Bliss Part 9

At that moment Miss Fulton "gave the sign."

"Have you a garden?" said the cool, sleepy voice.

This was so exquisite on her part that all Bertha could do was to obey. She crossed the room, pulled the curtains apart, and opened those long windows.

"There!" she breathed.

And the two women stood side by side looking at the slender, flowering tree. Although it was so still it seemed, like the flame of a candle, to stretch up, to point, to quiver in the bright air, to grow taller and taller as they gazed--almost to touch the rim of the round, silver moon.

How long did they stand there? Both, as it were, caught in that circle of unearthly light, understanding each other perfectly, creatures of another world, and wondering what they were to do in this one with all this blissful treasure that burned in their bosoms and dropped, in silver flowers, from their hair and hands?

For ever--for a moment? And did Miss Fulton murmur: "Yes. Just that." Or did Bertha dream it?

Then the light was snapped on and Face made the coffee and Harry said: "My dear Mrs. Knight, don't ask me about my baby. I never see her. I shan't feel the slightest interest in her until she has a lover," and Mug took his eye out of the conservatory for a moment and then put it under gla.s.s again and Eddie Warren drank his coffee and set down the cup with a face of anguish as though he had drunk and seen the spider.

"What I want to do is to give the young men a show. I believe London is simply teeming with first-chop, unwritten plays. What I want to say to 'em is: 'Here's the theatre. Fire ahead.'"

"You know, my dear, I am going to decorate a room for the Jacob Nathans. Oh, I am so tempted to do a fried-fish scheme, with the backs of the chairs shaped like frying-pans and lovely chip potatoes embroidered all over the curtains."

"The trouble with our young writing men is that they are still too romantic. You can't put out to sea without being seasick and wanting a basin. Well, why won't they have the courage of those basins?"

"A dreadful poem about a girl who was violated by a beggar without a nose in a lit-tle wood.... "

Miss Fulton sank into the lowest, deepest chair and Harry handed round the cigarettes.

From the way he stood in front of her shaking the silver box and saying abruptly: "Egyptian? Turkish? Virginian? They're all mixed up," Bertha realised that she not only bored him; he really disliked her. And she decided from the way Miss Fulton said: "No, thank you, I won't smoke," that she felt it, too, and was hurt.

"Oh, Harry, don't dislike her. You are quite wrong about her. She's wonderful, wonderful. And, besides, how can you feel so differently about someone who means so much to me. I shall try to tell you when we are in bed tonight what has been happening. What she and I have shared."

At those last words something strange and almost terrifying darted into Bertha's mind. And this something blind and smiling whispered to her: "Soon these people will go. The house will be quiet--quiet. The lights will be out. And you and he will be alone together in the dark room--the warm bed.... "

She jumped up from her chair and ran over to the piano.

"What a pity someone does not play!" she cried. "What a pity somebody does not play."

For the first time in her life Bertha Young desired her husband. Oh, she'd loved him--she'd been in love with him, of course, in every other way, but just not in that way. And equally, of course, she'd understood that he was different. They'd discussed it so often. It had worried her dreadfully at first to find that she was so cold, but after a time it had not seemed to matter. They were so frank with each other--such good pals. That was the best of being modern.

But now--ardently! ardently! The word ached in her ardent body! Was this what that feeling of bliss had been leading up to? But then, then-- "My dear," said Mrs. Norman Knight, "you know our shame. We are the victims of time and train. We live in Hampstead. It's been so nice."

"I'll come with you into the hall," said Bertha. "I loved having you. But you must not miss the last train. That's so awful, isn't it?"

"Have a whisky, Knight, before you go?" called Harry.

"No, thanks, old chap."

Bertha squeezed his hand for that as she shook it.

"Good night, good-bye," she cried from the top step, feeling that this self of hers was taking leave of them for ever.

When she got back into the drawing-room the others were on the move.

"... Then you can come part of the way in my taxi."

"I shall be so thankful not to have to face another drive alone after my dreadful experience."

"You can get a taxi at the rank just at the end of the street. You won't have to walk more than a few yards."

"That's a comfort. I'll go and put on my coat."

Miss Fulton moved towards the hall and Bertha was following when Harry almost pushed past.

"Let me help you."

Bertha knew that he was repenting his rudeness--she let him go. What a boy he was in some ways--so impulsive--so--simple.

And Eddie and she were left by the fire.

"I wonder if you have seen Bilks' new poem called Table d'Hte," said Eddie softly. "It's so wonderful. In the last Anthology. Have you got a copy? I'd so like to show it to you. It begins with an incredibly beautiful line: 'Why Must it Always be Tomato Soup?'"

"Yes," said Bertha. And she moved noiselessly to a table opposite the drawing-room door and Eddie glided noiselessly after her. She picked up the little book and gave it to him; they had not made a sound.

While he looked it up she turned her head towards the hall. And she saw ... Harry with Miss Fulton's coat in his arms and Miss Fulton with her back turned to him and her head bent. He tossed the coat away, put his hands on her shoulders and turned her violently to him. His lips said: "I adore you," and Miss Fulton laid her moonbeam fingers on his cheeks and smiled her sleepy smile. Harry's nostrils quivered; his lips curled back in a hideous grin while he whispered: "Tomorrow," and with her eyelids Miss Fulton said: "Yes."

"Here it is," said Eddie. "'Why Must it Always be Tomato Soup?' It's so deeply true, don't you feel? Tomato soup is so dreadfully eternal."

"If you prefer," said Harry's voice, very loud, from the hall, "I can phone you a cab to come to the door."

"Oh, no. It's not necessary," said Miss Fulton, and she came up to Bertha and gave her the slender fingers to hold.

"Good-bye. Thank you so much."

"Good-bye," said Bertha.

Miss Fulton held her hand a moment longer.

"Your lovely pear tree!" she murmured.

And then she was gone, with Eddie following, like the black cat following the grey cat.

"I'll shut up shop," said Harry, extravagantly cool and collected.

"Your lovely pear tree--pear tree--pear tree!"

Bertha simply ran over to the long windows.

"Oh, what is going to happen now?" she cried.

But the pear tree was as lovely as ever and as full of flower and as still.

THE WIND BLOWS.

SUDDENLY--dreadfully--she wakes up. What has happened? Something dreadful has happened. No--nothing has happened. It is only the wind shaking the house, rattling the windows, banging a piece of iron on the roof and making her bed tremble. Leaves flutter past the window, up and away; down in the avenue a whole newspaper wags in the air like a lost kite and falls, spiked on a pine tree. It is cold. Summer is over--it is autumn--everything is ugly. The carts rattle by, swinging from side to side; two Chinamen lollop along under their wooden yokes with the straining vegetable baskets--their pigtails and blue blouses fly out in the wind. A white dog on three legs yelps past the gate. It is all over! What is? Oh, everything! And she begins to plait her hair with shaking fingers, not daring to look in the gla.s.s. Mother is talking to grandmother in the hall.

"A perfect idiot! Imagine leaving anything out on the line in weather like this.... Now my best little Teneriffe-work teacloth is simply in ribbons. What is that extraordinary smell? It's the porridge burning. Oh, heavens--this wind!"

She has a music lesson at ten o'clock. At the thought the minor movement of the Beethoven begins to play in her head, the trills long and terrible like little rolling drums.... Marie Swainson runs into the garden next door to pick the "chrysanths" before they are ruined. Her skirt flies up above her waist; she tries to beat it down, to tuck it between her legs while she stoops, but it is no use--up it flies. All the trees and bushes beat about her. She picks as quickly as she can, but she is quite distracted. She doesn't mind what she does--she pulls the plants up by the roots and bends and twists them, stamping her foot and swearing.

"For heaven's sake keep the front door shut! Go round to the back," shouts someone. And then she hears Bogey: "Mother, you're wanted on the telephone. Telephone, Mother. It's the butcher."

How hideous life is--revolting, simply revolting.... And now her hat-elastic's snapped. Of course it would. She'll wear her old tam and slip out the back way. But Mother has seen.

"Matilda. Matilda. Come back im-me-diately! What on earth have you got on your head? It looks like a tea cosy. And why have you got that mane of hair on your forehead."

"I can't come back, Mother. I'll be late for my lesson."

"Come back immediately!"

She won't. She won't. She hates Mother. "Go to h.e.l.l," she shouts, running down the road.

In waves, in clouds, in big round whirls the dust comes stinging, and with it little bits of straw and chaff and manure. There is a loud roaring sound from the trees in the gardens, and standing at the bottom of the road outside Mr. Bullen's gate she can hear the sea sob: "Ah! ... Ah! ... Ah-h!" But Mr. Bullen's drawing-room is as quiet as a cave. The windows are closed, the blinds half-pulled, and she is not late. The-girl-before-her has just started playing MacDowell's "To an Iceberg." Mr. Bullen looks over at her and half smiles.

"Sit down," he says. "Sit over there in the sofa corner, little lady."

How funny he is. He doesn't exactly laugh at you ... but there is just something.... Oh, how peaceful it is here. She likes this room. It smells of art serge and stale smoke and chrysanthemums ... there is a big vase of them on the mantelpiece behind the pale photograph of Rubinstein ... mon ami Robert Bullen.... . Over the black glittering piano hangs "Solitude"--a dark tragic woman draped in white, sitting on a rock, her knees crossed, her chin on her hands.

"No, no!" says Mr. Bullen, and he leans over the other girl, puts his arms over her shoulders and plays the pa.s.sage for her. The stupid--she's blus.h.i.+ng! How ridiculous!

Now the-girl-before-her has gone; the front door slams. Mr. Bullen comes back and walks up and down, very softly, waiting for her. What an extraordinary thing. Her fingers tremble so that she can't undo the knot in the music satchel. It's the wind.... And her heart beats so hard she feels it must lift her blouse up and down. Mr. Bullen does not say a word. The shabby red piano seat is long enough for two people to sit side by side. Mr. Bullen sits down by her.

"Shall I begin with scales?" she asks, squeezing her hands together. "I had some arpeggios, too."

But he does not answer. She doesn't believe he even hears ... and then suddenly his fresh hand with the ring on it reaches over and opens Beethoven.

"Let's have a little of the old master," he says.

But why does he speak so kindly--so awfully kindly--and as though they had known each other for years and years and knew everything about each other.

He turns the page slowly. She watches his hand--it is a very nice hand and always looks as though it had just been washed.

"Here we are," says Mr. Bullen.

Oh, that kind voice--Oh, that minor movement. Here come the little drums....

"Shall I take the repeat?"

"Yes, dear child."

His voice is far, far too kind. The crotchets and quavers are dancing up and down the stave like little black boys on a fence. Why is he so ... She will not cry--she has nothing to cry about....

"What is it, dear child?"

Mr. Bullen takes her hands. His shoulder is there--just by her head. She leans on it ever so little, her cheek against the springy tweed.

"Life is so dreadful," she murmurs, but she does not feel it's dreadful at all. He says something about "waiting" and "marking time" and "that rare thing, a woman," but she does not hear. It is so comfortable ... for ever ...

Suddenly the door opens and in pops Marie Swainson, hours before her time.

"Take the allegretto a little faster," says Mr. Bullen, and gets up and begins to walk up and down again.

"Sit in the sofa corner, little lady," he says to Marie.

The wind, the wind. It's frightening to be here in her room by herself. The bed, the mirror, the white jug and basin gleam like the sky outside. It's the bed that is frightening. There it lies, sound asleep.... Does Mother imagine for one moment that she is going to darn all those stockings knotted up on the quilt like a coil of snakes? She's not. No, Mother. I do not see why I should.... The wind--the wind! There's a funny smell of soot blowing down the chimney. Hasn't anyone written poems to the wind?... "I bring fresh flowers to the leaves and showers."... What nonsense.

"Is that you, Bogey?"

"Come for a walk round the esplanade, Matilda. I can't stand this any longer."

"Right-o. I'll put on my ulster. Isn't it an awful day!" Bogey's ulster is just like hers. Hooking the collar she looks at herself in the gla.s.s. Her face is white, they have the same excited eyes and hot lips. Ah, they know those two in the gla.s.s. Good-bye, dears; we shall be back soon.

"This is better, isn't it?"

"Hook on," says Bogey.

They cannot walk fast enough. Their heads bent, their legs just touching, they stride like one eager person through the town, down the asphalt zigzag where the fennel grows wild, and on to the esplanade. It is dusky--just getting dusky. The wind is so strong that they have to fight their way through it, rocking like two old drunkards. All the poor little pahutukawas on the esplanade are bent to the ground.

"Come on! Come on! Let's get near."

Over by the breakwater the sea is very high. They pull off their hats and her hair blows across her mouth, tasting of salt. The sea is so high that the waves do not break at all; they thump against the rough stone wall and suck up the weedy, dripping steps. A fine spray skims from the water right across the esplanade. They are covered with drops; the inside of her mouth tastes wet and cold.

Bogey's voice is breaking. When he speaks he rushes up and down the scale. It's funny--it makes you laugh--and yet it just suits the day. The wind carries their voices--away fly the sentences like narrow ribbons.

"Quicker! Quicker!"

It is getting very dark. In the harbour the coal hulks show two lights--one high on a mast, and one from the stern.

"Look, Bogey. Look over there."

A big black steamer with a long loop of smoke streaming, with the portholes lighted, with lights everywhere, is putting out to sea. The wind does not stop her; she cuts through the waves, making for the open gate between the pointed rocks that leads to... It's the light that makes her look so awfully beautiful and mysterious.... They are on board leaning over the rail arm in arm.

"... Who are they?"

"... Brother and sister."