Antic Hay

In spite of the taxi, in spite of the gobbled dinner, they were late. The concert had begun. “Never mind,” said Gumbril. “We shall get in in time for the minuetto. It’s then that the fun really begins.” “Sour grapes,” said Emily, putting her ear to the door. “It sounds to me simply too lovely.” They stood outside, like beggars waiting abjectly at the doors of a banqueting-hall—stood and listened to the snatches of music that came out tantalizingly from within. A rattle of clapping announced at last that the first movement was over; the doors were thrown open. Hungrily they rushed in. The Sclopis Quartet and a subsidiary viola were bowing from the platform. There was a chirrup of tuning, then preliminary silence. Sclopis nodded and moved his bow. The minuetto of Mozart’s G minor Quintet broke out, phrase after phrase, short and decisive, with every now and then a violent sforzando chord, startling in its harsh and sudden emphasis. Minuetto—all civilization, Mr. Mercaptan would have said, was implied in the delicious word, the delicate, pretty thing. Ladies and precious gentlemen, fresh from the wit and gallantry of Crebillon-haunted sofas, stepping gracefully to a pattern of airy notes. To this passion of one who cries out, to this obscure and angry argument with fate how would they, Gumbril wondered, how would they have tripped it? How pure the passion, how unaffected, clear and without clot or pretension the unhappiness of that slow movement which followed! Blessed are the pure in heart, for they shall see God. Pure and unsullied; pure and unmixed, unadulterated. “Not passionate, thank God; only sensual and sentimental.” In the name of earwig. Amen. Pure, pure. Worshippers have tried to rape the statues of the gods; the statuaries who made the images were generally to blame. And how deliciously, too, an artist can suffer! and, in the face of the whole Albert Hall, with what an effective gesture and grimace! But blessed are the pure in heart, for they shall see God. The instruments come together and part again. Long silver threads hang aerially over a murmur of waters; in the midst of muffled sobbing a cry. The fountains blow their architecture of slender pillars, and from basin to basin the waters fall; from basin to basin, and every fall makes somehow possible a higher leaping of the jet, and at the last fall the mounting column springs up into the sunlight, and from water the music has modulated up into a rainbow. Blessed are the pure in heart, for they shall see God; they shall make God visible, too, to other eyes. Blood beats in the ears. Beat, beat, beat. A slow drum in the darkness, beating in the ears of one who lies wakeful with fever, with the sickness of too much misery. It beats unceasingly, in the ears, in the mind itself. Body and mind are indivisible, and in the spirit blood painfully throbs. Sad thoughts droop through the mind. A small, pure light comes swaying down through the darkness, comes to rest, resigning itself to the obscurity of its misfortune. There is resignation, but blood still beats in the ears. Blood still painfully beats, though the mind has acquiesced. And then, suddenly, the mind exerts itself, throws off the fever of too much suffering and laughing, commands the body to dance. The introduction to the last movement comes to its suspended, throbbing close. There is an instant of expectation, and then, with a series of mounting trochees and a downward hurrying, step after tiny step, in triple time, the dance begins. Irrelevant, irreverent, out of key with all that has gone before. But man’s greatest strength lies in his capacity for irrelevance. In the midst of pestilences, wars and famines, he builds cathedrals; and a slave, he can think the irrelevant and unsuitable thoughts of a free man. The spirit is slave to fever and beating blood, at the mercy of an obscure and tyrannous misfortune. But irrelevantly, it elects to dance in triple measure—a mounting skip, a patter of descending feet. The G minor Quintet is at an end; the applause rattles out loudly. Enthusiasts stand up and cry bravo. And the five men on the platform rise and bow their acknowledgments. Great Sclopis himself receives his share of the plaudits with a weary condescension; weary are his poached eyes, weary his disillusioned smile. It is only his due, he knows; but he has had so much clapping, so many lovely women. He has a Roman nose, a colossal brow and, though the tawny musical mane does much to conceal the fact, no back to his head. Garofalo, the second fiddle, is black, beady-eyed and pot-bellied. The convex reflections of the electroliers slide back and forth over his polished bald head, as he bends, again, again, in little military salutes. Peperkoek, two metres high, bows with a sinuous politeness. His face, his hair are all of the same greyish buff colour; he does not smile, his appearance is monolithic and grim. Not so exuberant Knoedler, who sweats and smiles and embraces his ’cello send lays his hand to his heart and bows almost to the ground as though all this hullabaloo were directed only at him. As for poor little Mr. Jenkins, the subsidiary viola, he has slid away into the background, and feeling that this is really the Sclopis’s show and that he, a mere intruder, has no right to any of these demonstrations, he hardly bows at all, but only smiles, vaguely and nervously, and from time to time makes a little spasmodic twitch to show that he isn’t really ungrateful or haughty, as you might think, but that he feels in the circumstances—the position is a little embarrassing—it is hard to explain.... “Strange,” said Gumbril, “to think that those ridiculous creatures could have produced what we’ve just been hearing.” The poached eye of Sclopis lighted on Emily, flushed and ardently applauding. He gave her, all to herself, a weary smile. He would have a letter, he guessed, to-morrow morning signed ‘Your little Admirer in the Third Row.’ She looked a choice little piece. He smiled again to encourage her. Emily, alas! had not even noticed. She was applauding the music. “Did you enjoy it?” he asked, as they stepped out into a deserted Bond Street. “Did I...?” Emily laughed expressively. “No, I didn’t enjoy,” she said. “Enjoy isn’t the word. You enjoy eating ices. It made me happy. It’s unhappy music, but it made me happy.” Gumbril hailed a cab and gave the address of his rooms in Great Russell Street. “Happy,” he repeated, as they sat there side by side in the darkness. He, too, was happy. “Where are we going?” she asked. “To my rooms,” said Gumbril, “we shall be quiet there.” He was afraid she might object to going there—after yesterday. But she made no comment. “Some people think that it’s only possible to be happy if one makes a noise,” she said, after a pause. “I find it’s too delicate and melancholy for noise. Being happy is rather melancholy—like the most beautiful landscape, like those trees and the grass and the clouds and the sunshine to-day.” “From the outside,” said Gumbril, “it even looks rather dull.” They stumbled up the dark staircase to his rooms. Gumbril lit a pair of candles and put the kettle on the gas ring. They sat together on the divan sipping tea. In the rich, soft light of the candles she looked different, more beautiful. The silk of her dress seemed wonderfully rich and glossy, like the petals of a tulip, and on her face, on her bare arms and neck the light seemed to spread an impalpable bright bloom. On the wall behind them, their shadows ran up towards the ceiling, enormous and profoundly black. “How unreal it is,” Gumbril whispered. “Not true. This remote secret room. These lights and shadows out of another time. And you out of nowhere and I, out of a past utterly remote from yours, sitting together here, together—and being happy. That’s the strangest thing of all. Being quite senselessly happy. It’s unreal, unreal.” “But why,” said Emily, “why? It’s here and happening now. It _is_ real.” “It all might vanish, at any moment,” he said. Emily smiled rather sadly. “It’ll vanish in due time,” she said. “Quite naturally, not by magic; it’ll vanish the way everything else vanishes and changes. But it’s here now.” They gave themselves up to the enchantment. The candles burned, two shining eyes of flame, without a wink, minute after minute. But for them there were no longer any minutes. Emily leaned against him, her body held in the crook of his arm, her head resting on his shoulder. He caressed his cheek against her hair; sometimes, very gently, he kissed her forehead or her closed eyes. “If I had known you years ago ...” she sighed. “But I was a silly little idiot then. I shouldn’t have noticed any difference between you and anybody else.” “I shall be very jealous,” Emily spoke again after another timeless silence. “There must never be anybody else, never the shadow of anybody else.” “There never will be anybody else,” said Gumbril. Emily smiled and opened her eyes, looked up at him. “Ah, not here,” she said, “not in this real unreal room. Not during this eternity. But there will be other rooms just as real as this.” “Not so real, not so real.” He bent his face towards hers. She closed her eyes again, and the lids fluttered with a sudden tremulous movement at the touch of his light kiss. For them there were no more minutes. But time passed, time passed flowing in a dark stream, stanchlessly, as though from some profound mysterious wound in the world’s side, bleeding, bleeding for ever. One of the candles had burned down to the socket and the long, smoky flame wavered unsteadily. The flickering light troubled their eyes; the shadows twitched and stirred uneasily. Emily looked up at him. “What’s the time?” she said. Gumbril looked at his watch. It was nearly one o’clock. “Too late for you to get back,” he said. “Too late?” Emily sat-up. Ah, the enchantment was breaking, was giving way, like a film of ice beneath a weight, like a web before a thrust of the wind. They looked at one another. “What shall I do?” she asked. “You could sleep here,” Gumbril answered in a voice that came from a long way away. She sat for a long time in silence, looking through half-closed eyes at the expiring candle flame. Gumbril watched her in an agony of suspense. Was the ice to be broken, the web-work finally and for ever torn? The enchantment could still be prolonged, the eternity renewed. He felt his heart beating in his breast; he held his breath. It would be terrible if she were to go now, it would be a kind of death. The flame of the candle flickered more violently, leaping up in a thin, long, smoky flare, sinking again almost to darkness. Emily got up and blew out the candle. The other still burned calmly and steadily. “May I stay?” she asked. “Will you allow me?” He understood the meaning of her question, and nodded. “Of course,” he said. “Of course? Is it as much of course as all that?” “When I say so.” He smiled at her. The eternity had been renewed, the enchantment prolonged. There was no need to think of anything now but the moment. The past was forgotten, the future abolished. There was only this secret room and the candlelight and the unreal, impossible happiness of being two. Now that this peril of a disenchantment had been averted, it would last for ever. He got up from the couch, crossed the room, he took her hands and kissed them. “Shall we sleep now?” she asked. Gumbril nodded. “Do