LITMIR.BIZ

Скачать книгу

      The Jervaise Comedy

      I

      The First Hour

      When I was actually experiencing the thrill, it came delightfully, however, blended with a threat that proclaimed the imminent consequence of dismay. I appreciated the coming of the thrill, as a rare and unexpected “dramatic moment.” I savoured and enjoyed it as a real adventure suddenly presented in the midst of the common business of life. I imaginatively transplanted the scene from the Hall of Thorp-Jervaise to a West-End theatre; and in my instant part of unoccupied spectator I admired the art with which the affair had been staged. It is so seldom that we are given an opportunity to witness one of these “high moments,” and naturally enough I began instinctively to turn the scene into literature; admitting without hesitation, as I am often forced to admit, that the detail of reality is so much better and more typical than any I can invent.

      But, having said that, I wonder how far one does invent in such an experience? The same night I hinted something of my appreciation of the dramatic quality of the stir at the Hall door to Frank Jervaise, Brenda’s brother, and he, quite obviously, had altogether missed that aspect of the affair. He scowled with that forensic, bullying air he is so successfully practising at the Junior Bar, as he said, “I suppose you realise just what this may mean, to all of us?”

      Jervaise evidently had failed to appreciate the detail that I had relished with such delight. He had certainly not savoured the quality of it. And in one sense I may claim to have invented the business of the scene. I may have added to it by my imaginative participation. In any case my understanding as interpreter was the prime essential—a fact that shows how absurd it is to speak of “photographic detail” in literature, or indeed to attempt a proper differentiation between realism and romance.

      We were all of us in the Hall, an inattentive, chattering audience of between twenty and thirty people. The last dance had been stopped at ten minutes to twelve, in order that the local parson and his wife—their name was Sturton—might be out of the house of entertainment before the first stroke of Sunday morning. Every one was wound up to a pitch of satisfied excitement. The Cinderella had been a success. The floor and the music and the supper had been good, Mrs. Jervaise had thrown off her air of pre-occupation with some distasteful suspicion, and we had all been entertained and happy. And yet these causes for satisfaction had been nothing more than a setting for Brenda Jervaise. It was she who had stimulated us, given us a lead and kept us dancing to the tune of her exciting personality. She had made all the difference between an ordinarily successful dance and what Mrs. Sturton at the open door continually described as “a really delightful evening.”

      She had to repeat the phrase, because with the first stroke of midnight ringing out from the big clock over the stables, came also the first intimation of the new movement. Mrs. Sturton’s fly was mysteriously delayed; and I had a premonition even then, that the delay promised some diversion. The tone of the stable clock had its influence, perhaps. It was so precisely the tone of a stage clock—high and pretentious, and with a disturbing suggestion of being unmelodiously flawed.

      Miss Tattersall, Olive Jervaise’s friend, a rather abundant fair young woman, warmed by excitement to the realisation that she must flirt with some one, also noticed the theatrical sound of that announcement of midnight. She giggled a little nervously as stroke succeeded stroke in an apparently unending succession.

      “It seems as if it were going on all night,” she said to me, in a self-conscious voice, as if the sound of the bell had some emotional effect upon her.

      “It’s because it’s out of place,” I said for the sake of saying something; “theatrical and artificial, you know. It ought to be…” I did not know quite what it ought to be and stopped in the middle of the sentence. I was aware of the wide open door, of the darkness beyond, and of the timid visiting of the brilliant, chattering crowd by the fragrance of scented night-stock—a delicate, wayward incursion that drifted past me like the spirit of some sweet, shabby fairy. What possible bell could be appropriate to that air? I began, stupidly, to recall the names of such flowers as bluebell, hare-bell, Canterbury-bell. In imagination I heard their chime as the distant tinkling of a fairy musical-box.

      Miss Tattersall, however, took no notice of my failure to find the ideal. “Yes, isn’t it?” she said, and then the horrible striking ceased, and we heard little Nora Bailey across the Hall excitedly claiming that the clock had struck thirteen.

      “I counted most carefully,” she was insisting.

      “I can’t think why that man doesn’t come,” Mrs. Sturton repeated in a raised voice, as if she wanted to still the superstitious qualms that Miss Bailey had started. “I told him to come round at a quarter to twelve, so that there shouldn’t be any mistake. It’s very tiresome.” She paused on that and Jervaise was inspired to the statement that the fly came from the Royal Oak, didn’t it, a fact that Mrs. Sturton had already affirmed more than once.

      “What makes it rather embarrassing for the dear Jervaises,” Miss Tattersall confided to me, “is that the other things aren’t ordered till one—the Atkinsons’ ’bus, you know, and the rest of ’em. Brenda persuaded Mrs. Jervaise that we might go on for a bit after the vicar had gone.”

      I wished that I could get away from Miss Tattersall; she intruded on my thoughts. I was trying to listen to a little piece that was unfolding in my mind, a piece that began with the coming of the spirit of the night-stock into this material atmosphere of heated, excited men and women. I realised that invasion as the first effort of the wild romantic night to enter the house; after that…. After that I only knew that the consequences were intensely interesting and that if I could but let my thoughts guide me, they would finish the story and make it exquisite.

      “Oh! did she?” I commented automatically, and cursed myself for having conveyed a warmth of interest I certainly did not feel.

      “She’s so enthusiastic, isn’t she? Brenda, I mean,” Miss Tattersall went on, and as I listened I compared her to the stable-clock. She, too, was a persistent outrage, a hindrance to whatever it was that I was waiting for.

      Mrs. Sturton and her husband were coming back, with an appearance of unwillingness, into the warmth and light of the Hall. The dear lady was still at her congratulations on the delightfulness of the evening, but they were tempered, now, by a hint of apology for “spoiling it—to a certain extent—I hope I haven’t—by this unfortunate contretemps.”

      The Jervaises were uncomfortably warm in their reassurances. They felt, no doubt, the growing impatience of all their other visitors pressing forward with the reminder that if the Sturtons’ cab did not come at once, there would be no more dancing.

      Half-way up the stairs little Nora Bailey’s high laughing voice was embroidering her statement with regard to the extra stroke of the stable-clock.

      “I had a kind of premonition that it was going to, as soon as it began,” she was saying.

      Gordon Hughes was telling the old story of the sentry who had saved his life by a similar counting of the strokes of midnight.

      And at the back of my mind my dæmon was still thrusting out little spurts of enthralling allegory. The Sturtons and Jervaises had been driven in from the open. They were taking refuge in their house. Presently…

      “Given it up?” I remarked with stupid politeness to Miss Tattersall.

      “They’ve sent John round to the stables to inquire,” she told me.

      I do not know how she knew. “John” was the only man-servant that the Jervaises employed in the house; butler, footman, valet and goodness knows what else.

      “Mrs. Sturton seems to be afraid of the night-air,” Miss Tattersall remarked with a complacent giggle of self-congratulation on being too modern for such prejudices. “I simply love the night-air, don’t you?” she continued. “I often go out for a stroll in the garden the last thing.”

      I guessed her intention, but I was not going to compromise myself by strolling about the Jervaise domain at midnight with Grace Tattersall.

      “Do you? Yes,” I agreed, as if I were bound to admire her originality.

      They are afraid of the night-air, my allegory went on, and having begun their retreat, they are

Скачать книгу