I dug my nails into the palms of my hands, I set my teeth, but tears blinded me, sobs would have choked me had speech been required of me. The old vicar read on, there came a mumbled response — and so on to the end. I wept as it were internally, and only when we had come out of the churchyard could I think and speak calmly again.
Stamped across this memory are the little black figures of my uncle and Rabbits, telling Avebury, the sexton and undertaker, that “it had all passed off very well — very well indeed.”
VIII
That is the last I shall tell of Bladesover. The dropscene falls on that, and it comes no more as an actual presence into this novel. I did indeed go back there once again, but under circumstances quite immaterial to my story. But in a sense Bladesover has never left me; it is, as I said at the outset, one of those dominant explanatory impressions that make the framework of my mind. Bladesover illuminates England; it has become all that is spacious, dignified pretentious, and truly conservative in English life. It is my social datum. That is why I have drawn it here on so large a scale.
When I came back at last to the real Bladesover on an inconsequent visit, everything was far smaller than I could have supposed possible. It was as though everything had shivered and shrivelled a little at the Lichtenstein touch. The harp was still in the saloon, but there was a different grand piano with a painted lid and a metrostyle pianola, and an extraordinary quantity of artistic litter and bric-a-brac scattered about. There was the trail of the Bond Street showroom over it all. The furniture was still under chintz, but it wasn’t the same sort of chintz although it pretended to be, and the lustre-dangling chandeliers had passed away. Lady Lichtenstein’s books replaced the brown volumes I had browsed among — they were mostly presentation copies of contemporary novels and the National Review and the Empire Review, and the Nineteenth Century and after jostled current books on the tables — English new books in gaudy catchpenny “artistic” covers, French and Italian novels in yellow, German art handbooks of almost incredible ugliness. There were abundant evidences that her ladyship was playing with the Keltic renascence, and a great number of ugly cats made of china — she “collected” china and stoneware cats — stood about everywhere — in all colours, in all kinds of deliberately comic, highly glazed distortion.
It is nonsense to pretend that finance makes any better aristocrats than rent. Nothing can make an aristocrat but pride, knowledge, training, and the sword. These people were no improvement on the Drews, none whatever. There was no effect of a beneficial replacement of passive unintelligent people by active intelligent ones. One felt that a smaller but more enterprising and intensely undignified variety of stupidity had replaced the large dullness of the old gentry, and that was all. Bladesover, I thought, had undergone just the same change between the seventies and the new century that had overtaken the dear old Times, and heaven knows how much more of the decorous British fabric. These Lichtensteins and their like seem to have no promise in them at all of any fresh vitality for the kingdom. I do not believe in their intelligence or their power — they have nothing new about them at all, nothing creative nor rejuvenescent, no more than a disorderly instinct of acquisition; and the prevalence of them and their kind is but a phase in the broad slow decay of the great social organism of England. They could not have made Bladesover they cannot replace it; they just happen to break out over it — saprophytically.
Well — that was my last impression of Bladesover.
CHAPTER THE THIRD
THE WIMBLEHURST APPRENTICESHIP
I
So far as I can remember now, except for that one emotional phase by the graveside, I passed through all these experiences rather callously. I had already, with the facility of youth, changed my world, ceased to think at all of the old school routine and put Bladesover aside for digestion at a latter stage. I took up my new world in Wimblehurst with the chemist’s shop as its hub, set to work at Latin and materia medica, and concentrated upon the present with all my heart. Wimblehurst is an exceptionally quiet and grey Sussex town rare among south of England towns in being largely built of stone. I found something very agreeable and picturesque in its clean cobbled streets, its odd turnings and abrupt corners; and in the pleasant park that crowds up one side of the town. The whole place is under the Eastry dominion and it was the Eastry influence and dignity that kept its railway station a mile and three-quarters away. Eastry House is so close that it dominates the whole; one goes across the marketplace (with its old lock-up and stocks), past the great pre-reformation church, a fine grey shell, like some empty skull from which the life has fled, and there at once are the huge wrought-iron gates, and one peeps through them to see the facade of this place, very white and large and fine, down a long avenue of yews. Eastry was far greater than Bladesover and an altogether completer example of the eighteenth century system. It ruled not two villages, but a borough, that had sent its sons and cousins to parliament almost as a matter of right so long as its franchise endured. Every one was in the system, every one — except my uncle. He stood out and complained.
My uncle was the first real breach I found in the great front of Bladesover the world had presented me, for Chatham was not so much a breach as a confirmation. But my uncle had no respect for Bladesover and Eastry — none whatever. He did not believe in them. He was blind even to what they were. He propounded strange phrases about them, he exfoliated and wagged about novel and incredible ideas.
“This place,” said my uncle, surveying it from his open doorway in the dignified stillness of a summer afternoon, “wants Waking Up!”
I was sorting up patent medicines in the corner.
“I’d like to let a dozen young Americans loose into it,” said my uncle. “Then we’d see.”
I made a tick against Mother Shipton’s Sleeping Syrup. We had cleared our forward stock.
“Things must be happening SOMEWHERE, George,” he broke out in a querulously rising note as he came back into the little shop. He fiddled with the piled dummy boxes of fancy soap and scent and so forth that adorned the end of the counter, then turned about petulantly, stuck his hands deeply into his pockets and withdrew one to scratch his head. “I must do SOMETHING,” he said. “I can’t stand it.
“I must invent something. And shove it…. I could.
“Or a play. There’s a deal of money in a play, George. What would you think of me writing a play eh?… There’s all sorts of things to be done.
“Or the stog-igschange.”
He fell into that meditative whistling of his.
“Sacramental wine!” he swore, “this isn’t the world — it’s Cold Mutton Fat! That’s what Wimblehurst is! Cold Mutton Fat! — dead and stiff! And I’m buried in it up to the arm pits. Nothing ever happens, nobody wants things to happen ‘scept me! Up in London, George, things happen. America! I wish to Heaven, George, I’d been born American — where things hum.
“What can one do here? How can one grow? While we’re sleepin’ here with our Capital oozing away into Lord Eastry’s pockets for rent-men are up there….” He indicated London as remotely over the top of the dispensing counter, and then as a scene of great activity by a