“I’ll play it if you like,” he said, “but it will take nearly half an hour.”
Then he sat down and, since he had played before, a hush8 most abnormal during the ordinary piano solo fell on the “party” which had been invited in after dinner. Many, no doubt, were unmusical, but more, since it was Frank’s house and it was he who had invited the guests, had some instinct for perfection, that bond that joins together all artists. Lady Sunningdale, of course, was there, and had early established herself in a front row, and Helen, who was{103} under her chaperonage, sat next her. At the end of the fourth étude of Chopin’s, she had said to Martin:
“Martin, play the Brahms Variations,” and the demand had led to his word of warning. But warning was not needed. If the piece was going to take an hour, no one would have complained.
Frank, knowing the acoustic9 properties of the room better than Lady Sunningdale, had placed himself in the seat of the second window, with Karl Rusoff beside him. He had himself not felt the slightest hesitation10 in asking the great pianist to listen to the recital11 of this wonderful débutant, and Karl’s absolute silence at the end of the Variations convinced him that he had been right. And as the last glorious fantasy vibrated and died on the air, while the crowd burst gloves in applause, he turned to him.
“Well?” he said.
Karl Rusoff nodded his great grey head up and down once or twice.
“Ah, my dear friend,” he said, “I usually think it very clever to unearth12 a genius. But with your genius it needed no cleverness. Shall I tell you what will happen? We,—the pianists, I mean,—with our nimble professional fingers will in a year’s time be fighting each other for seats at his concerts, if he is kind enough to give any. Let him give one, however, just to show us, to—yes, I mean it—to let us weep over our own deficiencies. Fire, my God, what fire! But I hope he won’t give many. He ought—I only say he ought—to be too busy with his own work. As regards his piano-playing, of course you were right. Who has taught him? Nobody, I tell you. How can you teach that? {104}Will I teach him? Certainly I will, as Molière’s housemaid taught her master. He does a hundred things quite wrong. But—ah, a big but!”
Martin had risen and bowed his thanks to the storm of applause, but his eye sought the corner where Karl Rusoff sat, with his great grey, leonine head and his grey eyes gleaming through his spectacles. The latter rose and came up the gangway between the chairs and the wall towards him and shook hands with him.
“Mr. Challoner,” he said, “that was a great treat to me. Thank you. You can play what is really difficult, magnificently. Now, my dear young man, I want to ask you a great favour. Attempt something much more difficult,—that is to say, something where the notes are quite easy, but where the rest, which is everything, must be a poem. Play, if you happen to know it—really know it, I mean—Chopin’s fifteenth prelude13, the rain on the roof.”
Martin looked round the room, but nobody had moved from his seat, except Frank, who had followed Monsieur Rusoff.
“Yes, I know it,” he said. “But are you sure you really want me to play again?” he asked, with the charming horror that a nice boy has of being a bore. “Are you sure they aren’t sick of me?”
“No, do play again, Martin, if you will,” said Frank, who had followed Karl. “We can really stand a little more.”
“I have asked him to play the fifteenth prelude,” said Rusoff.
“Ah, yes, do,” said Frank.
So the rain beat, the gutter14 choked, the chariots of God thundered overhead, one ray of sunlight gleamed, and again the rain, pitiless and slow, spoke15 of an alien{105} land. And at the end, in the moment’s silence, more appreciative16 than any applause, which followed, Martin’s glance again sought the great pianist, and with a sudden spasm17 of joy, so keen that for a moment he thought he must shout or laugh, he saw that Karl Rusoff had taken off his spectacles and was wiping his eyes.
The party that Frank had brought together that evening was very typical of his tastes and of the position which he held in the world. Though only thirty, thanks partly to the great wealth which was always completely at the service of any artistic18 cause, but chiefly to his own exquisite19 and unerring artistic sense, he had now for some years been a sort of accredited20 godfather to any new talent, and for any one to “come out” at his house was a guarantee that the aspirant21 was to be taken seriously. During the three months of London season he gave a succession of evening parties, which all had some definite raison d’être, chiefly musical. And to-night he had taken special pains to get all the right people, with the result that there were not perhaps a dozen people in London whose opinion was worth having who were not there. And the opinion, for once, was practically unanimous; for, though Claud Petman, plump and short-fingered, had something to say to Henry Runton about the lack of finality in the determination of his key-colour, and Henry Runton, over ortolans, agreed with the additional criticism that his phrasing of the fourth variation was a little pulpy22, yet the fact that they were critics rendered it obligatory23 on them to criticise24. But they had but small opportunity to express these fine differences of opinion to Martin himself, for Lady Sunningdale, on the conclusion{106} of the prelude, beckoned25 imperatively26 to her “monster,” and made a brilliant group round him. She had taken it into her head that she had “discovered” Martin, and told every one so.
“My dear, I assure you I gasped,” she said to Karl Rusoff. “There he was in a poky little room, furnished entirely27 with prayer-books, in a dreadful parsonage, playing on a cracked tin-kettle of a piano, and playing as he played to-night. Then in the middle his father came in and said, ‘Go and do your Hebrew-Greek, instead of wasting your time at the Jew’s-harp.’ Such a strange man, Flints’s brother, you know, and lives, I believe, entirely on locusts28 and wild-honey and wears broadcloth, or is it sack-cloth? Something very thick and imperishable, anyhow. Such a beautiful life, but ascetic29, not artistic,—Mendelssohn and pitch-pine, you know. Of course, I saw at once how priceless Martin was; but we had the greatest difficulty in persuading his father to let him come up to London. He thinks all artists will go to hell, if they have not already gone there. Yes. I didn’t bring my darlings to-night, because they always bark when anyone plays the piano, and Suez Canal is so shrill30. But, is not my monster too wonderful? And now I must go. I never get to bed till it is time to get up, and I shan’t sleep one wink31 after the music. I never do. Where is Helen? Yes, she is Martin’s twin. Why aren’t we all twins like that? Supper? How nice! I am famishing. Music always takes so much out of one. Yes, pray take me into supper, Monsieur Rusoff, and let us put it back. Martin, don’t dare to leave my side for a single moment.”
Frank, in the mean time, had found a chair next{107} Helen. The girl looked divinely happy. Her pride in Martin, her intense pleasure in the wonderful reception he had been given, flushed her cheek with excitement and sparkled in her eyes. Frank had not had an opportunity of speaking to her the whole evening, and now, as he was making his way towards her through the crowd, delayed every other moment by some acquaintance or friend, he met her eye long before he was within speaking distance, and as he smiled in response to her, something suddenly thumped33 softly and largely on his heart, as if demanding admittance. At last he reached her, and she looked at him with her direct, child-like gaze.
“Thank you,” she said, “thank you most awfully34.”
He laughed, not pretending not to know what she meant.
“Ah, we are all thanking Martin,” he said, “and those who know best, I think, thank him most. Karl Rusoff, for instance.”
“Then, you were right?” she asked. “There is no mistake? He is really of the best?”
“Yes, that is Monsieur Rusoff’s opinion.”
“I should like to kiss him,” said Helen.
“Shall I fetch him?” asked Frank.
“Not this moment. Go on, Lord Yorkshire.”
“That is a good deal already. And he will take him as a pupil, he says. He has not consented to take a pupil for years. Now we have to consult—— How is that to be managed?”
Helen’s face fell for a moment.
“It must be managed,” she said. “I will write to father to-morrow, telling him all that has happened. You must write, too; Lady Sunningdale must write.{108} Poor father! We must give him no peace till he lets Martin study. What are we to do?”
“You must think it over, and tell me if I can be of any use,” said he. “I am entirely at your disposition35. Anyhow, there is a fortnight for him in London. And you? You came up to-day, did you not? Ah, before I forget. Lady Sunningdale is coming to my box at the opera to-morrow night. Please come, too. She, Martin, you, I. Just we four.”
Those last three words gave him extraordinary pleasure.
“But are you sure you have room for me?” asked Helen. “Lady Sunningdale is so kind: she is dumping me at all her friends’ houses, upsetting their dinner-tables right and left, and there is no earthly reason to suppose they want me.”
“I want you,” said Frank, simply, and again the words pleased him.
“Thank you, very much. Where is she, by the way? Will you take me to her? She probably wants to go home. I see people are leaving.”
“It is conceivable she is having supper,” said Frank, gravely. “Let us go and see.”
Karl Rusoff attended to Lady Sunningdale’s wants, which were rather extensive, but lingered after she had left, and when the rooms were growing empty he came up to Martin.
“My dear Mr. Challoner,” he said, “I am sure you have had enough compliments paid you by this time. So allow a very rude old Russian, who has no manners at all, to take you into a corner and talk to you for a little.”
Martin turned a brilliant glance, vivid, and full of{109} huge, youthful enjoyment36 on him. He knew, he could not help knowing, how complete had been his success, and coming straight from the country and from that home where he was officially an idler, almost a black sheep, into this cultured, critical world, the knowledge had somewhat intoxicated37 him. It was like coming out of some dark, dripping tunnel into the light of a noonday and flying along through a kingdom that was his. For he, he had been the central figure; round him had crowds collected, for him ears had been alert and applause had burst. Artist as he was by nature, and caring, therefore, infinitely38 more for his art then for any adventitious39 success that he might achieve by it, he would not have been human, and certainly not young, if this evening had not been honey and wine to his boyish heart. For, except to the sour, success is sweet, and it is only the cynic and the unsuccessful who affect to find applause hollow. And Martin was emphatically neither cynic nor sour: the world seemed to him the most excellent habitation. But he detached himself at once from the group which was round him; he was still sufficiently40 master of himself to know that it was probably better worth his while to listen to Karl Rusoff talking sense than to any one else who might have pleasant things to say, and they passed out of the supper-room into the now deserted41 room where he had played.
“Now, my dear Mr. Challoner, listen to me,” said Karl. “Probably a hundred people this evening have told you that you are a very wonderful young man. That cannot help being a pleasant hearing, but——“
He looked at Martin’s radiant face and paused.
“Ah, my dear boy,” he said, “I will talk another{110} time, I think. Go and listen to what everybody else has to say to you. Drink it all in; enjoy yourself. I am too serious. I can wait.”
“But I would sooner listen to you,” said Martin.
“Are you sure? Are you really sure?”
“Quite. Absolutely.”
“Well, then, in the sacred name of Art, forget all the pleasant things that have been said to you. So many of these delightful42 people do not know. Our charming Lady Sunningdale even, she does not know. She appreciates, I grant you, but that is all.”
Martin’s face had grown quite serious; the brightness in it seemed to have ceased to be on the surface only; it glowed beneath like the core of a prospering43 fire.
“Tell me what to do, then,” he said.
“Work, and live also. Do not forget that any experience in life, so long only as it is not sensual,—for whatever is sensual blurs44 and deadens the fineness of any gift,—gives richness and breath to your power in music. Live, then; live to your utmost and your best. Do not be afraid of anything. Neither the bitterest sorrow that the world holds nor its most poignant45 joy can bring you anything but good, so long as you embrace it willingly, passionately46. But shun47 a sorrow or a joy, and you are clipped, maimed, blinded.”
The old man spoke with extraordinary fire and emphasis, and the intense eager gravity of Martin’s face deepened. Here was a coherent code which summed up, strung together, his own musings by the river-brink.
“Am I then to—am I to take all that comes,” he asked, “and trust that it will somehow make grist for my own little mill?”{111}
“Ah, you understand,” said Karl. “I see you have thought of it before. But never call your mill little. If it is little, you may be sure that others will label it for you. And if it is not little—then down on your knees and thank God. Ah, my dear boy, you are all that you are. Make the most of you. Assume there is something.”
He paused a moment.
“And I will endorse48 it,” he said.
Again Martin looked at him with that lucid49 glance as transparent50 as running water.
“Yes, I will endorse it,” he repeated. “And if any one dishonours51 your cheque, I will pay it.”
Martin gave a long sigh.
“You believe in me?” he asked, almost in a whisper. The rest of the triumph of the evening, the silence, the applause, were pale and dim to him as compared with this. The sun was rising on a dream that he had scarcely dreamed, and it was not a dream, but a reality.
“I believe in your possibilities,” said Karl. “I believe you can be,—well, a musician. Now, as regards another point. I have been asked whether I will take you as a pupil. On my part I ask you to come to me. I have not taught for some years, but I rather suspect that one’s power of teaching increases not by teaching, but by learning. So I may be perhaps of some use. There are certain things I can tell you. Come and learn them. On the whole, it is worth your while. Even for a poet the alphabet is necessary.”
Martin could not speak for a moment.
“Some day I will try to thank you,” he said at length. “But not by words. I don’t think you want that, and also it would be idle for me to do it.”{112}
He paused again.
“But at present, you know, I am not even certain that I shall be allowed to study. I—I am very stupid, you know. I can’t pass examinations, and my father is most awfully keen about them. In any case I expect I shall have to finish my time at Cambridge.”
Rusoff rose. Absurd and almost criminal as this seemed to him, he had no right whatever to express that to Martin.
“Ah, then, go back to Cambridge, like a good boy, and do whatever has to be done. Forget also almost everything that has occurred to-night. You have won a great deal of applause. Well, that is very easy to win, and in itself it is worth absolutely nothing. In so far as it encourages you to good work, whether it is now in the immediate53 future at Cambridge or eventually in music, there is no harm in it; but the moment it breeds in you any slackness, or the feeling ‘this will do for them,’ it is a poison, an insidious54 narcotic55 poison.”
He laid his hand on the boy’s shoulder.
“It is not by applause,” he said, “it is not by any help really that I or any one else can give you that you may become great. It is in yourself alone that the power lies, and it is by your life, by your industry, and by the fulness and completeness of your experience and your sympathy that you will be able to get hold of that power. For your warning, I tell you that it is no easy task—that, mining in yourself, you will have to think and struggle and despair before you can bring your own gold to the surface. You will also have to find your choice by patient, unremitting work. You cannot make others feel unless you feel yourself, and you have to learn how to feel. It is not so easy.{113} Again, having learned that, you cannot convey what you feel until you have learned speech. And, for your encouragement, I believe—or else I would not accept you, much less ask you to be my pupil—I believe that you will be able to do so. You have perception. You can interpret others, as I have heard to-night. So that some day you may write that which will give tears or laughter to those not yet born. Good-night.”
The summer and the season were at their mid-most, but though the former had been fine, the latter at present had been rather objectless. Balls, concerts, parties, all the various devices by which the crowd believes it amuses itself, and without which it would certainly be bored, had occurred with their usual frequency, but up till now no bright particular star had arisen to draw the eyes and the thoughts of all to itself. There had, in fact, been no “rage,” and neither book, play, violinist, or traveller, nor even a cowboy from the remote West, had appeared to fill the invitation-cards and usurp56 the thoughts of emigrant57 London. Why nobody had invented something by this time was not clear, for absolutely anything in the world can become the rage of one season to be dropped either like a hot potato or a soiled glove the next. The year before there had been a cowboy,—this year he was a hot potato, for he had become odiously58 familiar; a female palmist was also still in existence, but she was a soiled glove, since the pleasant frisson of having a bewildering future told in all the horror of detail before your friends is an experience not to be repeated if subsequent events have shewn the prophecy to have been altogether erratic59.
But from the night of Lord Yorkshire’s concert{114} hope began to wake in the season’s middle-aged60 breast, that it, too, like most of its predecessors61, would be known by an engrossing62 topic to mark it out from others before it was numbered with the colourless dead. For the picturesque63—of a picturesqueness64 unequalled even by last season’s cowboy—had at length arisen in the shape of twins from Hampshire, Challoner twins, Flints’s nephew and niece. They sprang from a country parsonage, where Flints’s brother, whom nobody had hitherto even heard of, lived like a sort of medi?val ascetic prophet in a lugubrious65 atmosphere of fasting and prayer and scourging66 and sack-cloth. He preached the most curdling67 sermons on Sunday, quite like Savonarola, on the comfortable doctrine68 of eternal damnation. About the twins, however, there was nothing in the least ascetic or medi?val: they were both quite young, hardly out of their teens, and were simply Diana and Apollo come to earth again. The girl (Helen, too) had Titian hair, in golden, glorious profusion69, a face like the morning, and the inches of a goddess. And her charm, her bubbling spirits, her extraordinary enjoyment and vitality70! She made everybody else look like a kitchen-maid, which was so delightful. But Martin—Ph?bus Apollo, drunk with nectar! He played, too; Karl Rusoff said he had never heard anything like it, and the dear old angel simply wept the other night at Frank Yorkshire’s, when Ph?bus Apollo first dawned, but wept floods. And what could have been more romantic than the manner of their appearance? People were asked—we were all asked—to Lord Yorkshire’s for “Music” in the bottom left-hand corner, expecting, perhaps, a couple of songs from Maltina and a nocturne of Rusoff{115}’s. Instead, this divine boy walks up to the piano and plays the “Pied Piper” to us all. Yorkshire brought him up from the country, without a word to anybody, and just shot him at London. He hit. Helen was with Lady Sunningdale,—she always scores somehow,—who gives out openly that she is madly in love with Martin, and makes him imitate her, which he does with such awful fidelity71 that it is impossible not to believe, if one shuts one’s eyes, that it is not she who is talking. The only question is whether she will poison Sunningdale and insist on marrying Ph?bus Apollo, or whether he will say “Retro Sathanas.” It may be taken for granted that Yorkshire will marry the girl. Then, the next night they were all four at the opera in Yorkshire’s box, next the Royal box, and nobody looked at anything else. The girl was dressed in grey, very simple, but quite good. There was just a touch of blue somewhere; no jewels, but that radiant face and that glorious hair! Poor Lady Sunningdale beside her looked like a lobster72 salad in the highest spirits. But really the boy is the handsomer; and when the opera was over people simply stood on the stairs to see them go out. But the twins were completely unconscious that it was they whom every one was looking at, and came downstairs together, chatting, laughing, and chaffing Lady Sunningdale because she had gone to sleep in the second act of “Siegfried.” My dear, they are simply divine, and we must secure them at once for dinner or something, otherwise it will be too late.
The last sentence, whatever in this brief résumé of what London said was false or exaggerated, was certainly borne out by subsequent facts. For London,{116} tired with its spinster ragelessness, rose at them as trout73 rise in the days of May-fly, and besought74 their presence, finding them, as is not always the case with its rages, improve on acquaintance. They enjoyed themselves so enormously, and enjoyment is a most infectious disease, of which every hostess prays that her guests may sicken. They danced divinely, with the same childish pleasure, all night. Whatever the entertainment was, they were delighted, and their delight diffused75 itself through the crowds of which they were the centre. And it was always interesting to have at one’s house the girl from nowhere, who was going to make the match of the season, and the boy from nowhere, who was going to send the world mad with music. The twins, in fact, blazed in the blue; they were the latest discovery, the point at which all telescopes were aimed. And they presumably, like the latest-discovered star, were too busy to be either pleased or embarrassed that everybody was looking at them; they just sang and shone together with all the other lesser76 stars.
Ten days passed thus, Lady Sunningdale plying77 the bellows78 assiduously and from time to time throwing on fresh faggots of interesting and picturesque information to feed the blaze. Nobody, not even the twins themselves, had been more astonished than she when they shot up into the zenith of success, for she had not anticipated anything of the kind; but that having happened, she was quick to assume the r?le of godmother. Nothing again, a week or two before, had been further from her thoughts than the idea that Frank Yorkshire should marry Helen; but that having been suggested to her, it was, of course, incumbent79 on her to say{117} that she had brought them together with that express purpose, and by dint80 of repetition soon got to believe it.
The allied81 forces mean time had concerted their attack on that very well-garrisoned fortress82 known as Martin’s father. Sheets of desultory83 letters were rained upon him by Lady Sunningdale, which he answered with punctilious84 politeness; while Frank, in far soberer strain, told Lord Flintshire the opinion of those like Karl Rusoff, who were thoroughly85 competent to judge, begging him use it in Martin’s behalf. In consequence he wrote soon afterwards to his brother with some earnestness:
“You hardly ever come to town, I know, my dear Sidney,” his letter ran, “but I really wish you would come now. It would make you prouder than you have ever been of both your children, if you saw them here. London, I am speaking quite seriously, has gone off its head about them. And, indeed, I’m sure I don’t wonder. They are absolutely entrancing; their enjoyment of it all is the most infectious thing I ever saw, and we play ridiculous round games after dinner instead of grumbling86 at each other over Bridge. And their looks! Helen has taken the shine out of all the débutantes, and yet not one of them seems to hate her for it.
“This, however, is frivolous87; but I want to tell you very seriously what an extraordinary impression Martin’s musical abilities have made. He played the other night at Yorkshire’s house, and I assure you all the musical lights of London simply hung on his hands. I know nothing about it myself; but when you find a great pianist and a great musician like Karl Rusoff listening, absorbed, to a young man of twenty-three, whom nobody has hitherto ever heard of, one cannot help attaching some weight to it. Others, too, so Frank tells me, have been no less enthusiastic about him, but they are only names to you and me.
“Well, this is not entirely unasked advice, for I remember at Chartries a fortnight ago you consulted me about Martin and his{118} future. And now it seems to me there is really no choice. He must be a musician; you cannot take the responsibility of trying to render unfruitful a gift like his. Nor would it be any good; he is bound to be one.
“Now, my dear Sidney, if there is any difficulty about expense, for I gather he must study exclusively for some time, pray do not give a thought to it. I will most gladly defray all expenses connected with him. Pray let me hear from you as soon as possible on the subject; and if you can run up to town for a day or two, you will see for yourself, and be a most welcome guest at the house of
“Your affectionate brother,
“Flintshire.”
But, in spite of these appeals and assaults, Mr. Challoner shewed as yet no definite signs of yielding. To Lady Sunningdale his punctilious answers seemed mere88 frigid89 stupidity, and she had not the smallest or vaguest comprehension of the struggle that was going on in his mind. She could not understand that there was any choice to be made, still less that the choice could be a hard one, in determining whether Martin should once and for all close his dictionaries and open his piano, nor, had Mr. Challoner troubled to explain to her the deep mortification90 that Martin’s ill-success in classical fields had given him, would she have been able to understand it. Karl Rusoff beckoned to him, and it passed her comprehension that his father should not, so to speak, throw him into the musician’s arms. She could not, in fact, with all her acuteness, imagine in faintest outline any picture of the deep and real perplexity which Mr. Challoner was going through, a perplexity which for hours together tightened91 his mouth and ruled deep creases52 between the thick, black lines of his eyebrows92. The serious talks, too, which{119} he had with his sister evening after evening, between dinner and prayers, and the temporary abolition93 of Patience, would have seemed to her, if she had heard them, meaningless; they might as well have been conducted in a foreign tongue of which she knew neither alphabet, grammar, or vocabulary.
One such occurred on the evening when his brother’s letter arrived.
“I have heard from Rupert,” he said, “who wants me to run up to town. That, I am afraid, is impossible. I have too much to do, with Mr. Wilkins away for his holiday and the confirmation94 classes coming on. All the same, I should be glad if I could. His letter has troubled me rather.”
“What does he say?” asked his sister, folding her very dry, thin hands in front of her.
“He says such extraordinary things. He says London has gone mad about them. They are amusing themselves enormously, it appears,—at which, of course, I am rejoiced; but I can’t help feeling a little anxious, a little nervous. They are so young, so thoughtless. I don’t like the idea of people putting all sorts of foolish notions into their heads, making them think they are exceptional. I understand what people feel about them well enough. Dear children, I don’t wonder at everybody liking95 them. But I gravely doubt whether it is the best of them that people find attractive, whether it is not their thoughtlessness, their unthinking high spirits, their looks, which attract others. That is so dangerous for them.”
Clara Challoner put the pack of cards, which had been laid out ready for her Patience, back into their case. She did this without a sigh, because it was her{120} duty to talk to her brother if he wanted to talk, and duty came before pleasure.
“That is exactly what I should be afraid of,” she said. “The qualities that you and I, Sidney, were taught, and rightly, to consider weaknesses and blemishes96, such as irresponsible high spirits and careless gayety, seem to me now to be regarded as virtues97. The younger generation shun earnestness and purpose in life as they would shun physical pain. Now, look at Lady Sunningdale, with whom Helen is staying——“
“Ah, give her her due,” said Mr. Challoner; “she is a very clever woman.”
“But to what does she devote her cleverness? To the mere pursuit of frivolity98. I wondered, as I told you before, whether you were wise to let Helen go under her wing. She will be among people whose only aim in life is amusement. That is the one thing they take any trouble to secure.”
Mr. Challoner shook his head.
“I hope, I pray, I have not done wrong to let them go,” he said. “I did it with a definite purpose, in order to let them see that sort of life. Helen is not naturally frivolous. Look at her work here with her classes. How admirable she is, how they adore her, how her heart is in it. And to bring a girl up in ignorance of what the world is like does no good. Sometimes I wonder whether I have not sheltered her too much, kept her too much in this sweet place with all her duties and pleasures round her. But it is not of her that I am most thinking. She will come back unspoiled, with just the memory of a great deal of laughter and innocent amusement. No; it is of Martin. Rupert speaks chiefly of him.”{121}
He took from his pocket the letter he had just received and read it to her.
“It is a great puzzle, a great difficulty to know what to do,” he said. “Even at Cambridge, where he is surrounded by all those grave, industrious99 influences, Martin does not seem to me to gain in depth or in set purpose of life. And if I consent to this, he is plunged100 into surroundings that so much more conduce to shallowness, to indulgence of the senses. Thank God, I believe my son is pure. But he is so impressionable, so easily stirred by enjoyment into thoughtlessness, that I am very much afraid.”
He got up and moved over to the window, where he stood looking out. In front the ground sloped sharply away down to the church-yard, where in the last fading light of evening the grey tower stood like a shepherd watching over its flock among the gravestones, below which rested the bodies of those entrusted101 in sure and certain hope to its hallowed care. Like all strong, hard-working men, Mr. Challoner was far too much occupied in the duties of his strenuous102 life to give much thought to death, except as to some dim, quiet friend whose hand some day he would take without fear or regret. But how terrible death could be, and how terrible it would be to him if through carelessness or biassed103 judgment104 he had chosen wrongly for one so dear to him, so peculiarly entrusted to his care. How terrible, again, would be that quiet friend if, through want of wideness in sympathy, he had tried to nip, to starve, to stifle105 a gift with which God had endowed his son.
Then suddenly with a wave of bitterness all that he had planned in long, sweet day-dreams, years ago,{122} for Martin filled his mind as the harsh salt-water fills a creek106. He had seen him a scholar, minute, painstaking107, absorbed, perfecting himself in accuracy and subtlety108 of mind by the study of the great classical authors. He would be a fellow of his college, and his father, so he pictured to himself, would live over again his own college-days, which perhaps were the happiest in his life, when he saw Martin seated at the high-table among the masters of learning, or in professorial gown crossing the dear familiar grass of the quadrangle to the grave grey chapel109 on summer afternoons when the sun made jewels of the western panes110, or in winter when the soft, mellow111 glow of candles shone dimly by the dark oak stalls and scarcely reached to the vaulted112 fans of the roof.
Then the picture took large lines. With the wealth and position that would one day be his, there was no limit to the influence that Martin might have in an England which even now seemed to him to be dozing113 in a stupor114 of contented115 unreligious, unintellectual enjoyment. There was need of a scholar, a man with a great position, a man of strong Christian116 faith to arise who, with a life unselfish in its aims, liberal, charitable, encouraging all sorts of godly learning and scholarship, should give to the world a strenuous, intellectual ideal again. How often in his prayers had that vision risen before him, that future which he desired so eagerly for his son, and which, so he believed, was humanly possible for him. Chartries should be again what it had been four generations ago, the centre of the scholarly, intellectual men of England. The accounts of those days in the history of Chartries read to him like a wonderful true fairy-story. Three or four times{123} in the year the house was filled by his great-grandfather with men of learning, and after breakfast and morning service in the chapel they would meet and discuss till dinner-time some exquisite point of scholarship or hear from some expert of the latest discoveries in the Roman forum117. At these discussions his great-grandmother, a woman of culture and knowledge, had always been present. She had once even read a paper on the Elgin marbles, then but lately come to England, in which with a marvellous subtlety and accuracy of observation she had upheld the view, in the face of strong attack, that they were Greek originals, not Roman copies. This and all other papers read there were preserved among the printed “Hor? aure? Chartrienses,” which was the record of these gatherings118.
For Martin, then, he had dreamed a life like that,—the life of a cultured, scholarly, Christian gentleman, not monkish119, but with a brood of growing children round him, busy at his books, busy in all matters of education, instant in prayer, and a churchman staunch to uphold the rights and the glory and the privileges of the Mother of his faith. Instead, he was asked to give permission that Martin, after years of expensive education, which had ended in utter failure, should devote himself to music, or as Mr. Challoner put it to himself, to playing the piano,—a profession which, to his mind, was akin32 to a sort of mountebank’s. Nor was that all. If it was only in intellectual attainment120 that Martin had shewn himself desultory and idle his father would, it is true, have deeply regretted it; but it would have been as nothing compared to the anxiety he felt with regard to that slackness and indolence of character{124} which he thought he saw in him. Left to himself, he would lounge the day away, not only without acquiring knowledge of any kind, but without a thought as to the strengthening and building up of his own character. He would scribble121 amusing sketches122 by the score, play on the piano by the hour, or, as like as not, lie on the grass and smoke, in purposeless waste of these infinitely precious hours of youth. Had he ever shewn interest in matters naval123, military, or political, his father would gladly have seen him a soldier or a member of Parliament. But he was purposeless, desultory, without aims or interests, and so utterly124 unlike himself in every point of character that he could scarcely believe he was his son. And this estimate was no new one; ever since Martin was a little boy, through his school life and through his three years at the University, he had noticed the same drifting weakness, the same tendency to take any amount of trouble to save trouble. Nothing had made any impression on him,—not his confirmation, nor his growing responsibilities as he rose in the school, nor the duties attaching to the sixth form when he was dragged up into it, nor the widened life at Cambridge. It was all one to him. He had the pleasant smile when things went well, the yawn when effort was demanded of him, the eternal drifting towards the piano.
All this passed through his mind with the rapidity of long and bitterly familiar thought.
“They all urge me to do it, Clara,” he said; “yet they don’t know him as I do, and they are in no position of responsibility with regard to him. I can’t see my way at all. It is no use his continuing to waste his time at Cambridge,—and yet London for my poor,{125} rudderless Martin! What influences may he not come under? Who is Rusoff, of whom Rupert speaks? But I must settle. It is no use putting off a decision that has to be made.”
He turned away with a sigh from the window.
“In any case, he had better come home for a day or two before he goes up to Cambridge,” he said, “so that I can talk it all over with him. In fact, they had both better come home. They have been in town a fortnight,—a fortnight of pure amusement. Besides, the Parish library wants looking after.”
“I can manage that, if you would like Helen to stop a little longer,” said his sister.
“No, dear, your hands are full enough already. Besides, Rupert’s letter has made me altogether a little uneasy. It is time they both came home.”
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收听单词发音
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1
overflowing
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| n. 溢出物,溢流 adj. 充沛的，充满的 动词overflow的现在分词形式 | |
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2
asphyxiation
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| n. 窒息 | |
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3
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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6
chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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7
doorway
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| n.门口，(喻)入门；门路，途径 | |
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8
hush
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| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
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acoustic
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| adj.听觉的，声音的；(乐器)原声的 | |
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10
hesitation
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| n.犹豫，踌躇 | |
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recital
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| n.朗诵，独奏会，独唱会 | |
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12
unearth
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| v.发掘，掘出，从洞中赶出 | |
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13
prelude
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| n.序言，前兆，序曲 | |
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14
gutter
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| n.沟，街沟，水槽，檐槽，贫民窟 | |
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15
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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16
appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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17
spasm
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| n.痉挛，抽搐；一阵发作 | |
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18
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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19
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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20
accredited
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| adj.可接受的；可信任的；公认的；质量合格的v.相信( accredit的过去式和过去分词 )；委托；委任；把…归结于 | |
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21
aspirant
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| n.热望者；adj.渴望的 | |
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22
pulpy
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| 果肉状的，多汁的，柔软的； 烂糊； 稀烂 | |
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23
obligatory
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| adj.强制性的，义务的，必须的 | |
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24
criticise
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| v.批评，评论；非难 | |
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25
beckoned
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| v.（用头或手的动作）示意，召唤( beckon的过去式和过去分词 ) | |
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26
imperatively
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| adv.命令式地 | |
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27
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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28
locusts
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| n.蝗虫( locust的名词复数 )；贪吃的人；破坏者；槐树 | |
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29
ascetic
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| adj.禁欲的；严肃的 | |
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30
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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31
wink
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| n.眨眼，使眼色，瞬间；v.眨眼，使眼色，闪烁 | |
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32
akin
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| adj.同族的，类似的 | |
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33
thumped
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| v.重击， （指心脏）急速跳动( thump的过去式和过去分词 ) | |
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34
awfully
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| adv.可怕地，非常地，极端地 | |
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35
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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36
enjoyment
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| n.乐趣；享有；享用 | |
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37
intoxicated
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| 喝醉的，极其兴奋的 | |
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38
infinitely
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| adv.无限地，无穷地 | |
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39
adventitious
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| adj.偶然的 | |
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40
sufficiently
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| adv.足够地，充分地 | |
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41
deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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42
delightful
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| adj.令人高兴的，使人快乐的 | |
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43
prospering
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| 成功，兴旺( prosper的现在分词 ) | |
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44
blurs
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| n.模糊( blur的名词复数 )；模糊之物；（移动的）模糊形状；模糊的记忆v.（使）变模糊( blur的第三人称单数 )；（使）难以区分 | |
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45
poignant
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| adj.令人痛苦的，辛酸的，惨痛的 | |
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46
passionately
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| ad.热烈地，激烈地 | |
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47
shun
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| vt.避开，回避，避免 | |
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48
endorse
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| vt.(支票、汇票等)背书，背署；批注；同意 | |
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49
lucid
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| adj.明白易懂的，清晰的，头脑清楚的 | |
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50
transparent
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| adj.明显的，无疑的；透明的 | |
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51
dishonours
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| 不名誉( dishonour的名词复数 )； 耻辱； 丢脸； 丢脸的人或事 | |
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52
creases
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| （使…）起折痕，弄皱( crease的第三人称单数 )； （皮肤）皱起，使起皱纹 | |
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53
immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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54
insidious
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| adj.阴险的，隐匿的，暗中为害的，（疾病）不知不觉之间加剧 | |
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55
narcotic
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| n.麻醉药，镇静剂；adj.麻醉的，催眠的 | |
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56
usurp
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| vt.篡夺，霸占；vi.篡位 | |
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57
emigrant
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| adj.移居的，移民的；n.移居外国的人，移民 | |
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58
odiously
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| Odiously | |
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59
erratic
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| adj.古怪的，反复无常的，不稳定的 | |
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60
middle-aged
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| adj.中年的 | |
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61
predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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62
engrossing
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| adj.使人全神贯注的，引人入胜的v.使全神贯注( engross的现在分词 ) | |
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63
picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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64
picturesqueness
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65
lugubrious
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| adj.悲哀的，忧郁的 | |
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66
scourging
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| 鞭打( scourge的现在分词 )； 惩罚，压迫 | |
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67
curdling
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| n.凝化v.（使）凝结( curdle的现在分词 ) | |
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68
doctrine
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| n.教义；主义；学说 | |
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69
profusion
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| n.挥霍；丰富 | |
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70
vitality
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| n.活力，生命力，效力 | |
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71
fidelity
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| n.忠诚，忠实；精确 | |
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72
lobster
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| n.龙虾，龙虾肉 | |
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73
trout
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| n.鳟鱼；鲑鱼(属) | |
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74
besought
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| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
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75
diffused
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| 散布的，普及的，扩散的 | |
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76
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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77
plying
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| v.使用（工具）( ply的现在分词 )；经常供应（食物、饮料）；固定往来；经营生意 | |
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78
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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79
incumbent
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| adj.成为责任的，有义务的；现任的，在职的 | |
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80
dint
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| n.由于，靠；凹坑 | |
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81
allied
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| adj.协约国的；同盟国的 | |
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82
fortress
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| n.堡垒，防御工事 | |
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83
desultory
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| adj.散漫的，无方法的 | |
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84
punctilious
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| adj.谨慎的，谨小慎微的 | |
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85
thoroughly
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| adv.完全地，彻底地，十足地 | |
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86
grumbling
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| adj. 喃喃鸣不平的, 出怨言的 | |
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87
frivolous
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| adj.轻薄的；轻率的 | |
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88
mere
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| adj.纯粹的；仅仅，只不过 | |
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89
frigid
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| adj.寒冷的，凛冽的；冷淡的；拘禁的 | |
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90
mortification
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| n.耻辱，屈辱 | |
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91
tightened
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| 收紧( tighten的过去式和过去分词 )； （使）变紧； （使）绷紧； 加紧 | |
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92
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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93
abolition
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| n.废除，取消 | |
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94
confirmation
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| n.证实，确认，批准 | |
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95
liking
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| n.爱好；嗜好；喜欢 | |
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96
blemishes
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| n.（身体的）瘢点( blemish的名词复数 )；伤疤；瑕疵；污点 | |
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97
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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98
frivolity
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| n.轻松的乐事，兴高采烈；轻浮的举止 | |
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99
industrious
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| adj.勤劳的，刻苦的，奋发的 | |
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100
plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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101
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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102
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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103
biassed
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| （统计试验中）结果偏倚的，有偏的 | |
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104
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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105
stifle
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| vt.使窒息；闷死；扼杀；抑止，阻止 | |
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106
creek
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| n.小溪，小河，小湾 | |
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107
painstaking
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| adj.苦干的；艰苦的，费力的，刻苦的 | |
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108
subtlety
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| n.微妙，敏锐，精巧；微妙之处，细微的区别 | |
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109
chapel
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| n.小教堂，殡仪馆 | |
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110
panes
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| 窗玻璃( pane的名词复数 ) | |
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111
mellow
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| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
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112
vaulted
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| adj.拱状的 | |
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113
dozing
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| v.打瞌睡,假寐 n.瞌睡 | |
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114
stupor
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| v.昏迷；不省人事 | |
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115
contented
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| adj.满意的，安心的，知足的 | |
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116
Christian
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| adj.基督教徒的；n.基督教徒 | |
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117
forum
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| n.论坛，讨论会 | |
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118
gatherings
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| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
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119
monkish
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| adj.僧侣的，修道士的，禁欲的 | |
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120
attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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121
scribble
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| v.潦草地书写，乱写，滥写；n.潦草的写法，潦草写成的东西，杂文 | |
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122
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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123
naval
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| adj.海军的，军舰的，船的 | |
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124
utterly
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| adv.完全地，绝对地 | |
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