he left the study, to explore and develop the reef which had suddenly gleamed in what, to be frank, he had considered hard unyielding rock, very vivid. With this in his head, ready to be matured by{65} the unconscious processes of sleep, during which the mind, though the senses lie dormant63, goes on delving64 in its difficulties and groping for light, he went up to bed.
As he undressed, his mind flashed quickly backward and forward through the events of the day; for a moment a smile uncurled his lips as he thought of some extravagance or incoherence of Lady Sunningdale’s, the next his mouth was pursed again into a low whistle of some half-dozen bars of a tune65 that ran in his head. That Brahms,—to which had come so fruitful an interruption,—what a delicious piece of boisterous66 irresponsibility! It had infected Stella Plympton, too; he had known that from a glance at her wide eyes and half-opened mouth when he began. Then suddenly, just before the interruption came, she had given one heavenly ripple67 of unconscious laughter at some surprising piece of virtuosité. Yes, she understood, understood probably better than Lady Sunningdale, who always gasped69. The gasp68, it is true, was a great compliment to his nimble fingers, but it should be as impossible to think of fingers or nimbleness, when that was going on, as to think about the chemical constituents70 of water when one is satisfying a noble thirst. Then came that dreadful scene in the study, with its utterly71 unexpected end. Well, he would try, anyhow.
The moon was shining outside against the blind with an amazing white brilliance72, and as he undressed he went across to the open window and let the flood of cool light shine in. It made the yellow flame of his bedroom candle look insufferably vulgar and tawdry, and blowing it out he again crossed to the window and{66} sat there while the stirring of some fragrant73 breeze sent its soft ripples74 against his skin. As Lady Sunningdale had said, he was a gourmet75 in sensations, and the exquisiteness77 of the sleeping summer night, peopled with ivory lights and ebony shadows, and the great velvet78 vault79 of the sky pricked80 by the thin, remote fires of innumerable stars and lit by that glorious sexless flame of the moon smote81 him with a sudden pang82 of pleasure. Somehow all this must be translatable into music, the stars scattered83 over the sky were likely staccato notes of strings84 across the great tune of the moonshine; it was the first slow movement in the great symphony of night and day. At sunrise the scherzo would laugh and dance down the breeze of morning with a thousand quivering leaves and a million nodding flowers, trees waving, birds among the branches. Noonday would combine all the powers of light and air into a third movement of intolerable splendour....
He got up from where he sat, and stretched his arms wide, as if to embrace it all. Then half-laughing at himself, he dived into his nightshirt, leaving the rest of his clothes in a heap on the floor, and, as his custom always was, laid his face on his hand and fell asleep.
It was still early when he woke, but the sun was up, and even as he had anticipated before he went to sleep, the slow movement of the moon had given place to a dancing, rapturous scherzo. A breeze stirred with a short sweeping85 rhythm among the trees, birds chirped86 in the leafy temples, and the sparkle of the early sunlight gave an inimitable briskness87 to the young day. Then with a sudden ebb88 in the full tide of his joy of life came the thought that it was Sunday, a day in that house neither of rest or gladness in his view, but{67} one much taken up with lengthy89 unmusical services, in which there was a great deal of singing, with intervals in which no amusement could be indulged in.
He walked from his window back to his bed and looked at his watch. It was still not yet seven, but the “land of counterpane” was no longer desirable or even possible, and putting on coat and trousers he went quietly downstairs and out across the lawn into the fields beyond, where a bathing-place had been scooped90 out of the river-bed. Till breakfast, at any rate,—still two hours away,—he need put no restraint on the flood of vitality and joy that ran this morning in spate91 through him and this beautiful world. There were two hours of it, with the cool shock of the racing92 water, the caress93 of the warm wind, the sense of being alone, and young, and out-of-doors. Pagan it might be, but irresistibly94 delightful95.
Then suddenly, while still thrilling with these joys, the mellow96 tones of the church-bell struck across the staccato sounds of life, and all at once the scene with his father the evening before and his own resolve to try to please him flashed into his mind. The bell, he knew, must be for the early celebration in the parish-church, and he had still twenty minutes, enough, if he was quick, in which to dress in the prescribed Sunday garb (though why black was suitable to Sunday he had long given up trying to guess, leaving it to rot away among the unconjecturable riddles97 of life), and, a thing which pleased his father so intensely, play the hymn98 on the melancholy99 one-manualled organ, the curious quavering tones of which formed so remarkable100 a contrast to the nasal notes of village voices. So with something of a sigh for his renunciation of the{68} river-bank, he hurried back home, and before the bell had ceased ringing passed through the church-yard where yew-trees of noble growth looked down upon the horrors of the modern stone-mason with his “chaste” designs and “handsome” crosses into the grey, cool church.
To judge by the interior it is probable that the mouth which Lady Sunningdale so much admired in the vicar and the Bishop102 of Tavistock was a low-church mouth, for Mr. Challoner at any rate did not attempt to make any appeal to the souls of his parishioners by means of the senses. Two brass103 flower-vases, of that curiously104 feeble design that somehow suggests at once low-church ecclesiasticism, stood on the altar, over which a flood of mauve and magenta105 light poured in through misshapen figures of apostles and prophets in the east window. In one transept stood the organ to which Martin directed his steps, the pipes of which, framed in a wooden border ornamented106 with fretsaw work, were painted white with a scroll107 of red pattern in line embellishing108 their top ends. Behind the organ-bench was a red plush curtain with golden fleurs-de-lys stamped on it, to screen the person of the organist from the eyes of the congregation. The seats for the people, who were thinly scattered over the church, were faced eastwards109, and were made of shiny, varnished110 pitch-pine, while the floor of the aisles111 and accesses was tiled with a cheerful ecclesiastical pattern in violent blue and Indian red, and pierced here and there with gratings of cast-iron work through which, in winter, came the hot, stale blasts from the warming apparatus112. A black iron stove stood near the font at the west end of the church, and rows of somewhat{69} dilapidated rush-bottomed chairs denoted the place allotted113 to the school-children.
To Martin, who for the last two months had been accustomed to the grey dimness and carved spaciousness114 of King’s Chapel115, the first sight of these staring crudenesses came with a shock of almost physical repulsion. Why had it been done? What did it all mean? What emotions were the ill-coloured, badly designed windows intended to arouse or what was the affinity116 between pitch-pine and worship? Impressionable and impatient as he always was, he nearly turned back after he had opened the door and was confronted by this half-forgotten tawdry brilliance. Then the motive117 which had made him forsake118 the cool riverside, the desire to please his father, prevailed.
The organ was blown by a small boy with a highly polished face, who stood directly by the player’s left-hand, and, since the bellows119 were not powerful enough to supply the lungs of the organ, unless plied120 by an energetic arm, was often blown too, and breathed heavily into the organist’s ear. It was still a few minutes to eight when Martin came in, and found the village school-master preparing to begin that series of somewhat elementary harmonies to which is given the vague title of a “voluntary.” But he slid quickly off the seat with a smile of welcome to the other, and in a searching whisper told him what the hymns121 were going to be, and what “Kyrie” would be sung between the commandments. This later information was given with a self-depreciatory blush, for Mr. Milton was not at all mute and inglorious, but composed chants and hymn-tunes122 with so many accidentals that the choir123 quailed124 before them, and garnished125 them with accidents.{70}
Martin glanced at the organ-stops: there were “Bourdon” (which sounded as if you were playing pedals when you were not, and was much in request), “Open Diapason,” “Flute,” “Cor Anglais,” and a few others of more doubtful import. He added “Tremolo” to certain other soft stops, in curiosity as to what it meant, and began the first bar of the prelude126 to “Lohengrin.” But as “Tremolo” seemed to convert other sounds into a distant bleating127 of sheep, he hastily put it in. Five minutes later the vestry-door in the transept opposite opened and the curate, followed by his father, came out. Mr. Challoner looked up as he entered, saw Martin’s head above the curtains of the organ, and a sudden warm tide of thankfulness and love glowed in his heart. Surely the dear lad could not go very far wrong, if he sought strength here.
The worshippers were but few, and it was not long before Martin was out in the sunshine again, but with all the joy and exhilaration of the earlier hour by the river driven out of him. Like most very emotional people, religion was as essential to him as breathing, but in him it was a natural, child-like religion that springs primarily from the huge enjoyment of the beautiful things in this world, for which he had to thank somebody. And though it would be impossible to say that it was not real to him, yet a London fog, so to speak, would make a pagan of him for the time being. And now, though he did believe in the truth and reality of the service in which he had taken part, the deadly ugliness of the church, the melancholy voices, Mr. Milton’s “Kyrie” ten times repeated, the intolerable voices singing absurd tunes had risen like a London fog between him and it. The service had passed over his{71} head like a flight of birds unseen in this dreadful atmosphere, he had heard only the rustle128 of their wings. But what he had been conscious of with every jarred fibre in his being was the gross material ugliness of the sights and sounds of this last hour. Why should “throne” be allowed to rhyme with “join” in sacred subjects, whereas it would be admissible in no other class of poetry? Was it because anything was good enough in a hymn, or because those who were responsible for the “form” of English worship were entirely129 without any sense of “form” themselves? Or why in church allow music that would be tolerated nowhere else? Or why have windows in the house of God which for colouring and design could only be paralleled in the worst type of suburban130 villa101? Pitch-pine seats, tiles again only to be found in the fireplaces of villas131 and the aisles of churches! Often before, though never perhaps so vividly132, had the ugliness of Protestantism struck him; often before, though never perhaps so insistently133, had his nature, wishing to aspire134, demanded beauty as its ladder. Most of all here was beauty necessary, for the sublimest135 act of all was here performed, the worship and praise of God, the sacramental approach to him. Even as a little thing, a little rhythmical136 noise, may utterly distract a man’s attention from a subject which requires concentration, so this ambient ugliness utterly distracted Martin. Only ugliness was no little thing to him.
He had not long to wait for his father, for he followed him almost immediately out of the vestry, and his face lit up with extraordinary pleasure when he saw that Martin had waited for him. Here was his highest joy: to see his children with him in that{72} divine act, and find them caring, lingering for him, and the consciousness of that compact the night before was as vividly present in his mind as it had been in Martin’s when he left the delights of the river-bank at the sound of the church-bell.
“Dear lad,” he said, “the first thing I saw when I came into church was you, and I was so thankful.”
Then with the active desire to get into Martin’s sympathy he went on.
“And what was that beautiful, exquisite76 tune you played us before service?”
Martin brightened.
“Ah, I am glad you liked it,” he said, cordially. “Is it not beautiful? It was Wagner,—the beginning of the overture137 to ‘Lohengrin.’”
Mr. Challoner’s face grew suddenly grave. Wagner was identified with “Tannh?user” to him.
“Certainly it was most, beautiful,” he said; “but do you think it is quite—quite suitable to play something from an opera in church, before the Holy Communion, too? One wants everything, is it not so, to be of the highest?”
Mr. Milton’s “Kyrie” occurred to Martin, but he dismissed it.
“I don’t see why one shouldn’t play an opera overture, father,” he said. “Does not the fact that it is beautiful make it suitable?”
“But the associations of it?” said his father.
“I don’t suppose anybody knew what it was except me,” said Martin. “I am sorry if you think I should not have played it. But really I had no time to think. I was nearly late, and on the organ there was only a book of dreadful extracts, chiefly by organists. But I{73} will play something definitely sacred at the eleven o’clock service. That is if you would like me to play again.”
“Thank you, dear lad, thank you. Ah, what a lovely morning! Look at the hills. ‘I will lift up mine eyes to the hills.’ How wonderful the appreciation of natural beauty in the Psalms138 is,—‘Sweeter also than honey,’—so many of David’s similes139 are drawn140 from ordinary, every-day sensations, but lifted up, ennobled, dedicated141. But how was it you were nearly late? I looked into your room before I started for church and found you had already gone!”
“I went down to bathe,” said Martin; “in fact, it was only the bell beginning that reminded me there was service at eight.”
Mr. Challoner looked at him a moment with a sort of appeal.
“But, dear Martin,” he said, “you did not come without preparation?”
“I am afraid I did,” said Martin, and the joy of his waking hours dropped utterly dead, while the hopelessness of the compact of the evening before rose close in front of him.
They took a turn up and down the lawn before going in, and his father very gently, but very firmly impressed on him the positive sin of his omission142. His voice trembled with the earnestness of his feeling, for to him the danger of coming to the Communion unprepared was as vital as the need for coming. He hated to say what he felt he must say; it was so soon after their compact to try to understand one another, to get on without perpetual correction and admonishment143. But this could not be left unsaid. Once it occurred{74} to Martin to tell him the truth, to say, “I came in order to please you; otherwise I should not,” but the impulse passed. There was no need to give his father such pain as that; and he merely assented145 dully where assent144 was needed, said, “Yes, I see,” at intervals, and gave the promise required. But it was a dreary146 beginning to the day.
The Chartries pew, the only family pew remaining in the church, was well attended at the eleven o’clock service, Lady Sunningdale being, as usual, the brightest object present; indeed, among the rest of the congregation she resembled a bird of paradise which had by mistake found its way into a colony of sparrows. But what this violation147 of her habits in appearing so long before lunch had cost her none but her maid knew. However, there she was, and the colours of the spectroscope blossomed together in her hat, and in a fit of absence of mind, to which she was prone148, she as nearly as possible put up a pink sunshade, forgetting where she was, to shield her from the sun which was shining through a mauve-coloured saint on to the middle of her face in a manner which she felt to be aggressive and probably unbecoming. So she moved to behind the shadow of a neighbouring pillar, from where, looking at the organ, she could see who sat there.
“Too heavenly,” she said in a shrill149 whisper to Stella Plympton. “Martin is at the organ. I’m afraid he won’t play the Brahms, though. What a pity it is not Good Friday; he would be sure to give us the Charfreitag music.”
That, however, was not to be, and instead the familiar strains of “O Rest in the Lord” were the prelude to which six choir-boys, four choir men, including{75} the carpenter, who in a fluty falsetto sang a steady third below the trebles and believed it to be alto, advanced to their places. But Martin, in Lady Sunningdale’s opinion, could do no wrong, and again she whispered shrilly150 to Stella,—
“Is he not wonderful? That tune is exactly like the stained glass. It is absolutely the ‘air’ of the place. Look, there is Helen Challoner sitting with the choir. Is she not a dream? Tell Frank to look at her.”
But this was unnecessary, as Frank Yorkshire was already looking. He was a rather stout151, very pleasant-faced young man of about thirty, with smooth flaxen hair, rather prominent blue eyes, and an expression of extraordinary amiability152, which his character fully153 endorsed154. He was remarkably155 adaptable156, and while he would willingly talk flippancies with Lady Sunningdale, his tenantry adored him for his friendliness157 and his great common sense if the baby was ill or the pig would not put on flesh. In other respects he was a Baron158 of the realm, immensely wealthy, and unmarried, so that he was perpetually drenched159 by showers of eligible160 girls, whom aspiring161 mothers hurled162 at his head. These he returned with thanks, uninjured.
He had, in fact, many pleasant qualities and one notable one, which Lady Sunningdale had already mentioned as being characteristic of him, namely, his undeviating pursuit of the first-rate. It was this which turned a character that would otherwise have been rather materialistic163 into something of an idealist, and supplied a sort of religion to a mind which otherwise, an extremely rare phenomenon, was completely atheistic164, not with an atheism165 into which he had drifted from{76} carelessness or insouciance166, but with one that sprang from a reasoned and clear conviction that there could not possibly be any God whatever. On all other matters he had an open mind and was extremely willing to adopt any opinion that seemed to him reasonable, but on this one point he was hopelessly bigoted167. This reasonableness and willingness to be convinced had led people to suppose that he was weak. But this was not in the least true, he was only fair. Another quality, and a fine one, was his also: he was practically unacquainted with fear, either physical or moral, and would, had he lived in those uncongenial times, have gone as cheerfully to the stake for his entire absence of religious beliefs as he would now blandly168 uphold his abhorrence169 of sport on the ground of cruelty to animals in a roomful of hunting-men. His faculty170 of reverence171 finally, of which he possessed172 a considerable measure, he exercised entirely over the talents of other people, on whatever line they ran. He knelt, for instance, at the shrine173 of Lady Sunningdale’s acute perceptions, he hung up votive offerings to Martin’s music, he even, at this moment, bowed the knee before the village carpenter, whose talent for singing the wrong note was of that instinctive and unerring quality which approaches genius.
He was a great friend of Martin’s. Helen he only knew slightly. And, after service, desultory conversation in the church-yard ended in the twins going back to lunch at Chartries. Though Mr. Challoner was opposed on principle to anything, however remote, connected with festivity taking place on Sunday, he raised no objection, merely reminded Helen that her Sunday-school class met at three. Lord Yorkshire, strolling by{77} her, thought he heard a nuance174 of impatience175 in her assent, and his question had a touch of insincerity about it.
“Don’t you find that charming?” he asked. “I think there can be nothing so interesting as helping176 to form a child’s mind. It is so plastic—like modelling clay. You can mould it into any shape you choose!”
Helen glanced quickly at him.
“Do you really want to know if I find it charming?” she asked.
“Immensely.”
“I detest177 it. I don’t think they have any minds to mould. Why should one think they have? But they have shiny faces, and they fidget. And I point out Ur of the Chaldees on the map.”
He laughed.
“I suppose the chances are in favour of their not having minds, as you say,” he remarked. “But I had to allow for your delighting in it, when I started the subject. What do they think about then? Do they just chew their way through life like cows? You know some people don’t chew enough. I expect Martin doesn’t. But that is why he is so extraordinary.” There was intention in this, and it succeeded. Any one who admired Martin had found a short cut to his sister’s favour.
“Ah, Martin never chews,” she said. “I don’t think he ever thinks; he just—just blazes. Now, do tell me, Lord Yorkshire, because you know him well. He isn’t stupid, is he, because he can’t or doesn’t pass examinations?”
“He couldn’t conceivably be stupid, any more than I could be a Red Indian. But it is by a misguided ingenuity{78} that he contrives178 not to pass examinations. It is hardly worth while doing it.”
“Ah, do tell him that,” said Helen. “I think you have influence with him.”
“What on earth makes you think that?”
“He quotes you.”
“Are you sure you do not mean he mimics179 me? He does it to my face, too, so why not behind my back. It is quite admirable. Ah, I see he has shown you a specimen180. Don’t I talk wonderfully like him? But influence,—one might as well sit down and think how to influence a flash of lightning.”
Helen considered this a moment.
“Well, there are such things as lightning-conductors,” she said. “Besides, there are times when Martin isn’t the least like a flash of lightning. He is often like a stagnant181 pool.”
“I don’t recognise that,” said Frank.
“No, you probably have never seen it.”
They had passed out of the narrow path from the church-yard during this, and their way lying across the open fields, Lady Sunningdale, as her habit was, annexed182 Frank as well as Martin.
“Dear Helen, it is too bad,” she said as she man?uvred. “You will have to go back immediately after lunch. What is a Sunday-school? It sounds so beautiful, like a hymn tune. Yes, I adore church-music; really there is nothing like it. And it was so wonderful of you to play the lucubrations of Mendelssohn, Martin.”
“Yes, I felt that, too,” said Frank, in his low, slow voice. “There was a stained-glass window just opposite me which was exactly like the tone-colour of Mendelssohn.{79} A figure which I take to have been a prophet, probably minor183, in jewelled slippers184 was directing an enamoured gaze towards a pink town,—which may or may not have been the New Jerusalem. I always wonder where artists in stained-glass get their botany from. Nameless herbs enveloped185 the feet of the minor prophet.”
Martin laughed.
“I know that window,” he said. “When I was little it used to come into my nightmares. Now it has become a daymare. I don’t know which is worst.”
Lady Sunningdale sighed.
“Church is very fatiguing,” she said. “I had quite forgotten how tiring it was. I shall not go any more for a year or two. Dear me, these tiresome186 shoes! And my darlings wanted to come with me. But that isn’t allowed, is it? It is only in Scotland that dogs go to church, I think. I went to Scotland once. I can’t bear the Scotch187. They are so plain and so extremely truthful188. There is nothing in the least unexpected about them. Dear me, there’s the other shoe. Yes, thank you, Martin. And they use a silly slang instead of talking English. Martin, I had a talk to your father yesterday about you. I really think I made an impression.”
“Telling the truth produces a very marked type of face,” said Frank, “and in later life mutton-chop whiskers. That is why one always engages butlers with mutton-chop whiskers. They are sure to be reliable. Truth-telling is quite incurable189, and so has a certain claim to distinction.”
Martin listened to this with something of the air of a{80} parrot “taking notice,” and then turned to Lady Sunningdale.
“Do you really mean that?” he asked, eagerly.
“Yes, of course I do. It seemed news to him that playing the piano could be taken seriously. And he took me seriously. There are my treasures come to meet me. I am so hungry. Don’t jump up, Suez Canal. My darlings!”
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1
neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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abominable
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| adj.可厌的，令人憎恶的 | |
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incisively
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| adv.敏锐地，激烈地 | |
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tremor
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| n.震动，颤动，战栗，兴奋，地震 | |
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acquiescence
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| n.默许；顺从 | |
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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longing
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| n.（for）渴望 | |
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dismally
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| adv.阴暗地，沉闷地 | |
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industrious
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| adj.勤劳的，刻苦的，奋发的 | |
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vanquished
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| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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14
instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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15
deliberately
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| adv.审慎地；蓄意地；故意地 | |
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confide
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| v.向某人吐露秘密 | |
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shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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18
reposed
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| v.将（手臂等）靠在某人（某物）上( repose的过去式和过去分词 ) | |
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19
perplexed
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| adj.不知所措的 | |
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20
precisely
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| adv.恰好，正好，精确地，细致地 | |
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misty
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| adj.雾蒙蒙的，有雾的 | |
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22
admonishing
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| v.劝告( admonish的现在分词 )；训诫；（温和地）责备；轻责 | |
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23
slovenly
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| adj.懒散的，不整齐的，邋遢的 | |
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consecutive
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| adj.连续的，联贯的，始终一贯的 | |
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25
chaff
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| v.取笑，嘲笑；n.谷壳 | |
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vitality
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| n.活力，生命力，效力 | |
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inquisitiveness
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| 好奇，求知欲 | |
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28
desultory
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| adj.散漫的，无方法的 | |
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29
hazardous
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| adj.(有)危险的，冒险的；碰运气的 | |
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30
apparently
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| adv.显然地；表面上，似乎 | |
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31
enjoyment
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| n.乐趣；享有；享用 | |
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doctrine
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| n.教义；主义；学说 | |
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intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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34
refreshment
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| n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点 | |
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35
Christian
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| adj.基督教徒的；n.基督教徒 | |
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36
plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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38
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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39
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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40
justified
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| a.正当的，有理的 | |
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41
confiscation
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| n. 没收, 充公, 征收 | |
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42
tritely
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| adv.平凡地，陈腐地 | |
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43
missionaries
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| n.传教士( missionary的名词复数 ) | |
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44
consummate
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| adj.完美的；v.成婚；使完美 [反]baffle | |
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45
melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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46
garb
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| n.服装，装束 | |
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venial
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| adj.可宽恕的；轻微的 | |
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48
eminently
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| adv.突出地；显著地；不寻常地 | |
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49
peremptorily
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| adv.紧急地，不容分说地，专横地 | |
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50
hustled
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| 催促（hustle的过去式与过去分词形式） | |
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51
strenuous
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| adj.奋发的，使劲的；紧张的；热烈的，狂热的 | |
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52
tangled
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| adj. 纠缠的，紊乱的 动词tangle的过去式和过去分词 | |
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53
meretricious
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| adj.华而不实的，俗艳的 | |
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54
gaudiness
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| n.华美，俗丽的美 | |
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55
unprecedented
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| adj.无前例的，新奇的 | |
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56
vaguely
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| adv.含糊地，暖昧地 | |
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57
intimacy
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| n.熟悉，亲密，密切关系，亲昵的言行 | |
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58
rebuke
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| v.指责，非难，斥责 [反]praise | |
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59
generosity
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| n.大度，慷慨，慷慨的行为 | |
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60
habitual
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| adj.习惯性的；通常的，惯常的 | |
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61
dispersed
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| adj. 被驱散的, 被分散的, 散布的 | |
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effusive
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| adj.热情洋溢的；感情(过多)流露的 | |
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63
dormant
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| adj.暂停活动的；休眠的；潜伏的 | |
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64
delving
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| v.深入探究，钻研( delve的现在分词 ) | |
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65
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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66
boisterous
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| adj.喧闹的，欢闹的 | |
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67
ripple
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| n.涟波，涟漪，波纹，粗钢梳；vt.使...起涟漪，使起波纹； vi.呈波浪状，起伏前进 | |
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68
gasp
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| n.喘息，气喘；v.喘息；气吁吁他说 | |
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gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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70
constituents
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| n.选民( constituent的名词复数 )；成分；构成部分；要素 | |
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71
utterly
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| adv.完全地，绝对地 | |
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72
brilliance
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| n.光辉，辉煌，壮丽，（卓越的）才华，才智 | |
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fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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74
ripples
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| 逐渐扩散的感觉( ripple的名词复数 ) | |
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75
gourmet
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| n.食物品尝家；adj.出于美食家之手的 | |
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76
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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77
exquisiteness
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78
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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79
vault
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| n.拱形圆顶，地窖，地下室 | |
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80
pricked
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| 刺，扎，戳( prick的过去式和过去分词 )； 刺伤； 刺痛； 使剧痛 | |
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81
smote
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| v.猛打，重击，打击( smite的过去式 ) | |
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82
pang
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| n.剧痛，悲痛，苦闷 | |
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83
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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84
strings
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| n.弦 | |
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85
sweeping
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| adj.范围广大的，一扫无遗的 | |
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86
chirped
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| 鸟叫，虫鸣( chirp的过去式 ) | |
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briskness
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| n.敏捷，活泼 | |
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88
ebb
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| vi.衰退，减退；n.处于低潮，处于衰退状态 | |
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89
lengthy
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| adj.漫长的，冗长的 | |
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90
scooped
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| v.抢先报道( scoop的过去式和过去分词 )；（敏捷地）抱起；抢先获得；用铲[勺]等挖（洞等） | |
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91
spate
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| n.泛滥，洪水，突然的一阵 | |
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92
racing
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| n.竞赛，赛马；adj.竞赛用的，赛马用的 | |
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93
caress
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| vt./n.爱抚，抚摸 | |
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94
irresistibly
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| adv.无法抵抗地，不能自持地；极为诱惑人地 | |
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95
delightful
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| adj.令人高兴的，使人快乐的 | |
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96
mellow
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| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
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97
riddles
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| n.谜（语）( riddle的名词复数 )；猜不透的难题，难解之谜 | |
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98
hymn
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| n.赞美诗，圣歌，颂歌 | |
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99
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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100
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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101
villa
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| n.别墅，城郊小屋 | |
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102
bishop
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| n.主教，（国际象棋）象 | |
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103
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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104
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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105
magenta
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| n..紫红色（的染料）；adj.紫红色的 | |
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106
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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107
scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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108
embellishing
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| v.美化( embellish的现在分词 )；装饰；修饰；润色 | |
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109
eastwards
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| adj.向东方（的），朝东（的）；n.向东的方向 | |
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110
varnished
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| 浸渍过的，涂漆的 | |
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111
aisles
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| n. (席位间的)通道, 侧廊 | |
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112
apparatus
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| n.装置，器械；器具，设备 | |
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113
allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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114
spaciousness
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| n.宽敞 | |
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115
chapel
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| n.小教堂，殡仪馆 | |
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116
affinity
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| n.亲和力，密切关系 | |
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117
motive
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| n.动机，目的；adv.发动的，运动的 | |
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118
forsake
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| vt.遗弃，抛弃；舍弃，放弃 | |
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119
bellows
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| n.风箱；发出吼叫声，咆哮（尤指因痛苦）( bellow的名词复数 )；（愤怒地）说出（某事），大叫v.发出吼叫声，咆哮（尤指因痛苦）( bellow的第三人称单数 )；（愤怒地）说出（某事），大叫 | |
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120
plied
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| v.使用（工具）( ply的过去式和过去分词 )；经常供应（食物、饮料）；固定往来；经营生意 | |
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121
hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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122
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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123
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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124
quailed
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| 害怕，发抖，畏缩( quail的过去式和过去分词 ) | |
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125
garnished
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| v.给（上餐桌的食物）加装饰( garnish的过去式和过去分词 ) | |
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126
prelude
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| n.序言，前兆，序曲 | |
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127
bleating
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| v.（羊，小牛）叫( bleat的现在分词 )；哭诉；发出羊叫似的声音；轻声诉说 | |
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128
rustle
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| v.沙沙作响；偷盗(牛、马等)；n.沙沙声声 | |
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129
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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130
suburban
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| adj.城郊的，在郊区的 | |
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131
villas
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| 别墅，公馆( villa的名词复数 )； （城郊）住宅 | |
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132
vividly
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| adv.清楚地，鲜明地，生动地 | |
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133
insistently
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| ad.坚持地 | |
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134
aspire
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| vi.(to，after)渴望，追求，有志于 | |
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135
sublimest
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| 伟大的( sublime的最高级 )； 令人赞叹的； 极端的； 不顾后果的 | |
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136
rhythmical
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| adj.有节奏的，有韵律的 | |
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137
overture
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| n.前奏曲、序曲，提议，提案，初步交涉 | |
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138
psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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139
similes
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| （使用like或as等词语的）明喻( simile的名词复数 ) | |
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140
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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141
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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142
omission
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| n.省略，删节；遗漏或省略的事物，冗长 | |
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143
admonishment
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| n.警告 | |
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144
assent
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| v.批准，认可；n.批准，认可 | |
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145
assented
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| 同意，赞成( assent的过去式和过去分词 ) | |
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146
dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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147
violation
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| n.违反(行为)，违背(行为)，侵犯 | |
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148
prone
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| adj.(to)易于…的，很可能…的；俯卧的 | |
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149
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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150
shrilly
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| 尖声的； 光亮的，耀眼的 | |
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152
amiability
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| n.和蔼可亲的，亲切的，友善的 | |
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153
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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154
endorsed
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| vt.& vi.endorse的过去式或过去分词形式v.赞同( endorse的过去式和过去分词 )；在（尤指支票的）背面签字；在（文件的）背面写评论；在广告上说本人使用并赞同某产品 | |
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155
remarkably
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| ad.不同寻常地，相当地 | |
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156
adaptable
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| adj.能适应的，适应性强的，可改编的 | |
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157
friendliness
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| n.友谊，亲切，亲密 | |
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158
baron
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| n.男爵；(商业界等)巨头，大王 | |
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159
drenched
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| adj.湿透的；充满的v.使湿透( drench的过去式和过去分词 )；在某人（某物）上大量使用（某液体） | |
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160
eligible
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| adj.有条件被选中的；(尤指婚姻等)合适(意)的 | |
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161
aspiring
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| adj.有志气的；有抱负的；高耸的v.渴望；追求 | |
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162
hurled
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| v.猛投，用力掷( hurl的过去式和过去分词 )；大声叫骂 | |
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163
materialistic
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| a.唯物主义的，物质享乐主义的 | |
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164
atheistic
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| adj.无神论者的 | |
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165
atheism
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| n.无神论，不信神 | |
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166
insouciance
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| n.漠不关心 | |
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167
bigoted
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| adj.固执己见的，心胸狭窄的 | |
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168
blandly
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| adv.温和地，殷勤地 | |
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169
abhorrence
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| n.憎恶；可憎恶的事 | |
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170
faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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171
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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172
possessed
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| adj.疯狂的；拥有的，占有的 | |
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173
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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174
nuance
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| n.(意义、意见、颜色)细微差别 | |
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175
impatience
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| n.不耐烦，急躁 | |
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176
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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177
detest
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| vt.痛恨，憎恶 | |
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178
contrives
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| （不顾困难地）促成某事( contrive的第三人称单数 )； 巧妙地策划，精巧地制造（如机器）； 设法做到 | |
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179
mimics
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| n.模仿名人言行的娱乐演员，滑稽剧演员( mimic的名词复数 )；善于模仿的人或物v.（尤指为了逗乐而）模仿( mimic的第三人称单数 )；酷似 | |
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180
specimen
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| n.样本，标本 | |
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181
stagnant
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| adj.不流动的，停滞的，不景气的 | |
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182
annexed
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| [法] 附加的，附属的 | |
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183
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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184
slippers
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| n. 拖鞋 | |
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185
enveloped
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| v.包围，笼罩，包住( envelop的过去式和过去分词 ) | |
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186
tiresome
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| adj.令人疲劳的，令人厌倦的 | |
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187
scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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188
truthful
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| adj.真实的，说实话的，诚实的 | |
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189
incurable
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| adj.不能医治的，不能矫正的，无救的；n.不治的病人，无救的人 | |
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