Before we take leave of these companions of a single week I would present them to you again as they appeared on a certain sunny afternoon when the episode of Huntingtower was on the eve of closing. First we see Saskia and Alexis walking on the thymy sward of the cliff-top, looking out to the fretted blue of the sea. It is a fitting place for lovers—above all for lovers who have turned the page on a dark preface, and have before them still the long bright volume of life. The girl has her arm linked in the man’s, but as they walk she breaks often away from him, to dart into copses, to gather flowers, or to peer over the brink where the gulls wheel and oyster-catchers pipe among the shingle. She is no more the tragic muse of the past week, but a laughing child again, full of snatches of song, her eyes bright with expectation. They talk of the new world which lies before them, and her voice is happy. Then her brows contract, and, as she flings herself down on a patch of young heather, her air is thoughtful.
“I have been back among fairy tales,” she says. “I do not quite understand, Alesha. Those gallant little boys! They are youth, and youth is always full of strangeness. Mr. Heritage! He is youth, too, and poetry, perhaps, and a soldier’s tradition. I think I know him… But what about Dickson? He is the petit bourgeois, the épicier, the class which the world ridicules. He is unbelievable. The others with good fortune I might find elsewhere—in Russia perhaps. But not Dickson.”
“No,” is the answer. “You will not find him in Russia. He is what they call the middle-class, which we who were foolish used to laugh at. But he is the stuff which above all others makes a great people. He will endure when aristocracies crack and proletariats crumble. In our own land we have never known him, but till we create him our land will not be a nation.”
Half a mile away on the edge of the Laver glen Dickson and Heritage are together, Dickson placidly smoking on a tree-stump and Heritage walking excitedly about and cutting with his stick at the bracken. Sundry bandages and strips of sticking plaster still adorn the Poet, but his clothes have been tidied up by Mrs. Morran, and he has recovered something of his old precision of garb. The eyes of both are fixed on the two figures on the cliff-top. Dickson feels acutely uneasy. It is the first time that he has been alone with Heritage since the arrival of Alexis shivered the Poet’s dream. He looks to see a tragic grief; to his amazement he beholds something very like exultation.
“The trouble with you, Dogson,” says Heritage, “is that you’re a bit of an anarchist. All you false romantics are. You don’t see the extraordinary beauty of the conventions which time has consecrated. You always want novelty, you know, and the novel is usually the ugly and rarely the true. I am for romance, but upon the old, noble classic line.”
Dickson is scarcely listening. His eyes are on the distant lovers, and he longs to say something which will gently and graciously express his sympathy with his friend.
“I’m afraid,” he begins hesitatingly, “I’m afraid you’ve had a bad blow, Mr. Heritage. You’re taking it awful well, and I honour you for it.”
The Poet flings back his head. “I am reconciled,” he says. “After all ‘tis better to have loved and lost,’ you know. It has been a great experience and has shown me my own heart. I love her, I shall always love her, but I realize that she was never meant for me. Thank God I’ve been able to serve her—that is all a moth can ask of a star. I’m a better man for it, Dogson. She will be a glorious memory, and Lord! what poetry I shall write! I give her up joyfully, for she has found her mate. ‘Let us not to the marriage of true minds admit impediments!’ The thing’s too perfect to grieve about… Look! There is romance incarnate.”
He points to the figures now silhouetted against the further sea. “How does it go, Dogson?” he cries. “‘And on her lover’s arm she leant’— what next? You know the thing.”
Dickson assists and Heritage declaims:
“And on her lover’s arm she leant,
And round her waist she felt it fold,
And far across the hills they went
In that new world which is the old:
Across the hills, and far away
Beyond their utmost purple rim,
And deep into the dying day
The happy princess followed him.”
He repeats the last two lines twice and draws a deep breath. “How right!” he cries. “How absolutely right! Lord! It’s astonishing how that old bird Tennyson got the goods!”
After that Dickson leaves him and wanders among the thickets on the edge of the Huntingtower policies above the Laver glen. He feels childishly happy, wonderfully young, and at the same time supernaturally wise. Sometimes he thinks the past week has been a dream, till he touches the sticking-plaster on his brow, and finds that his left thigh is still a mass of bruises and that his right leg is woefully stiff. With that the past becomes very real again, and he sees the Garple Dean in that stormy afternoon, he wrestles again at midnight in the dark House, he stands with quaking heart by the boats to cut off the retreat. He sees it all, but without terror in the recollection, rather with gusto and a modest pride. “I’ve surely had a remarkable time,” he tells himself, and then Romance, the goddess whom he has worshipped so long, marries that furious week with the idyllic. He is supremely content, for he knows that in his humble way he has not been found wanting. Once more for him the Chavender or Chub, and long dreams among summer hills. His mind flies to the days ahead of him, when he will go wandering with his pack in many green places. Happy days they will be, the prospect with which he has always charmed his mind. Yes, but they will be different from what he had fancied, for he is another man than the complacent little fellow who set out a week ago on his travels. He has now assurance of himself, assurance of his faith. Romance, he sees, is one and indivisible …
Below him by the edge of the stream he sees the encampment of the Gorbals Die-Hards. He calls and waves a hand, and his signal is answered. It seems to be washing day, for some scanty and tattered raiment is drying on the sward. The band is evidently in session, for it is sitting in a circle, deep in talk.
As he looks at the ancient tents, the humble equipment, the ring of small shockheads, a great tenderness comes over him. The Die-Hards are so tiny, so poor, so pitifully handicapped, and yet so bold in their meagreness. Not one of them has had anything that might be called a chance. Their few years have been spent in kennels and closes, always hungry and hunted, with none to care for them; their childish ears have been habituated to every coarseness, their small minds filled with the desperate shifts of living… And yet, what a heavenly spark was in them! He had always thought nobly of the soul; now he wants to get on his knees before the queer greatness of humanity.
A figure disengages itself from the group, and Dougal makes his way up the hill towards him. The Chieftain is not more reputable in garb than when we first saw him, nor is he more cheerful of countenance. He has one arm in a sling made out of his neckerchief, and his scraggy little throat rises bare from his voluminous shirt. All that can be said for him is that he is appreciably cleaner. He comes to a standstill and salutes with a special formality.
“Dougal,” says Dickson, “I’ve been thinking. You’re the grandest lot of wee laddies