THE COMPLETE CLAYHANGER SERIES: Clayhanger, Hilda Lessways, These Twain & The Roll Call. Arnold Bennett
in the house satisfied the keenest of her desires, and of course her face generously expressed what she felt.
“Well, Miss Orgreave,” Edwin grinned. “Here I am, you see!”
“And we’re delighted,” said Janet simply, taking his hand. She might have amiably teased him about the protracted difficulties of getting him. She might have hinted an agreeable petulance against the fact that the brother had succeeded where the sister had failed. Her sisterly manner to Charlie a little earlier had perhaps shown flashes of such thoughts in her mind. But no. In the presence of Edwin, Janet’s extreme good-nature forgot everything save that he was there, a stranger to be received and cherished.
“Here! Give us that tile,” said Charlie.
“Beautiful evening,” Edwin observed.
“Oh! Isn’t it!” breathed Janet, in ecstasy, and gazed from the front door into the western sky. “We were out on the lawn, but mother said it was damp. It wasn’t,” she laughed. “But if you think it’s damp, it is damp, isn’t it? Will you come and see mother? Charlie, you can leave the front door open.”
Edwin said to himself that she had all the attractiveness of a girl and of a woman. She preceded him towards the door to the right. Charlie hovered behind, on springs. Edwin, nervously pulling out his handkerchief and putting it back, had a confused vision of the hall full of little pictures, plates, stools, rugs, and old sword-sheaths. There seemed to him to be far more knick-knacks in that hall than in the whole of his father’s house; Mr Orgreave’s ingeniously contrived bookshelves were simply overlaid and smothered in knick-knacks. Janet pushed at the door, and the sound of the piano suddenly increased in volume.
Two.
There was no cessation of the music as the three entered. As it were beneath the music, Mrs Orgreave, a stout and faded calm lady, greeted him kindly: “Mr Edwin!” She was shorter than Janet, but Edwin could see Janet in her movements and in her full lips. “Well, Edwin!” said Osmond Orgreave with lazy and distinguished good-nature, shaking hands. Jimmie and Johnnie, now aged nineteen and eighteen respectively, were in the room; Johnnie was reading; their blushing awkwardness in salutation and comic efforts to be curtly benevolent in the manner of clubmen somewhat eased the tension in Edwin. They addressed him as ‘Clayhanger.’ The eldest and the youngest child of the family sat at the piano in the act of performing a duet. Tom, pale, slight, near-sighted and wearing spectacles, had reached the age of thirty-two, and was junior partner in a firm of solicitors at Hanbridge; Bursley seldom saw him. Alicia had the delightful gawkiness of twelve years. One only of the seven children was missing. Marian, aged thirty, and married in London, with two little babies; Marian was adored by all her brothers and sisters, and most by Janet, who, during visits of the married sister, fell back with worshipping joy into her original situation of second daughter.
Edwin, Charles, and Janet sat down on a sofa. It was not until after a moment that Edwin noticed an ugly young woman who sat behind the players and turned over the pages of music for them. “Surely that can’t be his wonderful Hilda!” Edwin thought. In the excitement of arrival he had forgotten the advertised Hilda. Was that she? The girl could be no other. Edwin made the reflection that all men make: “Well, it’s astonishing what other fellows like!” And, having put down Charlie several points in his esteem, he forgot Hilda.
Evidently loud and sustained conversation was not expected nor desired while the music lasted. And Edwin was glad of this. It enabled him to get his breath and his bearings in what was to him really a tremendous ordeal. And in fact he was much more agitated than even he imagined. The room itself abashed him.
Everybody, including Mr Orgreave, had said that the Clayhanger drawing-room with its bay-window was a fine apartment. But the Orgreave drawing-room had a bay-window and another large window; it was twice as big as the Clayhangers’ and of an interesting irregular shape. Although there were in it two unoccupied expanses of carpet, it nevertheless contained what seemed to Edwin immense quantities of furniture of all sorts. Easy-chairs were common, and everywhere. Several bookcases rose to the low ceiling; dozens and dozens of pictures hid the walls; each corner had its little society of objects; cushions and candlesticks abounded; the piano was a grand, and Edwin was astounded to see another piano, a small upright, in the farther distance; there were even two fireplaces, with two mirrors, two clocks, two sets of ornaments, and two embroidered screens. The general effect was of extraordinary lavish profusion—of wilful, splendid, careless extravagance.
Yet the arm of the sofa on which Edwin leaned was threadbare in two different places. The room was faded and worn, like its mistress. Like its mistress it seemed to exhale a silent and calm authority, based on historic tradition.
And the room was historic; it had been the theatre of history. For twenty-five years—ever since Tom was seven—it had witnessed the adventurous domestic career of the Orgreaves, so quiet superficially, so exciting in reality. It was the drawing-room of a man who had consistently used immense powers of industry for the satisfaction of his prodigal instincts; it was the drawing-room of a woman whose placidity no danger could disturb, and who cared for nothing if only her husband was amused. Spend and gain! And, for a change, gain and spend! That was the method. Work till sheer exhaustion beat you. Plan, scheme, devise! Satisfy your curiosity and your other instincts! Experiment! Accept risks! Buy first, order first, pledge yourself first; and then split your head in order to pay and to redeem! When chance aids you to accumulate, let the pile grow, out of mere perversity, and then scatter it royally! Play heartily! Play with the same intentness as you work! Live to the uttermost instant and to the last flicker of energy! Such was the spirit of Osmond Orgreave, and the spirit which reigned in the house generally, if not in every room of the house.
Three.
For each child had its room—except Jimmie and Johnnie, who shared one. And each room was the fortress of an egoism, the theatre of a separate drama, mysterious, and sacred from the others. Jimmie could not remember having been in Janet’s room—it was forbidden by Alicia, who was jealous of her sole right of entree—and nobody would have dreamed of violating the chamber of Jimmie and Johnnie to discover the origin of peculiar noises that puzzled the household at seven o’clock in the morning. As for Tom’s castle—it was a legend to the younger children; it was supposed to be wondrous.
All the children had always cost money, and a great deal of money, until Marian had left the family in deep gloom for her absence, and Tom, with a final wrench of a vast sum from the willing but wincing father, had settled into a remunerative profession. Tom was now keeping himself and repaying the weakened parent. The rest cost more and more every year as their minds and bodies budded and flowered. It was endless, it was staggering, it would not bear thinking about. The long and varied chronicle of it was somehow written on the drawing-room as well as on the faces of the father and mother—on the drawing-room which had the same dignified, childlike, indefatigable, invincible, jolly expression as its owners. Threadbare in places? And why not? The very identical Turkey carpet at which Edwin gazed in his self-consciousness—on that carpet Janet the queenly and mature had sprawled as an infant while her mother, a fresh previous Janet of less than thirty, had cooed and said incomprehensible foolishness to her. Tom was patriarchal because he had vague memories of an earlier drawing-room, misted in far antiquity. Threadbare? By heaven, its mere survival was magnificent! I say that it was a miraculous drawing-room. Its chairs were humanised. Its little cottage piano that nobody ever opened now unless Tom had gone mad on something for two pianos, because it was so impossibly tinny—the cottage piano could humanly recall the touch of a perfect baby when Marian the wife sat down to it. Marian was one of your silly sentimental nice things; on account of its associations, she really preferred the cottage piano to the grand. The two carpets were both resigned, grim old humanities, used to dirty heels, and not caring, or pretending not to care. What did the curtains know of history? Naught. They were always new; they could not last. But even the newest curtains would at once submit to the influence of the room, and take on something of its physiognomy, and help to express its comfortableness. You could not hang a week in front of one of those windows without being subtly informed by the tradition of adventurous happiness that presided over the