On this night Lilian had been appointed to stay till 8 o'clock. Eight o'clock--no Miss Grig. Eight-thirty o'clock--no Miss Grig. Nine, nine-thirty, ten o'clock--no Miss Grig. And now eleven o'clock and no Miss Grig. It was unprecedented and dreadfully disturbing. Lilian even foresaw a lonely, horrible night in the office, with nothing but tea, bread-and-butter, and the living gas-stove to comfort her. Agonizing prospect! She had spent nights in the office before, but never alone. She felt that she simply could not support the ordeal; yet--such was the moral, invisible empire of absent Miss Grig--she dared not shut up the office and depart. The office naturally had a telephone, but most absurdly there was no telephone at the Grigs' house--Felix's fault!--and so Lilian could only speculate upon the explanation of Miss Grig's absence. She speculated melodramatically.
Then her lovely little ear, quickened by apprehension, heard footsteps on the lower stairs. Heavy footsteps, but rapid enough! She flew through the ante-room to the outer door and fearfully opened it, and gazed downwards to the electric light that, somehow equivocally, invited wayfarers to pass through the ever-open street door and climb the shadowy steps to the second storey and behold there strange matters.
A villainous old fellow was hurrying up the echoing stairs. He wore a pea-jacket and a red cotton muffler. A moment ago she had had no thought of personal danger. Now, in an instant, she was petrified with fright. Her face turned from rose to grey.... Of course it was a hold-up! Post offices, and box offices of theatres, and even banks had been held up of late. Banks, Felix Grig had heard, were taking precautions. Felix had suggested that he too ought to take precautions--revolvers, alarm-bells, etc.--but Miss Grig, not approving, had smiled her wise, condescending smile, and nothing had been done. Miss Grig (thought Lilian) had no imagination--that was what was wrong with her!
"Miss!" growled hoarsely the oncoming bandit, "give us a match, will ye?"
Yes, they always began thus innocently, did robbers. Lilian tried to speak and could not. She could not even dash within and bang and bolt the door. With certain crises she might possibly be able to deal, but not with this sort of crisis. She was as defenceless as a blossom. She thought passionately that destiny had no right to put her in such a terrible extremity, and that the whole world was to blame. She felt as once women used to feel in the sack of cities, faint with fear--and streaks of thrilled, eager, voluptuous anticipation running through the fear! She reflected that the matches were on the mantelpiece over the gas-stove.
The man stood on the landing. He had an odour. He was tall; he would have made four of Lilian. She knew that it was ridiculous to retreat into the office and find the matches demanded; she knew that the matches were only a pretext; she knew that she ought to hit on some brilliant expedient for outwitting the bandit and winning eternal glory in the evening papers; but she retreated into the office to find the matches. He followed heavily behind her. He was within her room.... She could not have turned to face him for ropes of great pearls.
"Give us a box, miss. It's a windy night. Two of me lamps is blown out, and I dropped me matches into me tea-can--ha, ha!--and I ain't got no paper to carry a light from me fire, and I ain't seen a bobby for an hour. No, I hain't, though you wouldn't believe me."
Lilian was suddenly blinded by the truth. The roadway of Clifford Street and part of Bond Street was in the midst of a process of deep excavation; it was acutely "up," to the detriment of traffic and trade; and this fellow was the night-watchman who sat in a sentry-box by a burning brazier. She recognized him....
"Thank ye kindly, miss, and may God bless yer! I knowed ye was open all night. Good night. Hope I didn't frighten ye, miss." He laughed grimly, roguishly and honestly.
When he was gone Lilian laughed also, but hysterically. She did not at all want to laugh, but she laughed. Then she dropped into her chair and wept with painful sobbing violence. And as, regaining calm, she realized the horrors which might have happened to her, the resentment in her heart against destiny and against the whole world grew intense and filled her heart to the exclusion of every other feeling.
II: Early Years
Miss Share, as she was addressed in the office, was the only child of an art-master, and until she found the West End she had lived all her life in a long Putney "road," no house of which could truthfully say that it was in any way better than or different from its neighbours. This street realized the ideal of equality before God. It had been Lilian's prison, from which she was let out for regular daily exercise, and she hated it as ardently as any captive ever hated a prison. Lionel Share had had charge over the art side of an enormous polytechnic in another suburb. In youth he had won a national scholarship at South Kensington, and the glory of the scholarship never faded--not even when he was elected President of the Association of Art Masters. He was destined by fate to be a teacher of art, and appointed by heaven to be a headmaster and to reach the highest height of artistic pedagogy. He understood organization; the handling of committees, of under-masters and of pupils; the filling-up of forms; the engaging of models; and he understood profoundly the craft of pushing pupils successfully through examinations. His name was a sweet odour in the nostrils of the London County Council. He rehabilitated art and artists in Putney, which admitted that it had had quite a wrong notion of art and artists, having hitherto regarded art as unmanly, and artists as queer, loose, bankruptcy-bound fellows; whereas Mr. Share paid his rent promptly, went to Margate for his long holiday, wore a frock-coat, attended church, and had been mentioned as a suitable candidate for the Putney Borough Council. Until Mr. Share Putney had never been able to explain to itself the respectability of the National Gallery, which after all was full of art done by artists. The phenomenon of Mr. Share solved the enigma--the Old Masters must have been like Lionel Share.
At home Mr. Share was a fat man with a black beard and moustache, who adored his daughter and loved his wife. A strict monogamist, whose life would bear the fullest investigation, he was, nevertheless, what is euphemistically called "uxorious." He returned home of a night--often late, on account of evening classes--with ravishment. He knew that his wife and daughter would be ready to receive him, and they were. He kissed and fondled them. He praised them to their faces, asserting that their like could not be discovered among womankind, and he repeated again and again that his little Lilian was very beautiful. He ate and drank a good supper. If he loved his wife he loved also eating and drinking. Now and then he would arrive with half a bottle of champagne sticking out of his overcoat pocket. Not that he came within a thousand miles of "drinking"! He did not. He would not even keep champagne or any wine (except Australian burgundy) in the house; but he would pop in at the wine merchant's when the fancy took him.
He seldom worried his dears with his professional troubles. Only if organization and committees were specially exasperating would he refer, and then but casually, to the darker side of existence. As for art, he never mentioned it, save to deride some example of "Continental" or "advanced" or "depraved" or "perverse" art (comprehensively described as "futurist") which had regrettably got into the pages of The Studio
, the only magazine to which he subscribed. Nor did he ever in his prime paint or sketch for pleasure. But at the beginning of every year he would set to work to do a small thing or two for the Royal Academy, which small thing or two were often accepted by the Royal Academy, though never,