Author: Aldous Huxley
Category: Literature
Go to read content：https://onlinereadfreenovel.com/aldous-huxley/page,115,480199-complete_works_of_aldous_huxley.html
‘I call that cupboard love,’ Miss Fulkes was still going on. ‘And you mustn’t say “naughty” to me like that.’
Elinor gave a little sigh, shook herself out of her reverie and, picking up the child in her arms, pressed him against her. ‘Never mind,’ she said, half to the reproving Miss Fulkes, half to her own apprehensive self. ‘Never mind.’ She kissed him.
Philip was looking at his watch. ‘Perhaps we ought to go and wash and brush up a bit before lunch,’ he said. He had the sentiment of punctuality.
‘But first,’ said Elinor, to whom it seemed that meals were made for man, not man for meals, ‘first we simply must run into the kitchen and say how-do-you-do to Mrs Inman. It would be unforgivable if we didn’t. Come.’ Still carrying the child, she led the way through the dining-room. The smell of roast duck grew stronger and stronger as they advanced.
Fretted a little by his consciousness of unpunctuality, and a little uneasy at having to risk himself, even with Elinor for dragoman, in the kitchen among the servants, Philip reluctantly followed her.
At luncheon, little Phil celebrated the occasion by behaving atrociously.
‘The excitement has been too much for him,’ poor Miss Fulkes kept repeating, trying to excuse the child and indirectly to justify herself. She would have liked to cry. ‘You’ll see when he’s got used to your being here, Mrs Quarles,’ she said, turning to Elinor, ‘you’ll see; he can be such an angel. It’s the excitement.’
She had come to love the child so much that his triumphs and humiliations, his virtues and his crimes made her exult or mourn, feel self-satisfaction or shame, as if they had been her own. Besides there was her professional pride. She had been alone responsible for him all these months, teaching him the social virtues and why the triangle of India is painted crimson on the map; she had made him, had moulded him. And now, when this object of tenderest love, this product of her skill and patience, screamed at table, spat out mouthfuls of half-masticated food and spilt the water, Miss Fulkes not only blushed with agonizing shame, as though it were she who had screamed, had spat, had spilled, but experienced at the same time all the humiliation of the conjurer whose long-prepared trick fails to come off in public, the inventor of the ideal flying machine which simply refuses to leave the ground.
‘After all,’ said Elinor, consolingly, ‘it’s only to be expected.’ She felt genuinely sorry for the poor girl. She looked at the child. He was crying – and she had expected (how unreasonably!) that it would be quite different now, that she would find him entirely rational and grown up. Her heart sank. She loved him, but children were terrible, terrible. And he was still a child. ‘Now, Phil,’ she said severely, ‘you must eat. No more nonsense.’
The child howled louder. He would have liked to behave well, but he did not know how to stop behaving badly. He had voluntarily worked up this mood of rebellious misery within himself; but now the emotion was his master and stronger than his will. It was impossible for him, even though he desired it, to return by the way he had come. Besides he had always rather disliked roast duck; and having now, for five minutes, thought of roast duck with concentrated disgust and horror, he loathed it. The sight, the smell, the taste of it really and genuinely made him sick.
Mrs Bidlake meanwhile preserved her metaphysical calm. Her soul swam on steadily, like a great ship through a choppy sea; or perhaps it was more like a balloon, drifting high above the waters in the serene and windless world of fancy. She had been talking to Philip about Buddhism (Mrs Bidlake had a special weakness for Buddhism). At the first screams, she had not even turned round to see what was the matter, contenting herself with raising her voice so as to make it audible above the tumult. The yelling was renewed, was continued. Mrs Bidlake was silent and shut her eyes. A cross-legged Buddha, serene and golden, appeared against the red background of her closed lids; she saw the yellow-robed priests around him, each in the attitude of the god and plunged in ecstatic meditation.
‘Maya,’ she said with a sigh, as though to herself, ‘maya – the eternal illusion.’ She opened her eyes again. ‘It is rather tough,’ she added, addressing herself to Elinor and Miss Fulkes who were desperately trying to make the child eat.
Little Phil seized the excuse which she had thus gratuitously given him. ‘It’s tough,’ he shouted tearfully, pushing away the fork on which Miss Fulkes, her hand trembling with the excess of painful emotions, was offering him a shred of roast duck and half a new potato.
Mrs Bidlake shut her eyes again for a moment; then turned to Philip and went on discussing the Eight-Fold Way.
That evening Philip wrote at some length in the notebook, in which he recorded, pell mell, thoughts and events, conversations, things heard and seen. ‘The kitchen in the old house,’ was how he headed the page. You can render it easily enough. The Tudor casements reflected in the bottoms of the copper pots. The huge black range with its polished steel trimmings and the fire peeping out through the half-opened porthole in the top. The mignonette in the window boxes. The cat, an enormous ginger eunuch, dozing in its basket by the dresser. The kitchen table so worn with time and constant scrubbing that the graining stands out above the softer wood – as though an engraver had prepared a wood-block of some gigantic finger-print. The beams in the low ceiling. The brown beechwood chairs. The raw pastry in process of rolling. The smell of cookery. The leaning column of yellow sunlight full of motes. And finally old Mrs Inman, the cook, small, frail, indomitable, the authoress of how many thousand meals! Work that up a little, and you’d have your picture. But I want something more. A sketch of the kitchen in time as well as space, a hint of its significance in the general human cosmos. I write one sentence. ‘Summer after summer, from the time when Shakespeare was a boy till now, ten generations of cooks have employed infra-red radiations to break up the protein molecules of spitted ducklings; (“thou wast not born for death, immortal bird,” etc.).’ One sentence, and I am already involved in history, art and all the sciences. The whole story of the universe is implicit in any part of it. The meditative eye can look through any single object and see, as through a window, the entire cosmos. Make the smell of roast duck in an old kitchen diaphanous and you will have a glimpse of everything, from the spiral nebulae to Mozart’s music and the stigmata of St Francis of Assisi. The artistic problem is to produce diaphanousness in spots, selecting the spots so as to reveal only the most humanly significant of distant vistas behind the near familiar object. But in all cases, the things seen at the end of the vista must be strange enough to make the familiar seem fantastically mysterious. Question; can this be achieved without pedantry, and without spinning out the work interminably? It needs a great deal of thinking about.
Meanwhile, how charming the kitchen is! How sympathetic its inhabitants. Mrs Inman has been in the house as long as Elinor. A miracle of aged beauty. And how serene, how aristocratically commanding! When one has been monarch of all one surveys for thirty years, one looks the royal part, even when all one surveys is only the kitchen. And then there is Dobbs, the parlourmaid. Dobbs has only been in the house since a little before the War. An invention of Rabelais. Six feet high and proportionately thick. And the enormous body houses Gargantua’s spirit. What broad humours, what a relish for life, what anecdotes, what facile and enormous laughter! Dobbs’s laughter is almost terrifying. And on a shelf of the pantry dresser I noticed, when we went to pay our respects, a green bottle, half full of pills – but pills like good-sized marbles, such as one blows down the throats of horses from a rubber hose. What Homeric indigestions they imply!
The kitchen is good; but so is the drawing-room. We came in from our afternoon walk to find the vicar and his wife talking Art over the tea-cups. Yes, Art. For it was their first call since their visit to the Academy.
It is an annual affair. Every year on the day following Ascension Day they take the 8.52 to town and pay the tribute that even Religion owes to Art – Established Religion and Established Art. They scour every corner of Burlington House a
nnotating the catalogue as they go round, humorously, wherever humour is admissible – for Mr Truby (who looks rather like Noah in a child’s ark) is one of those facetious churchmen who crack jokes in order to show that, in spite of the black coat and the reversed collar, they are ‘human’, ‘good chaps’, etc.
Plumply pretty Mrs Truby is less uproariously waggish than her husband, but is none the less what upper middle-class readers of Punch would call a ‘thoroughly cheery soul,’ up to any amount of innocent fun and full of quaint remarks. I looked on and listened, fascinated, while Elinor drew them out about the parish and the Academy, feeling like Fabre among the coleoptera. Every now and then some word of the conversation would cross the spiritual abysses separating Elinor’s mother from her surroundings, would penetrate her reverie and set up a curious reaction. Oracularly, disconcertingly, with a seriousness that was almost appalling in the midst of the Truby waggeries, she would speak out of another world. And outside, meanwhile, the garden is green and flowery. Old Stokes the gardener has a beard and looks like Father Time. The sky is pale blue. There is a noise of birds. The place is good. How good, one must have circumnavigated the globe to discover. Why not stay? Take root? But roots are chains. I have a terror of losing my freedom. Free, without ties, unpossessed by any possessions, free to do as one will, to go at a moment’s notice wherever the fancy may suggest – it is good. But so is this place. Might it not be better? To gain freedom one sacrifices something – the house, Mrs Inman, Dobbs, facetious Truby from the parsonage, the tulips in the garden, and all that these things and people signify. One sacrifices something – for a greater gain in knowledge, in understanding, in intensified living? I sometimes wonder.
Lord Edward and his brother were taking the air in Gattenden Park. Lord Edward took it walking. The fifth Marquess took it in a bath chair drawn by a large grey donkey. He was a cripple. ‘Which luckily doesn’t prevent the mind from running,’ he was fond of saying. It had been running, mazily, hither and thither all his life. Meanwhile, the grey ass only walked, very slowly. Before the two brothers and behind stretched Gattenden Broad Walk. A mile in front of them at the end of the straight vista stood a model of Trajan’s column in Portland stone with a bronze statue of the first Marquess on the top, and an inscription in large letters round the pedestal setting forth his claims to fame. He had been, among other things, Viceroy of Ireland and the Father of Scientific Agriculture. At the other end of the Broad Walk, a mile behind the brothers, rose the fantastic towers and pinnacles of Gattenden Castle, built for the second Marquess by James Wyatt in the most extravagant style of Strawberry Hill Gothic, and looking more mediaeval than anything that the real chronological Middle Ages had ever dreamt of. The Marquess lived permanently at Gattenden. Not that he particularly liked the house or the surrounding scenery. He was hardly aware of them. When he wasn’t reading, he was thinking about what he had read; the world of appearances, as he liked, platonically, to call visible and tangible reality, did not interest him. This lack of interest was his revenge on the universe for having made him a cripple. He inhabited Gattenden, because it was only at Gattenden that he could safely go for drives in his bath chair. Pall Mall is no place for grey donkeys and paralytic old gentlemen who read and meditate as they drive. He had made over Tantamount House to his brother and continued to drive his ass through the beechwoods of Gattenden Park.
The ass had halted to browse at the wayside. The fifth Marquess and his brother were having an argument about God. Time passed. They were still talking about God when, half an hour later, Philip and Elinor, who had been taking their afternoon walk in the Park, emerged from the beech-wood and unexpectedly came upon the Marquess’s bath chair.
‘Poor old creatures!’ was Philip’s comment when they were once more out of earshot. ‘What else have they got to talk about? Too old to want to talk about love – too old and much too good. Too rich to talk about money. Too highbrow to talk about people and too hermit-like to know any people to talk about. Too shy to talk about themselves, too blankly inexperienced to talk about life or even literature. What is there left for the poor old wretches to talk about? Nothing – only God.’
‘And at the present rate of progress,’ said Elinor, ‘you’ll be exactly like them ten years from now.’
CHAPTER XX
OF PHILIP QUARLES’S father old John Bidlake used to say that he was like one of those baroque Italian churches with sham façades. High, impressive, bristling with classical orders, broken pedimenta and statuary, the façade seems to belong to a great cathedral. But look more closely and you discover that it is only a screen. Behind the enormous and elaborate front there crouches a wretched little temple of brick and rubble and scabby plaster. And warming to his simile, John Bidlake would describe the unshaven priest gabbling the office, the snotty little acolyte in his unwashed surplice, the congregation of goitrous peasant women and their brats, the cretin begging at the door, the tin crowns on the images, the dirt on the floor, the stale smell of generations of pious humanity.
‘Why is it,’ he concluded, forgetting that he was making an uncomplimentary comment on his own successes, ‘that women always needs must love the lowest when they see it – or rather him? Curious. Particularly in this case. One would have given Rachel Quarles too much sense to be taken in by such a vacuum.’
Other people had thought so too, had also wondered why. Rachel Quarles seemed so incomparably too good for her husband. But one does not marry a set of virtues and talents; one marries an individual human being. The Sidney Quarles who had proposed to Rachel was a young man whom anyone might have fallen in love with and even believed in – anyone; and Rachel was only eighteen and particularly inexperienced. He too was young (youth is in itself a virtue), young and good-looking. Broad shouldered and proportionately tall, portly now to the verge of stoutness, Sidney Quarles was still an imposing figure. At twenty-three the big body had been athletic, the greyish hair which now surrounded a pink and polished tonsure had then been golden-brown and had covered the whole of his scalp with a waving luxuriance. The large, high coloured, fleshy face had been fresher, firmer, less moon-like. The forehead, even before baldness had set in, had seemed intellectual in its smooth height. Nor did Sidney Quarles’s conversation belie the circumstantial evidence offered by his brow. He talked well, albeit perhaps with a little too much arrogance and self-satisfaction for every taste. Moreover, he had at that time a reputation; he had just come down from the university in something that was almost a blaze of academic and debating-society glory. On the virgin expanses of his future sanguine friends painted the brightest visions. At the time when Rachel first knew him, these prophecies had a positively reasonable air. And in any case, reasonably or unreasonably she loved him. They were married when she was only nineteen.
From his father Sidney had inherited a handsome fortune. The business (old Mr Quarles was in sugar) was a going concern. The estate in Essex paid its way. The town house was in Portman Square, the country house at Chamford was commodious and Georgian. Sidney’s ambitions were political. After an apprenticeship in local government, he would go into parliament. Hard work, speeches at once sound and brilliant would mark him out as the coming man. He would be offered an assistant under-secretaryship, there would be rapid promotions. He might expect (so at least it had seemed five-and-thirty years ago) to realize the most extravagant ambitions.
But Sidney, as old Bidlake had said, was only a façade, an impressive appearance, a voice, a superficial cleverness and nothing more. Behind the handsome front lived the genuine Sidney, feeble, lacking all tenacity of purpose in important matters, though obstinate where trifles were concerned, easily fired with enthusiasm and still more easily bored. Even the cleverness turned out to be no more than the kind of cleverness which enables brilliant schoolboys to write Ovidian Latin verses or humorous parodies of Herodotus. Brought to the test, this sixth-form ability proved to be as impotent in the purely intellectual as in the practical sphere. For when, by a course of neglec
t tempered by feverish speculation and mismanagement, he had half ruined his father’s business (Rachel made him sell out completely before it was too late), when his political prospects had been completely ruined by years of alternating indolence and undisciplined activity, he decided that his real vocation was to be a publicist. In the first flush of this new conviction, he actually contrived to finish a book about the principles of government. Shallow and vague, commonplace with an ordinariness made emphatic by the pretensions of an ornate style that coruscated with verbal epigrams, the book met with a deserved neglect, which Sidney Quarles attributed to the machinations of political enemies. He trusted to posterity for his due.