The Old Wives’ Tale E-Book

Arnold Bennett

• Herausgeber: Raanan Editeur
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Beschreibung

The Old Wives' Tale is a novel by Arnold Bennett, first published in 1908. It deals with the lives of two very different sisters, Constance and Sophia Baines, following their stories from their youth, working in their mother's draper's shop, into old age. It covers a period of about 70 years from roughly 1840 to 1905, and is set in Burslem and Paris. It is generally regarded as one of Bennett's finest works. | Bennett was initially inspired to write the book by a chance encounter in a Parisian restaurant. In the introduction to the book, he says ...an old woman came into the restaurant to dine. She was fat, shapeless, ugly, and grotesque. She had a ridiculous voice, and ridiculous gestures. It was easy to see that she lived alone, and that in the long lapse of years she had developed the kind of peculiarity which induces guffaws among the thoughtless. and I reflected, concerning the grotesque diner: "This woman was once young, slim, perhaps beautiful; certainly free from these ridiculous mannerisms. Very probably she is unconscious of her singularities. Her case is a tragedy. One ought to be able to make a heartrending novel out of the history of a woman such as she." Every stout, ageing woman is not grotesque—far from it!—but there is an extreme pathos in the mere fact that every stout ageing woman was once a young girl with the unique charm of youth in her form and movements and in her mind. And the fact that the change from the young girl to the stout ageing woman is made up of an infinite number of infinitesimal changes, each unperceived by her, only intensifies the pathos... |Wikipedia|

Leseprobe

SOMMMAIRE

PREFACE TO THIS EDITION

BOOK I: MRS. BAINES

CHAPTER I: THE SQUARE

CHAPTER II: THE TOOTH

CHAPTER III: A BATTLE

CHAPTER IV: ELEPHANT

CHAPTER V: THE TRAVELLER

CHAPTER VI: ESCAPADE

CHAPTER VII: A DEFEAT

BOOK II: CONSTANCE

CHAPTER I: REVOLUTION

CHAPTER II: CHRISTMAS AND THE FUTURE

CHAPTER III: CYRIL

CHAPTER IV: CRIME

CHAPTER V: ANOTHER CRIME

CHAPTER VI: THE WIDOW

CHAPTER VII: BRICKS AND MORTAR

CHAPTER VIII: THE PROUDEST MOTHER

BOOK III: SOPHIA

CHAPTER I: THE ELOPEMENT

CHAPTER II: SUPPER

CHAPTER III: AN AMBITION SATISFIED

CHAPTER IV: A CRISIS FOR GERALD

CHAPTER V: FEVER

CHAPTER VI: THE SIEGE

CHAPTER VII: SUCCESS

BOOK IV: WHAT LIFE IS

CHAPTER I: FRENSHAM'S

CHAPTER II: THE MEETING

CHAPTER III: TOWARDS HOTEL LIFE

CHAPTER IV: END OF SOPHIA

CHAPTER V: END OF CONSTANCE

ARNOLD BENNETT

THE OLD

WIVES' TALE

1908

Raanan Editeur

Digital book985| Publishing 1

PREFACE TO THIS EDITION

In the autumn of 1903 I used to dine frequently in a restaurant in the Rue de Clichy, Paris. Here were, among others, two waitresses that attracted my attention. One was a beautiful, pale young girl, to whom I never spoke, for she was employed far away from the table which I affected. The other, a stout, middle-aged managing Breton woman, had sole command over my table and me, and gradually she began to assume such a maternal tone towards me that I saw I should be compelled to leave that restaurant. If I was absent for a couple of nights running she would reproach me sharply: "What! you are unfaithful to me?" Once, when I complained about some French beans, she informed me roundly that French beans were a subject which I did not understand. I then decided to be eternally unfaithful to her, and I abandoned the restaurant. A few nights before the final parting an old woman came into the restaurant to dine. She was fat, shapeless, ugly, and grotesque. She had a ridiculous voice, and ridiculous gestures. It was easy to see that she lived alone, and that in the long lapse of years she had developed the kind of peculiarity which induces guffaws among the thoughtless. She was burdened with a lot of small parcels, which she kept dropping. She chose one seat; and then, not liking it, chose another; and then another. In a few moments she had the whole restaurant laughing at her. That my middle-aged Breton should laugh was indifferent to me, but I was pained to see a coarse grimace of giggling on the pale face of the beautiful young waitress to whom I had never spoken.

I reflected, concerning the grotesque diner: "This woman was once young, slim, perhaps beautiful; certainly free from these ridiculous mannerisms. Very probably she is unconscious of her singularities. Her case is a tragedy. One ought to be able to make a heartrending novel out of the history of a woman such as she." Every stout, ageing woman is not grotesque--far from it!--but there is an extreme pathos in the mere fact that every stout ageing woman was once a young girl with the unique charm of youth in her form and movements and in her mind. And the fact that the change from the young girl to the stout ageing woman is made up of an infinite number of infinitesimal changes, each unperceived by her, only intensifies the pathos.

It was at this instant that I was visited by the idea of writing the book which ultimately became "The Old Wives' Tale." Of course I felt that the woman who caused the ignoble mirth in the restaurant would not serve me as a type of heroine. For she was much too old and obviously unsympathetic. It is an absolute rule that the principal character of a novel must not be unsympathetic, and the whole modern tendency of realistic fiction is against oddness in a prominent figure. I knew that I must choose the sort of woman who would pass unnoticed in a crowd.

I put the idea aside for a long time, but it was never very distant from me. For several reasons it made a special appeal to me. I had always been a convinced admirer of Mrs. W. K. Clifford's most precious novel, "Aunt Anne," but I wanted to see in the story of an old woman many things that Mrs. W. K. Clifford had omitted from "Aunt Anne." Moreover, I had always revolted against the absurd youthfulness, the unfading youthfulness of the average heroine. And as a protest against this fashion, I was already, in 1903, planning a novel ("Leonora") of which the heroine was aged forty, and had daughters old enough to be in love. The reviewers, by the way, were staggered by my hardihood in offering a woman of forty as a subject of serious interest to the public. But I meant to go much farther than forty! Finally as a supreme reason, I had the example and the challenge of Guy de Maupassant's "Une Vie." In the nineties we used to regard "Une Vie" with mute awe, as being the summit of achievement in fiction. And I remember being very cross with Mr. Bernard Shaw because, having read "Une Vie" at the suggestion (I think) of Mr. William Archer, he failed to see in it anything very remarkable. Here I must confess that, in 1908, I read "Une Vie" again, and in spite of a natural anxiety to differ from Mr. Bernard Shaw, I was gravely disappointed with it. It is a fine novel, but decidedly inferior to "Pierre et Jean" or even "Fort Comme la Mort." To return to the year 1903. "Une Vie" relates the entire life history of a woman. I settled in the privacy of my own head that my book about the development of a young girl into a stout old lady must be the English "Une Vie." I have been accused of every fault except a lack of self-confidence, and in a few weeks I settled a further point, namely, that my book must "go one better" than "Une Vie," and that to this end it must be the life-history of two women instead of only one. Hence, "The Old Wives' Tale" has two heroines. Constance was the original; Sophia was created out of bravado, just to indicate that I declined to consider Guy de Maupassant as the last forerunner of the deluge. I was intimidated by the audacity of my project, but I had sworn to carry it out. For several years I looked it squarely in the face at intervals, and then walked away to write novels of smaller scope, of which I produced five or six. But I could not dally forever, and in the autumn of 1907 I actually began to write it, in a village near Fontainebleau, where I rented half a house from a retired railway servant. I calculated that it would be 200,000 words long (which it exactly proved to be), and I had a vague notion that no novel of such dimensions (except Richardson's) had ever been written before. So I counted the words in several famous Victorian novels, and discovered to my relief that the famous Victorian novels average 400,000 words apiece. I wrote the first part of the novel in six weeks. It was fairly easy to me, because, in the seventies, in the first decade of my life, I had lived in the actual draper's shop of the Baines's, and knew it as only a child could know it. Then I went to London on a visit. I tried to continue the book in a London hotel, but London was too distracting, and I put the thing away, and during January and February of 1908, I wrote "Buried Alive," which was published immediately, and was received with majestic indifference by the English public, an indifference which has persisted to this day.

I then returned to the Fontainebleau region and gave "The Old Wives' Tale" no rest till I finished it at the end of July, 1908. It was published in the autumn of the same year, and for six weeks afterward the English public steadily confirmed an opinion expressed by a certain person in whose judgment I had confidence, to the effect that the work was honest but dull, and that when it was not dull it had a regrettable tendency to facetiousness. My publishers, though brave fellows, were somewhat disheartened; however, the reception of the book gradually became less and less frigid.

With regard to the French portion of the story, it was not until I had written the first part that I saw from a study of my chronological basis that the Siege of Paris might be brought into the tale. The idea was seductive; but I hated, and still hate, the awful business of research; and I only knew the Paris of the Twentieth Century. Now I was aware that my railway servant and his wife had been living in Paris at the time of the war. I said to the old man, "By the way, you went through the Siege of Paris, didn't you?" He turned to his old wife and said, uncertainly, "The Siege of Paris? Yes, we did, didn't we?" The Siege of Paris had been only one incident among many in their lives. Of course, they remembered it well, though not vividly, and I gained much information from them. But the most useful thing which I gained from them was the perception, startling at first, that ordinary people went on living very ordinary lives in Paris during the siege, and that to the vast mass of the population the siege was not the dramatic, spectacular, thrilling, ecstatic affair that is described in history. Encouraged by this perception, I decided to include the siege in my scheme. I read Sarcey's diary of the siege aloud to my wife, and I looked at the pictures in Jules Claretie's popular work on the siege and the commune, and I glanced at the printed collection of official documents, and there my research ended.

It has been asserted that unless I had actually been present at a public execution, I could not have written the chapter in which Sophia was at the Auxerre solemnity. I have not been present at a public execution, as the whole of my information about public executions was derived from a series of articles on them which I read in the Paris Matin. Mr. Frank Harris, discussing my book in "Vanity Fair," said it was clear that I had not seen an execution, (or words to that effect), and he proceeded to give his own description of an execution. It was a brief but terribly convincing bit of writing, quite characteristic and quite worthy of the author of "Montes the Matador" and of a man who has been almost everywhere and seen almost everything. I comprehended how far short I had fallen of the truth! I wrote to Mr. Frank Harris, regretting that his description had not been printed before I wrote mine, as I should assuredly have utilized it, and, of course, I admitted that I had never witnessed an execution. He simply replied: "Neither have I." This detail is worth preserving, for it is a reproof to that large body of readers, who, when a novelist has really carried conviction to them, assert off hand: "O, that must be autobiography!"

ARNOLD BENNETT.

BOOK I: MRS. BAINES

CHAPTER I: THE SQUARE

1

Those two girls, Constance and Sophia Baines, paid no heed to the manifold interest of their situation, of which, indeed, they had never been conscious. They were, for example, established almost precisely on the fifty-third parallel of latitude. A little way to the north of them, in the creases of a hill famous for its religious orgies, rose the river Trent, the calm and characteristic stream of middle England. Somewhat further northwards, in the near neighbourhood of the highest public-house in the realm, rose two lesser rivers, the Dane and the Dove, which, quarrelling in early infancy, turned their backs on each other, and, the one by favour of the Weaver and the other by favour of the Trent, watered between them the whole width of England, and poured themselves respectively into the Irish Sea and the German Ocean. What a county of modest, unnoticed rivers! What a natural, simple county, content to fix its boundaries by these tortuous island brooks, with their comfortable names--Trent, Mease, Dove, Tern, Dane, Mees, Stour, Tame, and even hasty Severn! Not that the Severn is suitable to the county! In the county excess is deprecated. The county is happy in not exciting remark. It is content that Shropshire should possess that swollen bump, the Wrekin, and that the exaggerated wildness of the Peak should lie over its border. It does not desire to be a pancake like Cheshire. It has everything that England has, including thirty miles of Watling Street; and England can show nothing more beautiful and nothing uglier than the works of nature and the works of man to be seen within the limits of the county. It is England in little, lost in the midst of England, unsung by searchers after the extreme; perhaps occasionally somewhat sore at this neglect, but how proud in the instinctive cognizance of its representative features and traits!

Constance and Sophia, busy with the intense preoccupations of youth, recked not of such matters. They were surrounded by the county. On every side the fields and moors of Staffordshire, intersected by roads and lanes, railways, watercourses and telegraph-lines, patterned by hedges, ornamented and made respectable by halls and genteel parks, enlivened by villages at the intersections, and warmly surveyed by the sun, spread out undulating. And trains were rushing round curves in deep cuttings, and carts and waggons trotting and jingling on the yellow roads, and long, narrow boats passing in a leisure majestic and infinite over the surface of the stolid canals; the rivers had only themselves to support, for Staffordshire rivers have remained virgin of keels to this day. One could imagine the messages concerning prices, sudden death, and horses, in their flight through the wires under the feet of birds. In the inns Utopians were shouting the universe into order over beer, and in the halls and parks the dignity of England was being preserved in a fitting manner. The villages were full of women who did nothing but fight against dirt and hunger, and repair the effects of friction on clothes. Thousands of labourers were in the fields, but the fields were so broad and numerous that this scattered multitude was totally lost therein. The cuckoo was much more perceptible than man, dominating whole square miles with his resounding call. And on the airy moors heath-larks played in the ineffaceable mule- tracks that had served centuries before even the Romans thought of Watling Street. In short, the usual daily life of the county was proceeding with all its immense variety and importance; but though Constance and Sophia were in it they were not of it.

The fact is, that while in the county they were also in the district; and no person who lives in the district, even if he should be old and have nothing to do but reflect upon things in general, ever thinks about the county. So far as the county goes, the district might almost as well be in the middle of the Sahara. It ignores the county, save that it uses it nonchalantly sometimes as leg-stretcher on holiday afternoons, as a man may use his back garden. It has nothing in common with the county; it is richly sufficient to itself. Nevertheless, its self-sufficiency and the true salt savour of its life can only be appreciated by picturing it hemmed in by county. It lies on the face of the county like an insignificant stain, like a dark Pleiades in a green and empty sky. And Hanbridge has the shape of a horse and its rider, Bursley of half a donkey, Knype of a pair of trousers, Longshaw of an octopus, and little Turnhill of a beetle. The Five Towns seem to cling together for safety. Yet the idea of clinging together for safety would make them laugh. They are unique and indispensable. From the north of the county right down to the south they alone stand for civilization, applied science, organized manufacture, and the century--until you come to Wolverhampton. They are unique and indispensable because you cannot drink tea out of a teacup without the aid of the Five Towns; because you cannot eat a meal in decency without the aid of the Five Towns. For this the architecture of the Five Towns is an architecture of ovens and chimneys; for this its atmosphere is as black as its mud; for this it burns and smokes all night, so that Longshaw has been compared to hell; for this it is unlearned in the ways of agriculture, never having seen corn except as packing straw and in quartern loaves; for this, on the other hand, it comprehends the mysterious habits of fire and pure, sterile earth; for this it lives crammed together in slippery streets where the housewife must change white window-curtains at least once a fortnight if she wishes to remain respectable; for this it gets up in the mass at six a.m., winter and summer, and goes to bed when the public-houses close; for this it exists--that you may drink tea out of a teacup and toy with a chop on a plate. All the everyday crockery used in the kingdom is made in the Five Towns--all, and much besides. A district capable of such gigantic manufacture, of such a perfect monopoly--and which finds energy also to produce coal and iron and great men-- may be an insignificant stain on a county, considered geographically, but it is surely well justified in treating the county as its back garden once a week, and in blindly ignoring it the rest of the time.

Even the majestic thought that whenever and wherever in all England a woman washes up, she washes up the product of the district; that whenever and wherever in all England a plate is broken the fracture means new business for the district--even this majestic thought had probably never occurred to either of the girls. The fact is, that while in the Five Towns they were also in the Square, Bursley and the Square ignored the staple manufacture as perfectly as the district ignored the county. Bursley has the honours of antiquity in the Five Towns. No industrial development can ever rob it of its superiority in age, which makes it absolutely sure in its conceit. And the time will never come when the other towns--let them swell and bluster as they may--will not pronounce the name of Bursley as one pronounces the name of one's mother. Add to this that the Square was the centre of Bursley's retail trade (which scorned the staple as something wholesale, vulgar, and assuredly filthy), and you will comprehend the importance and the self-isolation of the Square in the scheme of the created universe. There you have it, embedded in the district, and the district embedded in the county, and the county lost and dreaming in the heart of England!

The Square was named after St. Luke. The Evangelist might have been startled by certain phenomena in his square, but, except in Wakes Week, when the shocking always happened, St. Luke's Square lived in a manner passably saintly--though it contained five public-houses. It contained five public-houses, a bank, a barber's, a confectioner's, three grocers', two chemists', an ironmonger's, a clothier's, and five drapers'. These were all the catalogue. St. Luke's Square had no room for minor establishments. The aristocracy of the Square undoubtedly consisted of the drapers (for the bank was impersonal); and among the five the shop of Baines stood supreme. No business establishment could possibly be more respected than that of Mr. Baines was respected. And though John Baines had been bedridden for a dozen years, he still lived on the lips of admiring, ceremonious burgesses as 'our honoured fellow-townsman.' He deserved his reputation.

The Baines's shop, to make which three dwellings had at intervals been thrown into one, lay at the bottom of the Square. It formed about one-third of the south side of the Square, the remainder being made up of Critchlow's (chemist), the clothier's, and the Hanover Spirit Vaults. ("Vaults" was a favourite synonym of the public-house in the Square. Only two of the public-houses were crude public-houses: the rest were "vaults.") It was a composite building of three storeys, in blackish-crimson brick, with a projecting shop-front and, above and behind that, two rows of little windows. On the sash of each window was a red cloth roll stuffed with sawdust, to prevent draughts; plain white blinds descended about six inches from the top of each window. There were no curtains to any of the windows save one; this was the window of the drawing-room, on the first floor at the corner of the Square and King Street. Another window, on the second storey, was peculiar, in that it had neither blind nor pad, and was very dirty; this was the window of an unused room that had a separate staircase to itself, the staircase being barred by a door always locked. Constance and Sophia had lived in continual expectation of the abnormal issuing from that mysterious room, which was next to their own. But they were disappointed. The room had no shameful secret except the incompetence of the architect who had made one house out of three; it was just an empty, unemployable room. The building had also a considerable frontage on King Street, where, behind the shop, was sheltered the parlour, with a large window and a door that led directly by two steps into the street. A strange peculiarity of the shop was that it bore no signboard. Once it had had a large signboard which a memorable gale had blown into the Square. Mr. Baines had decided not to replace it. He had always objected to what he called "puffing," and for this reason would never hear of such a thing as a clearance sale. The hatred of "puffing" grew on him until he came to regard even a sign as "puffing." Uninformed persons who wished to find Baines's must ask and learn. For Mr. Baines, to have replaced the sign would have been to condone, yea, to participate in, the modern craze for unscrupulous self-advertisement. This abstention of Mr. Baines's from indulgence in signboards was somehow accepted by the more thoughtful members of the community as evidence that the height of Mr. Baines's principles was greater even than they had imagined.

Constance and Sophia were the daughters of this credit to human nature. He had no other children.

2

They pressed their noses against the window of the show-room, and gazed down into the Square as perpendicularly as the projecting front of the shop would allow. The show-room was over the millinery and silken half of the shop. Over the woollen and shirting half were the drawing-room and the chief bedroom. When in quest of articles of coquetry, you mounted from the shop by a curving stair, and your head gradually rose level with a large apartment having a mahogany counter in front of the window and along one side, yellow linoleum on the floor, many cardboard boxes, a magnificent hinged cheval glass, and two chairs. The window-sill being lower than the counter, there was a gulf between the panes and the back of the counter, into which important articles such as scissors, pencils, chalk, and artificial flowers were continually disappearing: another proof of the architect's incompetence.

The girls could only press their noses against the window by kneeling on the counter, and this they were doing. Constance's nose was snub, but agreeably so. Sophia had a fine Roman nose; she was a beautiful creature, beautiful and handsome at the same time. They were both of them rather like racehorses, quivering with delicate, sensitive, and luxuriant life; exquisite, enchanting proof of the circulation of the blood; innocent, artful, roguish, prim, gushing, ignorant, and miraculously wise. Their ages were sixteen and fifteen; it is an epoch when, if one is frank, one must admit that one has nothing to learn: one has learnt simply everything in the previous six months.

"There she goes!" exclaimed Sophia.

Up the Square, from the corner of King Street, passed a woman in a new bonnet with pink strings, and a new blue dress that sloped at the shoulders and grew to a vast circumference at the hem. Through the silent sunlit solitude of the Square (for it was Thursday afternoon, and all the shops shut except the confectioner's and one chemist's) this bonnet and this dress floated northwards in search of romance, under the relentless eyes of Constance and Sophia. Within them, somewhere, was the soul of Maggie, domestic servant at Baines's. Maggie had been at the shop since before the creation of Constance and Sophia. She lived seventeen hours of each day in an underground kitchen and larder, and the other seven in an attic, never going out except to chapel on Sunday evenings, and once a month on Thursday afternoons. "Followers" were most strictly forbidden to her; but on rare occasions an aunt from Longshaw was permitted as a tremendous favour to see her in the subterranean den. Everybody, including herself, considered that she had a good "place," and was well treated. It was undeniable, for instance, that she was allowed to fall in love exactly as she chose, provided she did not "carry on" in the kitchen or the yard. And as a fact, Maggie had fallen in love. In seventeen years she had been engaged eleven times. No one could conceive how that ugly and powerful organism could softly languish to the undoing of even a butty-collier, nor why, having caught a man in her sweet toils, she could ever be imbecile enough to set him free. There are, however, mysteries in the souls of Maggies. The drudge had probably been affianced oftener than any woman in Bursley. Her employers were so accustomed to an interesting announcement that for years they had taken to saying naught in reply but 'Really, Maggie!' Engagements and tragic partings were Maggie's pastime. Fixed otherwise, she might have studied the piano instead.

"No gloves, of course!" Sophia criticized.

"Well, you can't expect her to have gloves," said Constance.

Then a pause, as the bonnet and dress neared the top of the Square.

"Supposing she turns round and sees us?" Constance suggested.

"I don't care if she does," said Sophia, with a haughtiness almost impassioned; and her head trembled slightly.

There were, as usual, several loafers at the top of the Square, in the corner between the bank and the "Marquis of Granby." And one of these loafers stepped forward and shook hands with an obviously willing Maggie. Clearly it was a rendezvous, open, unashamed. The twelfth victim had been selected by the virgin of forty, whose kiss would not have melted lard! The couple disappeared together down Oldcastle Street.

"WELL!" cried Constance. "Did you ever see such a thing?"

While Sophia, short of adequate words, flushed and bit her lip.

With the profound, instinctive cruelty of youth, Constance and Sophia had assembled in their favourite haunt, the show-room, expressly to deride Maggie in her new clothes. They obscurely thought that a woman so ugly and soiled as Maggie was had no right to possess new clothes. Even her desire to take the air of a Thursday afternoon seemed to them unnatural and somewhat reprehensible. Why should she want to stir out of her kitchen? As for her tender yearnings, they positively grudged these to Maggie. That Maggie should give rein to chaste passion was more than grotesque; it was offensive and wicked. But let it not for an instant be doubted that they were nice, kind-hearted, well- behaved, and delightful girls! Because they were. They were not angels.

"It's too ridiculous!" said Sophia, severely. She had youth, beauty, and rank in her favour. And to her it really was ridiculous.

"Poor old Maggie!" Constance murmured. Constance was foolishly good-natured, a perfect manufactory of excuses for other people; and her benevolence was eternally rising up and overpowering her reason.

"What time did mother say she should be back?" Sophia asked.

"Not until supper."

"Oh! Hallelujah!" Sophia burst out, clasping her hands in joy. And they both slid down from the counter just as if they had been little boys, and not, as their mother called them, "great girls."

"Let's go and play the Osborne quadrilles," Sophia suggested (the Osborne quadrilles being a series of dances arranged to be performed on drawing-room pianos by four jewelled hands).

"I couldn't think of it," said Constance, with a precocious gesture of seriousness. In that gesture, and in her tone, was something which conveyed to Sophia: "Sophia, how can you be so utterly blind to the gravity of our fleeting existence as to ask me to go and strum the piano with you?" Yet a moment before she had been a little boy.

"Why not?" Sophia demanded.

"I shall never have another chance like to-day for getting on with this," said Constance, picking up a bag from the counter.

She sat down and took from the bag a piece of loosely woven canvas, on which she was embroidering a bunch of roses in coloured wools. The canvas had once been stretched on a frame, but now, as the delicate labour of the petals and leaves was done, and nothing remained to do but the monotonous background, Constance was content to pin the stuff to her knee. With the long needle and several skeins of mustard-tinted wool, she bent over the canvas and resumed the filling-in of the tiny squares. The whole design was in squares--the gradations of red and greens, the curves of the smallest buds--all was contrived in squares, with a result that mimicked a fragment of uncompromising Axminster carpet. Still, the fine texture of the wool, the regular and rapid grace of those fingers moving incessantly at back and front of the canvas, the gentle sound of the wool as it passed through the holes, and the intent, youthful earnestness of that lowered gaze, excused and invested with charm an activity which, on artistic grounds, could not possibly be justified. The canvas was destined to adorn a gilt firescreen in the drawing-room, and also to form a birthday gift to Mrs. Baines from her elder daughter. But whether the enterprise was as secret from Mrs. Baines as Constance hoped, none save Mrs. Baines knew.

"Con," murmured Sophia, "you're too sickening sometimes."

"Well," said Constance, blandly, "it's no use pretending that this hasn't got to be finished before we go back to school, because it has." Sophia wandered about, a prey ripe for the Evil One. "Oh," she exclaimed joyously--even ecstatically--looking behind the cheval glass, "here's mother's new skirt! Miss Dunn's been putting the gimp on it! Oh, mother, what a proud thing you will be!" Constance heard swishings behind the glass. "What are you doing, Sophia?"

"Nothing."

"You surely aren't putting that skirt on?"

"Why not?"

"You'll catch it finely, I can tell you!"

Without further defence, Sophia sprang out from behind the immense glass. She had already shed a notable part of her own costume, and the flush of mischief was in her face. She ran across to the other side of the room and examined carefully a large coloured print that was affixed to the wall.

This print represented fifteen sisters, all of the same height and slimness of figure, all of the same age--about twenty-five or so, and all with exactly the same haughty and bored beauty. That they were in truth sisters was clear from the facial resemblance between them; their demeanour indicated that they were princesses, offspring of some impossibly prolific king and queen. Those hands had never toiled, nor had those features ever relaxed from the smile of courts. The princesses moved in a landscape of marble steps and verandahs, with a bandstand and strange trees in the distance. One was in a riding-habit, another in evening attire, another dressed for tea, another for the theatre; another seemed to be ready to go to bed. One held a little girl by the hand; it could not have been her own little girl, for these princesses were far beyond human passions. Where had she obtained the little girl? Why was one sister going to the theatre, another to tea, another to the stable, and another to bed? Why was one in a heavy mantle, and another sheltering from the sun's rays under a parasol? The picture was drenched in mystery, and the strangest thing about it was that all these highnesses were apparently content with the most ridiculous and out-moded fashions. Absurd hats, with veils flying behind; absurd bonnets, fitting close to the head, and spotted; absurd coiffures that nearly lay on the nape; absurd, clumsy sleeves; absurd waists, almost above the elbow's level; absurd scolloped jackets! And the skirts! What a sight were those skirts! They were nothing but vast decorated pyramids; on the summit of each was stuck the upper half of a princess. It was astounding that princesses should consent to be so preposterous and so uncomfortable. But Sophia perceived nothing uncanny in the picture, which bore the legend: "Newest summer fashions from Paris. Gratis supplement to Myra's Journal." Sophia had never imagined anything more stylish, lovely, and dashing than the raiment of the fifteen princesses.

For Constance and Sophia had the disadvantage of living in the middle ages. The crinoline had not quite reached its full circumference, and the dress-improver had not even been thought of. In all the Five Towns there was not a public bath, nor a free library, nor a municipal park, nor a telephone, nor yet a board- school. People had not understood the vital necessity of going away to the seaside every year. Bishop Colenso had just staggered Christianity by his shameless notions on the Pentateuch. Half Lancashire was starving on account of the American war. Garroting was the chief amusement of the homicidal classes. Incredible as it may appear, there was nothing but a horse-tram running between Bursley and Hanbridge--and that only twice an hour; and between the other towns no stage of any kind! One went to Longshaw as one now goes to Pekin. It was an era so dark and backward that one might wonder how people could sleep in their beds at night for thinking about their sad state.

Happily the inhabitants of the Five Towns in that era were passably pleased with themselves, and they never even suspected that they were not quite modern and quite awake. They thought that the intellectual, the industrial, and the social movements had gone about as far as these movements could go, and they were amazed at their own progress. Instead of being humble and ashamed, they actually showed pride in their pitiful achievements. They ought to have looked forward meekly to the prodigious feats of posterity; but, having too little faith and too much conceit, they were content to look behind and make comparisons with the past. They did not foresee the miraculous generation which is us. A poor, blind, complacent people! The ludicrous horse-car was typical of them. The driver rang a huge bell, five minutes before starting, that could he heard from the Wesleyan Chapel to the Cock Yard, and then after deliberations and hesitations the vehicle rolled off on its rails into unknown dangers while passengers shouted good-bye. At Bleakridge it had to stop for the turnpike, and it was assisted up the mountains of Leveson Place and Sutherland Street (towards Hanbridge) by a third horse, on whose back was perched a tiny, whip-cracking boy; that boy lived like a shuttle on the road between Leveson Place and Sutherland Street, and even in wet weather he was the envy of all other boys. After half an hour's perilous transit the car drew up solemnly in a narrow street by the Signal office in Hanbridge, and the ruddy driver, having revolved many times the polished iron handle of his sole brake, turned his attention to his passengers in calm triumph, dismissing them with a sort of unsung doxology.

And this was regarded as the last word of traction! A whip- cracking boy on a tip horse! Oh, blind, blind! You could not foresee the hundred and twenty electric cars that now rush madly bumping and thundering at twenty miles an hour through all the main streets of the district!

So that naturally Sophia, infected with the pride of her period, had no misgivings whatever concerning the final elegance of the princesses. She studied them as the fifteen apostles of the ne plus ultra; then, having taken some flowers and plumes out of a box, amid warnings from Constance, she retreated behind the glass, and presently emerged as a great lady in the style of the princesses. Her mother's tremendous new gown ballooned about her in all its fantastic richness and expensiveness. And with the gown she had put on her mother's importance--that mien of assured authority, of capacity tested in many a crisis, which characterized Mrs. Baines, and which Mrs. Baines seemed to impart to her dresses even before she had regularly worn them. For it was a fact that Mrs. Baines's empty garments inspired respect, as though some essence had escaped from her and remained in them.

"Sophia!"

Constance stayed her needle, and, without lifting her head, gazed, with eyes raised from the wool-work, motionless at the posturing figure of her sister. It was sacrilege that she was witnessing, a prodigious irreverence. She was conscious of an expectation that punishment would instantly fall on this daring, impious child. But she, who never felt these mad, amazing impulses, could nevertheless only smile fearfully.

"Sophia!" she breathed, with an intensity of alarm that merged into condoning admiration. "Whatever will you do next?"

Sophia's lovely flushed face crowned the extraordinary structure like a blossom, scarcely controlling its laughter. She was as tall as her mother, and as imperious, as crested, and proud; and in spite of the pigtail, the girlish semi-circular comb, and the loose foal-like limbs, she could support as well as her mother the majesty of the gimp-embroidered dress. Her eyes sparkled with all the challenges of the untried virgin as she minced about the showroom. Abounding life inspired her movements. The confident and fierce joy of youth shone on her brow. "What thing on earth equals me?" she seemed to demand with enchanting and yet ruthless arrogance. She was the daughter of a respected, bedridden draper in an insignificant town, lost in the central labyrinth of England, if you like; yet what manner of man, confronted with her, would or could have denied her naive claim to dominion? She stood, in her mother's hoops, for the desire of the world. And in the innocence of her soul she knew it! The heart of a young girl mysteriously speaks and tells her of her power long ere she can use her power. If she can find nothing else to subdue, you may catch her in the early years subduing a gate-post or drawing homage from an empty chair. Sophia's experimental victim was Constance, with suspended needle and soft glance that shot out from the lowered face.

Then Sophia fell, in stepping backwards; the pyramid was overbalanced; great distended rings of silk trembled and swayed gigantically on the floor, and Sophia's small feet lay like the feet of a doll on the rim of the largest circle, which curved and arched above them like a cavern's mouth. The abrupt transition of her features from assured pride to ludicrous astonishment and alarm was comical enough to have sent into wild uncharitable laughter any creature less humane than Constance. But Constance sprang to her, a single embodied instinct of benevolence, with her snub nose, and tried to raise her.

"Oh, Sophia!" she cried compassionately--that voice seemed not to know the tones of reproof--"I do hope you've not messed it, because mother would be so--"

The words were interrupted by the sound of groans beyond the door leading to the bedrooms. The groans, indicating direst physical torment, grew louder. The two girls stared, wonder-struck and afraid, at the door, Sophia with her dark head raised, and Constance with her arms round Sophia's waist. The door opened, letting in a much-magnified sound of groans, and there entered a youngish, undersized man, who was frantically clutching his head in his hands and contorting all the muscles of his face. On perceiving the sculptural group of two prone, interlocked girls, one enveloped in a crinoline, and the other with a wool-work bunch of flowers pinned to her knee, he jumped back, ceased groaning, arranged his face, and seriously tried to pretend that it was not he who had been vocal in anguish, that, indeed, he was just passing as a casual, ordinary wayfarer through the showroom to the shop below. He blushed darkly; and the girls also blushed.

"Oh, I beg pardon, I'm sure!" said this youngish man suddenly; and with a swift turn he disappeared whence he had come.

He was Mr. Povey, a person universally esteemed, both within and without the shop, the surrogate of bedridden Mr. Baines, the unfailing comfort and stand-by of Mrs. Baines, the fount and radiating centre of order and discipline in the shop; a quiet, diffident, secretive, tedious, and obstinate youngish man, absolutely faithful, absolutely efficient in his sphere; without brilliance, without distinction; perhaps rather little-minded, certainly narrow-minded; but what a force in the shop! The shop was inconceivable without Mr. Povey. He was under twenty and not out of his apprenticeship when Mr. Baines had been struck down, and he had at once proved his worth. Of the assistants, he alone slept in the house. His bedroom was next to that of his employer; there was a door between the two chambers, and the two steps led down from the larger to the less.

The girls regained their feet, Sophia with Constance's help. It was not easy to right a capsized crinoline. They both began to laugh nervously, with a trace of hysteria.

"I thought he'd gone to the dentist's," whispered Constance.

Mr. Povey's toothache had been causing anxiety in the microcosm for two days, and it had been clearly understood at dinner that Thursday morning that Mr. Povey was to set forth to Oulsnam Bros., the dentists at Hillport, without any delay. Only on Thursdays and Sundays did Mr. Povey dine with the family. On other days he dined later, by himself, but at the family table, when Mrs. Baines or one of the assistants could "relieve" him in the shop. Before starting out to visit her elder sister at Axe, Mrs. Baines had insisted to Mr. Povey that he had eaten practically nothing but "slops" for twenty-four hours, and that if he was not careful she would have him on her hands. He had replied in his quietest, most sagacious, matter-of-fact tone--the tone that carried weight with all who heard it--that he had only been waiting for Thursday afternoon, and should of course go instantly to Oulsnams' and have the thing attended to in a proper manner. He had even added that persons who put off going to the dentist's were simply sowing trouble for themselves.

None could possibly have guessed that Mr. Povey was afraid of going to the dentist's. But such was the case. He had not dared to set forth. The paragon of commonsense, pictured by most people as being somehow unliable to human frailties, could not yet screw himself up to the point of ringing a dentist's door-bell.

"He did look funny," said Sophia. "I wonder what he thought. I couldn't help laughing!"

Constance made no answer; but when Sophia had resumed her own clothes, and it was ascertained beyond doubt that the new dress had not suffered, and Constance herself was calmly stitching again, she said, poising her needle as she had poised it to watch Sophia:

"I was just wondering whether something oughtn't to be done for Mr. Povey."

"What?" Sophia demanded.

"Has he gone back to his bedroom?"

"Let's go and listen," said Sophia the adventuress.

They went, through the showroom door, past the foot of the stairs leading to the second storey, down the long corridor broken in the middle by two steps and carpeted with a narrow bordered carpet whose parallel lines increased its apparent length. They went on tiptoe, sticking close to one another. Mr. Povey's door was slightly ajar. They listened; not a sound.

"Mr. Povey!" Constance coughed discreetly.

No reply. It was Sophia who pushed the door open. Constance made an elderly prim plucking gesture at Sophia's bare arm, but she followed Sophia gingerly into the forbidden room, which was, however, empty. The bed had been ruffled, and on it lay a book, "The Harvest of a Quiet Eye."

"Harvest of a quiet tooth!" Sophia whispered, giggling very low.

"Hsh!" Constance put her lips forward.

From the next room came a regular, muffled, oratorical sound, as though some one had begun many years ago to address a meeting and had forgotten to leave off and never would leave off. They were familiar with the sound, and they quitted Mr. Povey's chamber in fear of disturbing it. At the same moment Mr. Povey reappeared, this time in the drawing-room doorway at the other extremity of the long corridor. He seemed to be trying ineffectually to flee from his tooth as a murderer tries to flee from his conscience.

"Oh, Mr. Povey!" said Constance quickly--for he had surprised them coming out of his bedroom; "we were just looking for you."

"To see if we could do anything for you," Sophia added.

"Oh no, thanks!" said Mr. Povey.

Then he began to come down the corridor, slowly.

"You haven't been to the dentist's," said Constance sympathetically.

"No, I haven't," said Mr. Povey, as if Constance was indicating a fact which had escaped his attention. "The truth is, I thought it looked like rain, and if I'd got wet--you see--"

Miserable Mr. Povey!

"Yes," said Constance, "you certainly ought to keep out of draughts. Don't you think it would be a good thing if you went and sat in the parlour? There's a fire there."

"I shall be all right, thank you," said Mr. Povey. And after a pause: "Well, thanks, I will."

3

The girls made way for him to pass them at the head of the twisting stairs which led down to the parlour. Constance followed, and Sophia followed Constance.

"Have father's chair," said Constance.

There were two rocking-chairs with fluted backs covered by antimacassars, one on either side of the hearth. That to the left was still entitled "father's chair," though its owner had not sat in it since long before the Crimean war, and would never sit in it again.

"I think I'd sooner have the other one," said Mr. Povey, "because it's on the right side, you see." And he touched his right cheek.

Having taken Mrs. Baines's chair, he bent his face down to the fire, seeking comfort from its warmth. Sophia poked the fire, whereupon Mr. Povey abruptly withdrew his face. He then felt something light on his shoulders. Constance had taken the antimacassar from the back of the chair, and protected him with it from the draughts. He did not instantly rebel, and therefore was permanently barred from rebellion. He was entrapped by the antimacassar. It formally constituted him an invalid, and Constance and Sophia his nurses. Constance drew the curtain across the street door. No draught could come from the window, for the window was not 'made to open.' The age of ventilation had not arrived. Sophia shut the other two doors. And, each near a door, the girls gazed at Mr. Povey behind his back, irresolute, but filled with a delicious sense of responsibility.

The situation was on a different plane now. The seriousness of Mr. Povey's toothache, which became more and more manifest, had already wiped out the ludicrous memory of the encounter in the showroom. Looking at these two big girls, with their short-sleeved black frocks and black aprons, and their smooth hair, and their composed serious faces, one would have judged them incapable of the least lapse from an archangelic primness; Sophia especially presented a marvellous imitation of saintly innocence. As for the toothache, its action on Mr. Povey was apparently periodic; it gathered to a crisis like a wave, gradually, the torture increasing till the wave broke and left Mr. Povey exhausted, but free for a moment from pain. These crises recurred about once a minute. And now, accustomed to the presence of the young virgins, and having tacitly acknowledged by his acceptance of the antimacassar that his state was abnormal, he gave himself up frankly to affliction. He concealed nothing of his agony, which was fully displayed by sudden contortions of his frame, and frantic oscillations of the rocking-chair. Presently, as he lay back enfeebled in the wash of a spent wave, he murmured with a sick man's voice:

"I suppose you haven't got any laudanum?"

The girls started into life. "Laudanum, Mr. Povey?"

"Yes, to hold in my mouth."

He sat up, tense; another wave was forming. The excellent fellow was lost to all self-respect, all decency.

"There's sure to be some in mother's cupboard," said Sophia.

Constance, who bore Mrs. Baines's bunch of keys at her girdle, a solemn trust, moved a little fearfully to a corner cupboard which was hung in the angle to the right of the projecting fireplace, over a shelf on which stood a large copper tea-urn. That corner cupboard, of oak inlaid with maple and ebony in a simple border pattern, was typical of the room. It was of a piece with the deep green "flock" wall paper, and the tea-urn, and the rocking-chairs with their antimacassars, and the harmonium in rosewood with a Chinese paper-mache tea-caddy on the top of it; even with the carpet, certainly the most curious parlour carpet that ever was, being made of lengths of the stair-carpet sewn together side by side. That corner cupboard was already old in service; it had held the medicines of generations. It gleamed darkly with the grave and genuine polish which comes from ancient use alone. The key which Constance chose from her bunch was like the cupboard, smooth and shining with years; it fitted and turned very easily, yet with a firm snap. The single wide door opened sedately as a portal.

The girls examined the sacred interior, which had the air of being inhabited by an army of diminutive prisoners, each crying aloud with the full strength of its label to be set free on a mission.

"There it is!" said Sophia eagerly.

And there it was: a blue bottle, with a saffron label, "Caution. POISON. Laudanum. Charles Critchlow, M.P.S. Dispensing Chemist. St. Luke's Square, Bursley."

Those large capitals frightened the girls. Constance took the bottle as she might have taken a loaded revolver, and she glanced at Sophia. Their omnipotent, all-wise mother was not present to tell them what to do. They, who had never decided, had to decide now. And Constance was the elder. Must this fearsome stuff, whose very name was a name of fear, be introduced in spite of printed warnings into Mr. Povey's mouth? The responsibility was terrifying.

"Perhaps I'd just better ask Mr. Critchlow," Constance faltered.

The expectation of beneficent laudanum had enlivened Mr. Povey, had already, indeed, by a sort of suggestion, half cured his toothache.

"Oh no!" he said. "No need to ask Mr. Critchlow ... Two or three drops in a little water." He showed impatience to be at the laudanum.

The girls knew that an antipathy existed between the chemist and Mr. Povey.

"It's sure to be all right," said Sophia. "I'll get the water."

With youthful cries and alarms they succeeded in pouring four mortal dark drops (one more than Constance intended) into a cup containing a little water. And as they handed the cup to Mr. Povey their faces were the faces of affrighted comical conspirators. They felt so old and they looked so young.

Mr. Povey imbibed eagerly of the potion, put the cup on the mantelpiece, and then tilted his head to the right so as to submerge the affected tooth. In this posture he remained, awaiting the sweet influence of the remedy. The girls, out of a nice modesty, turned away, for Mr. Povey must not swallow the medicine, and they preferred to leave him unhampered in the solution of a delicate problem. When next they examined him, he was leaning back in the rocking-chair with his mouth open and his eyes shut.

"Has it done you any good, Mr. Povey?"

"I think I'll lie down on the sofa for a minute," was Mr. Povey's strange reply; and forthwith he sprang up and flung himself on to the horse-hair sofa between the fireplace and the window, where he lay stripped of all his dignity, a mere beaten animal in a grey suit with peculiar coat-tails, and a very creased waistcoat, and a lapel that was planted with pins, and a paper collar and close- fitting paper cuffs.

Constance ran after him with the antimacassar, which she spread softly on his shoulders; and Sophia put another one over his thin little legs, all drawn up.

They then gazed at their handiwork, with secret self-accusations and the most dreadful misgivings.

"He surely never swallowed it!" Constance whispered.

"He's asleep, anyhow," said Sophia, more loudly.

Mr. Povey was certainly asleep, and his mouth was very wide open-- like a shop-door. The only question was whether his sleep was not an eternal sleep; the only question was whether he was not out of his pain for ever.

Then he snored--horribly; his snore seemed a portent of disaster.

Sophia approached him as though he were a bomb, and stared, growing bolder, into his mouth.

"Oh, Con," she summoned her sister, "do come and look! It's too droll!"

In an instant all their four eyes were exploring the singular landscape of Mr. Povey's mouth. In a corner, to the right of that interior, was one sizeable fragment of a tooth, that was attached to Mr. Povey by the slenderest tie, so that at each respiration of Mr. Povey, when his body slightly heaved and the gale moaned in the cavern, this tooth moved separately, showing that its long connection with Mr. Povey was drawing to a close.

"That's the one," said Sophia, pointing. "And it's as loose as anything. Did you ever see such a funny thing?"

The extreme funniness of the thing had lulled in Sophia the fear of Mr. Povey's sudden death.

"I'll see how much he's taken," said Constance, preoccupied, going to the mantelpiece.

"Why, I do believe---" Sophia began, and then stopped, glancing at the sewing-machine, which stood next to the sofa.

It was a Howe sewing-machine. It had a little tool-drawer, and in the tool-drawer was a small pair of pliers. Constance, engaged in sniffing at the lees of the potion in order to estimate its probable deadliness, heard the well-known click of the little tool-drawer, and then she saw Sophia nearing Mr. Povey's mouth with the pliers.

"Sophia!" she exclaimed, aghast. "What in the name of goodness are you doing?"

"Nothing," said Sophia.

The next instant Mr. Povey sprang up out of his laudanum dream.

"It jumps!" he muttered; and, after a reflective pause, "but it's much better." He had at any rate escaped death.

Sophia's right hand was behind her back.

Just then a hawker passed down King Street, crying mussels and cockles.

"Oh!" Sophia almost shrieked. "Do let's have mussels and cockles for tea!" And she rushed to the door, and unlocked and opened it, regardless of the risk of draughts to Mr. Povey.

In those days people often depended upon the caprices of hawkers for the tastiness of their teas; but it was an adventurous age, when errant knights of commerce were numerous and enterprising. You went on to your doorstep, caught your meal as it passed, withdrew, cooked it and ate it, quite in the manner of the early Briton.

Constance was obliged to join her sister on the top step. Sophia descended to the second step.

"Fresh mussels and cockles all alive oh!" bawled the hawker, looking across the road in the April breeze. He was the celebrated Hollins, a professional Irish drunkard, aged in iniquity, who cheerfully saluted magistrates in the street, and referred to the workhouse, which he occasionally visited, as the Bastile.

Sophia was trembling from head to foot.

"What ARE you laughing at, you silly thing?" Constance demanded.

Sophia surreptitiously showed the pliers, which she had partly thrust into her pocket. Between their points was a most perceptible, and even recognizable, fragment of Mr. Povey.

This was the crown of Sophia's career as a perpetrator of the unutterable.

"What!" Constance's face showed the final contortions of that horrified incredulity which is forced to believe.

Sophia nudged her violently to remind her that they were in the street, and also quite close to Mr. Povey.

"Now, my little missies," said the vile Hollins. "Three pence a pint, and how's your honoured mother to-day? Yes, fresh, so help me God!"

CHAPTER II: THE TOOTH

1

The two girls came up the unlighted stone staircase which led from Maggie's cave to the door of the parlour. Sophia, foremost, was carrying a large tray, and Constance a small one. Constance, who had nothing on her tray but a teapot, a bowl of steaming and balmy-scented mussels and cockles, and a plate of hot buttered toast, went directly into the parlour on the left. Sophia had in her arms the entire material and apparatus of a high tea for two, including eggs, jam, and toast (covered with the slop-basin turned upside down), but not including mussels and cockles. She turned to the right, passed along the corridor by the cutting-out room, up two steps into the sheeted and shuttered gloom of the closed shop, up the showroom stairs, through the showroom, and so into the bedroom corridor. Experience had proved it easier to make this long detour than to round the difficult corner of the parlour stairs with a large loaded tray. Sophia knocked with the edge of the tray at the door of the principal bedroom. The muffled oratorical sound from within suddenly ceased, and the door was opened by a very tall, very thin, black-bearded man, who looked down at Sophia as if to demand what she meant by such an interruption.

"I've brought the tea, Mr. Critchlow," said Sophia.

And Mr. Critchlow carefully accepted the tray.

"Is that my little Sophia?" asked a faint voice from the depths of the bedroom.

"Yes, father," said Sophia.