Gumbril had spent the afternoon at Bloxam Gardens. His chin was still sore from the spirit gum with which he had attached to it the symbol of the Complete Man; he was feeling also a little fatigued. Rosie had been delighted to see him; St. Jerome had gone on solemnly communicating all the time. His father had gone out to dine, and Gumbril had eaten his rump steak and drunk his bottle of stout alone. He was sitting now in front of the open French windows which led from his father’s workroom on to the balcony, with a block on his knee and a fountain-pen in his hand, composing advertisements for the Patent Small-Clothes. Outside, in the plane trees of the square, the birds had gone through their nightly performance. But Gumbril had paid no attention to them. He sat there, smoking, sometimes writing a word or two—sunk in the quagmire of his own drowsy and comfortable body. The flawless weather of the day had darkened into a blue May evening. It was agreeable merely to be alive.
He sketched out two or three advertisements in the grand idealistic transatlantic style. He imagined one in particular with a picture of Nelson at the head of the page and ‘England expects ...’ printed large beneath it. “England ... Duty ... these are solemn words.” That was how it would begin. “These are solemn words, and we use them solemnly as men who realize what Duty is, and who do 163all that in them lies to perform it as Englishmen should. The Manufacturer’s is a sacred trust. The guide and ruler of the modern world, he has, like the Monarch of other days, responsibilities towards his people; he has a Duty to fulfil. He rules, but he must also serve. We realize our responsibilities, we take them seriously. Gumbril’s Patent Small-Clothes have been brought into the world that they may serve. Our Duty towards you is a Duty of Service. Our proud boast is that we perform it. But besides his Duty towards Others, every man has a duty towards Himself. What is that Duty? It is to keep himself in the highest possible state of physical and spiritual fitness. Gumbril’s Patent Small-Clothes protect the lumbar ganglia....” After that it would be plain medical and mystical sailing.
As soon as he got to the ganglia, Gumbril stopped writing. He put down the block, sheathed his pen, and abandoned himself to the pleasures of pure idleness. He sat, he smoked his cigar. In the basement, two floors down, the cook and the house-parlourmaid were reading—one the Daily Mirror, the other the Daily Sketch. For them, Her Majesty the Queen spoke kindly words to crippled female orphans; the jockeys tumbled at the jumps; Cupid was busy in Society, and the murderers who had disembowelled their mistresses were at large. Above him was the city of models, was a bedroom, a servant’s bedroom, an attic of tanks and ancient dirt, the roof and, after that, two or three hundred light-years away, a star of the fourth magnitude. On the other side of the party-wall on his right, a teeming family of Jews led their dark, compact, Jewish lives with a prodigious intensity. At this moment they were all passionately quarrelling. Beyond the wall on the left lived the young journalist and his wife. To-night it was he who had 164cooked the supper. The young wife lay on the sofa, feeling horribly sick; she was going to have a baby, there could be no doubt about it now. They had meant not to have one; it was horrible. And, outside, the birds were sleeping in the trees, the invading children from the slum tumbled and squealed. Ships meanwhile were walloping across the Atlantic freighted with more cigars. Rosie at this moment was probably mending Shearwater’s socks. Gumbril sat and smoked, and the universe arranged itself in a pattern about him, like iron filings round a magnet.
The door opened, and the house-parlourmaid intruded Shearwater upon his lazy felicity, abruptly, in her unceremonious old way, and hurried back to the Daily Sketch.
“Shearwater! This is very agreeable,” said Gumbril. “Come and sit down.” He pointed to a chair.
Clumsily, filling the space that two ordinary men would occupy, Shearwater came zigzagging and lurching across the room, bumped against the work-table and the sofa as he passed, and finally sat down in the indicated chair.
It suddenly occurred to Gumbril that this was Rosie’s husband: he had not thought of that before. Could it be in the marital capacity that he presented himself so unexpectedly now? After this afternoon.... He had come home; Rosie had confessed all.... Ah! but then she didn’t know who he was. He smiled to himself at the thought. What a joke! Perhaps Shearwater had come to complain to him of the unknown Complete Man—to him! It was delightful. Anon—the author of all those ballads in the Oxford Book of English Verse: the famous Italian painter—Ignoto. Gumbril was quite disappointed when his visitor began to talk of other themes than Rosie. Sunk in the quagmire of his own comfortable guts, he felt 165good-humouredly obscene. The dramatic scabrousness of the situation would have charmed him in his present mood. Good old Shearwater—but what an ox of a man! If he, Gumbril, took the trouble to marry a wife, he would at least take some interest in her.
Shearwater had begun to talk in general terms about life. What could he be getting at, Gumbril wondered? What particulars were ambushed behind these generalizations? There were silences. Shearwater looked, he thought, very gloomy. Under his thick moustache the small, pouting, babyish mouth did not smile. The candid eyes had a puzzled, tired expression in them.
“People are queer,” he said after one of his silences. “Very queer. One has no idea how queer they are.”
Gumbril laughed. “But I have a very clear idea of their queerness,” he said. “Every one’s queer, and the ordinary, respectable, bourgeois people are the queerest of the lot. How do they manage to live like that? It’s astonishing. When I think of all my aunts and uncles....” He shook his head.
“Perhaps it’s because I’m rather incurious,” said Shearwater. “One ought to be curious, I think. I’ve come to feel lately that I’ve not been curious enough about people.” The particulars began to peep, alive and individual, out of the vagueness, like rabbits; Gumbril saw them in his fancy, at the fringe of a wood.
“Quite,” he said encouragingly. “Quite.”
“I think too much of my work,” Shearwater went on, frowning. “Too much physiology. There’s also psychology. People’s minds as well as their bodies.... One shouldn’t be limited. Not too much, at any rate. People’s minds....” He was silent for a moment. “I 166can imagine,” he went on at last, as in the tone of one who puts a very hypothetical case, “I can imagine one’s getting so much absorbed in somebody else’s psychology that one could really think of nothing else.” The rabbits seemed ready to come out into the open.
“That’s a process,” said Gumbril, with middle-aged jocularity, speaking out of his private warm morass, “that’s commonly called falling in love.”
There was another silence. Shearwater broke it to begin talking about Mrs. Viveash. He had lunched with her three or four days running. He wanted Gumbril to tell him what she was really like. “She seems to me a very extraordinary woman,” he said.
“Like everybody else,” said Gumbril irritatingly. It amused him to see the rabbits scampering about at last.
“I’ve never known a woman like that before.”
Gumbril laughed. “You’d say that of any woman you happened to be interested in,” he said. “You’ve never known any women at all.” He knew much more about Rosie, already, than Shearwater did, or probably ever would.
Shearwater meditated. He thought of Mrs. Viveash, her cool, pale, critical eyes; her laughter, faint and mocking; her words that pierced into the mind, goading it into thinking unprecedented thoughts.
“She interests me,” he repeated. “I want you to tell me what she’s really like.” He emphasized the word really, as though there must, in the nature of things, be a vast difference between the apparent and the real Mrs. Viveash.
Most lovers, Gumbril reflected, picture to themselves, in their mistresses, a secret reality, beyond and different from what they see every day. They are in love with somebody else—their own invention. And sometimes there is a secret 167reality; and sometimes reality and appearance are the same. The discovery, in either case, is likely to cause a shock. “I don’t know,” he said. “How should I know? You must find out for yourself.”
“But you knew her, you know her well,” said Shearwater, almost with anxiety in his voice.
“Not so well as all that.”
Shearwater sighed profoundly, like a whale in the night. He felt restless, incapable of concentrating. His mind was full of a horrible confusion. A violent eruptive bubbling up from below had shaken its calm clarity to pieces. All this absurd business of passion—he had always thought it nonsense, unnecessary. With a little strength of will one could shut it out. Women—only for half an hour out of the twenty-four. But she had laughed, and his quiet, his security had vanished. “I can imagine,” he had said to her yesterday, “I can imagine myself giving up everything, work and all, to go running round after you.” “And do you suppose I should enjoy that?” Mrs. Viveash had asked. “It would be ridiculous,” he said, “it would be almost shameful.” And she had thanked him for the compliment. “And at the same time,” he went on, “I feel that it might be worth it. It might be the only thing.” His mind was confused, full of new thoughts. “It’s difficult,” he said after a pause, “arranging things. Very difficult. I thought I had arranged them so well....”
“I never arrange anything,” said Gumbril, very much the practical philosopher. “I take things as they come.” And as he spoke the words, suddenly he became rather disgusted with himself. He shook himself; he climbed up out of his own morass. “It would be better, perhaps, if I arranged things more,” he added.
168“Render therefore unto C?sar the things which are C?sar’s,” said Shearwater, as though to himself; “and to God, and to sex, and to work.... There must be a working arrangement.” He sighed again. “Everything in proportion. In proportion,” he repeated, as though the word were magical and had power. “In proportion.”
“Who’s talking about proportion?” They turned round. In the doorway Gumbril Senior was standing, smoothing his ruffled hair and tugging at his beard. His eyes twinkled cheerfully behind his spectacles. “Poaching on my architectural ground?” he said.
“This is Shearwater,” Gumbril Junior put in, and explained who he was.
The old gentleman sat down. “Proportion,” he said—“I was just thinking about it, now, as I was walking back. You can’t help thinking about it in these London streets, where it doesn’t exist. You can’t help pining for it. There are some streets ... oh, my God!” And Gumbril Senior threw up his hands in horror. “It’s like listening to a symphony of cats to walk along them. Senseless discords and a horrible disorder all the way. And the one street that was really like a symphony by Mozart—how busily and gleefully they’re pulling it down now! Another year and there’ll be nothing left of Regent Street. There’ll only be a jumble of huge, hideous buildings at three-quarters of a million apiece. A concert of Brobdingnagian cats. Order has been turned into a disgusting chaos. We need no barbarians from outside; they’re on the premises, all the time.”
The old man paused and pulled his beard meditatively. Gumbril Junior sat in silence, smoking; and in silence 169Shearwater revolved within the walls of his great round head his agonizing thoughts of Mrs. Viveash.
“It has always struck me as very curious,” Gumbril Senior went on, “that people are so little affected by the vile and discordant architecture around them. Suppose, now, that all these brass bands of unemployed ex-soldiers that blow so mournfully at all the street corners were suddenly to play nothing but a series of senseless and devilish discords—why, the first policeman would move them on, and the second would put them under arrest, and the passers-by would try to lynch them on their way to the police station. There would be a real spontaneous outcry of indignation. But when at these same street corners the contractors run up enormous palaces of steel and stone that are every bit as stupid and ignoble and inharmonious as ten brass bandsmen each playing a different tune in a different key, there is no outcry. The police don’t arrest the architect; the passing pedestrians don’t throw stones at the workmen. They don’t notice that anything’s wrong. It’s odd,” said Gumbril Senior. “It’s very odd.”
“Very od............