Five.
Big James’s rendering of “The Miller of the Dee” had been renowned in the Five Towns since 1852. It was classical, hallowed. It was the only possible rendering of “The Miller of the Dee.” If the greatest bass in the world had come incognito to Bursley and sung “The Miller of the Dee,” people would have said, “Ah! But ye should hear Big James sing it!” It suited Big James. The sentiments of the song were his sentiments; he expressed them with natural simplicity; but at the same time they underwent a certain refinement at his hands; for even when he sang at his loudest Big James was refined, natty, and restrained. His instinctive gentlemanliness was invincible and all-pervading. And the real beauty and enormous power of his magnificent voice saved him by its mere distinction from the charge of being finicking. The simple sound of the voice gave pleasure. And the simple production of that sound was Big James’s deepest joy. Amid all the expected loud applause the giant looked naïvely for Edwin’s boyish mad enthusiasm, and felt it; and was thrilled, and very glad that he had brought Edwin. As for Edwin, Edwin was humbled that he should have been so blind to what Big James was. He had always regarded Big James as a dull, decent, somewhat peculiar fellow in a dirty apron, who was his father’s foreman. He had actually talked once to Big James of the wonderful way in which Maggie and Clara sang, and Big James had been properly respectful. But the singing of Maggie and Clara was less than nothing, the crudest amateurism, compared to these public performances of Big James’s. Even the accompanying concertina was far more cleverly handled than the Clayhanger piano had ever been handled. Yes, Edwin was humbled. And he had a great wish to be able to do something brilliantly himself—he knew not what. The intoxication of the desire for glory was upon him as he sat amid those shirt-sleeved men, near the brooding Indian god, under a crawling bluish canopy of smoke, gazing absently at the legend: “As a bird is known by its note—”
After an interval, during which Mr. Enoch Peake was roused more than once, a man with a Lancashire accent recited a poem entitled “The Patent Hairbrushing Machine,” the rotary hairbrush being at that time an exceedingly piquant novelty that had only been heard of in the barbers’ shops of the Five Towns, though travellers to Manchester could boast that they had sat under it. As the principle of the new machine was easily grasped, and the sensations induced by it easily imagined, the recitation had a success which was indicated by slappings of thighs and great blowings-off of mirth. But Mr. Enoch Peake preserved his tranquillity throughout it, and immediately it was over he announced with haste—
“Gentlemen all, Miss Florence Simcox—or shall us say Mrs. Offlow, wife of the gentleman who has just obliged—the champion female clog-dancer of the Midlands, will now oblige.”
Six.
These words put every man whom they surprised into a state of unusual animation; and they surprised most of the company. It may be doubted whether a female clog-dancer had ever footed it in Bursley. Several public-houses possessed local champions—of a street, of a village—but these were emphatically not women. Enoch Peake had arranged this daring item in the course of his afternoon’s business at Cocknage Gardens, Mr. Offlow being an expert in ratting terriers, and Mrs. Offlow happening to be on a tour with her husband through the realms of her championship, a tour which mingled the varying advantages derivable from terriers, recitations, and clogs. The affair was therefore respectable beyond cavil.
Nevertheless when Florence shone suddenly at the service-door, the shortness of her red-and-black velvet skirts, and the undeniable complete visibility of her rounded calves produced an uneasy and agreeable impression that Enoch Peake, for a chairman of the Mutual Burial Club, had gone rather far, superbly far, and that his moral ascendancy over Louisa Loggerheads must indeed be truly astonishing. Louisa now stood gravely behind the dancer, in the shadow of the doorway, and the contrast between her and Florence was in every way striking enough to prove what a wonderful and mysterious man Enoch Peake was. Florence was accustomed to audiences. She was a pretty, doll-like woman, if inclined to amplitude; but the smile between those shaking golden ringlets had neither the modesty nor the false modesty nor the docility that Bursley was accustomed to think proper to the face of woman. It could have stared down any man in the place, except perhaps Mr. Peake.
The gestures of Mr. Offlow, and her gestures, as he arranged and prepared the surface of the little square dancing-board that was her throne, showed that he was the husband of Florence Simcox rather than she the wife of Offlow the reciter and dog-fancier. Further, it was his rôle to play the concertina to her: he had had to learn the concertina—possibly a secret humiliation for one whose judgement in terriers was not excelled in many public-houses.
Seven.
She danced; and the service-doorway showed a vista of open-mouthed scullions. There was no sound in the room, save the concertina and the champion clogs. Every eye was fixed on those clogs; even the little eyes of Mr. Peake quitted the button of his waistcoat and burned like diamond points on those clogs. Florence herself chiefly gazed on those clogs, but occasionally her nonchalant petulant gaze would wander up and down her bare arms and across her bosom. At intervals, with her ringed fingers she would lift the short skirt—a nothing, an imperceptibility, half an inch, with glance downcast; and the effect was profound, recondite, inexplicable. Her style was not that of a male clog-dancer, but it was indubitably clog-dancing, full of marvels to the connoisseur, and to the profane naught but a highly complicated series of wooden noises. Florence’s face began to perspire. Then the concertina ceased playing, so that an undistracted attention might be given to the supremely difficult final figures of the dance.
And thus was rendered back to the people in the charming form of beauty that which the instinct of the artist had taken from the sordid ugliness of the people. The clog, the very emblem of the servitude and the squalor of brutalised populations, was changed, on the light feet of this favourite, into the medium of grace. Few of these men but at some time of their lives had worn the clog, had clattered in it through winter’s slush, and through the freezing darkness before dawn, to the manufactory and the mill and the mine, whence after a day of labour under discipline more than military, they had clattered back to their little candle-lighted homes. One of the slatterns behind the doorway actually stood in clogs to watch the dancer. The clog meant everything that was harsh, foul, and desolating; it summoned images of misery and disgust. Yet on those feet that had never worn it seriously, it became the magic instrument of pleasure, waking dulled wits and forgotten aspirations, putting upon everybody an enchantment … And then, suddenly, the dancer threw up one foot as high as her head and brought two clogs down together like a double mallet on the board, and stood still. It was over.
Mrs. Louisa Loggerheads turned nervously away, pushing her servants in front of her. And when the society of mutual buriers had recovered from the startling shameless insolence of that last high kick, it gave the rein to its panting excitement, and roared and stamped. Edwin was staggered. The blood swept into his face, a hot tide. He was ravished, but he was also staggered. He did not know what to think of Florence, the champion female clog-dancer. He felt that she was wondrous; he felt that he could have gazed at her all night; but he felt that she had put him under the necessity of reconsidering some of his fundamental opinions. For example, he was obliged to admit within himself a lessening of scorn for the attitude toward each other of Miss Ingamells and her young man. He saw those things in a new light. And he reflected, dazzled by the unforeseen chances of existence: “Yesterday I was at school—and to-day I see this!” He was so preoccupied by his own intimate sensations that the idea of applauding never occurred to him, until he perceived his conspicuousness in not applauding, whereupon he clapped self-consciously.
Eight.
Miss Florence Simcox, somewhat breathless, tripped away, with simulated coyness and many curtseys. She had done her task, and as a woman she had to go: this was a gathering of members of the Mutual Burial Club, a masculine company, and not meet for females. The men pulled themselves together, remembering that their proudest quality was a stoic callousness that nothing could overthrow. They refilled pipes, ordered more beer, and resumed the mask of invulnerable