chief was that he found the atmosphere of Hanbridge Wesleyan chapel rather uncongenial. The exodus from it was his silent and malicious retort to a silent rebuke.
He appeared now to grow younger, discarding in some measure a certain morose taciturnity which had hitherto marked his demeanour. He went amiably about in the manner of a veteran determined to enjoy the brief existence of life's winter. His stout, stiff, deliberate yet alert figure became a familiar object to Bursley: that ruddy face, with its small blue eyes, smooth upper lip, and short grey beard under the smooth chin, seemed to pervade the streets, offering everywhere the conundrum of its vague smile. Though no friend ever crossed his doorstep, he had dozens of acquaintances of the footpath. He was not, however, a facile talker, and he seldom gave an opinion; nor were his remarks often noticeably shrewd. He existed within himself, unrevealed. To the crowd, of course, he was a marvellous legend, and moving always in the glory of that legend he received their wondering awe—an awe tinged with contempt for his lack of ostentation and public splendour. Commercial men with whom he had transacted business liked to discuss his abilities, thus disseminating that solid respect for him which had sprung from a personal experience of those abilities, and which not even the shabbiness of his clothes could weaken.
Anna was disturbed by the arrival at the front door of the milk-girl. Alternately with her father, she stayed at home on Sunday evenings, partly to receive the evening milk and partly to guard the house. The Persian cat with one ear preceded her to the door as soon as he heard the clatter of the can. The stout little milk-girl dispensed one pint of milk into Anna's jug, and spilt an eleemosynary supply on the step for the cat. 'He does like it fresh, Miss,' said the milk-girl, smiling at the greedy cat, and then, with a 'Lovely evenin',' departed down the street, one fat red arm stretched horizontally out to balance the weight of the can in the other. Anna leaned idly against the doorpost, waiting while the cat finished, until at length the swaying figure of the milk-girl disappeared in the dip of the road. Suddenly she darted within, shutting the door, and stood on the hall-mat in a startled attitude of dismay. She had caught sight of Henry Mynors in the distance, approaching the house. At that moment the kitchen clock struck seven, and Mynors, according to the rule of a lifetime, should have been in his place in the 'orchestra' (or, as some term it, the 'singing-seat') of the chapel, where he was an admired baritone. Anna dared not conjecture what impulse had led him into this extraordinary, incredible deviation. She dared not conjecture, but despite herself she knew, and the knowledge shocked her sensitive and peremptory conscience. Her heart began to beat rapidly; she was in distress. Aware that her father and sister had left her alone, did he mean to call? It was absolutely impossible, yet she feared it, and blushed, all solitary there in the passage, for shame. Now she heard his sharp, decided footsteps, and through the glazed panels of the door she could see the outline of his form. He stopped; his hand was on the gate, and she ceased to breathe. He pushed the gate open, and then, at the whisper of some blessed angel, he closed it again and continued his way up the street. After a few moments Anna carried the milk into the kitchen, and stood by the dresser, moveless, each muscle braced in the intensity of profound contemplation. Gradually the tears rose to her eyes and fell; they were the tincture of a strange and mystic joy, too poignant to be endured. As it were under compulsion she ran outside, and down the garden path to the low wall which looked over the grey fields of the valley up to Hillport. Exactly opposite, a mile and a half away, on the ridge, was Hillport Church, dark and clear against the orange sky. To the right, and nearer, lay the central masses of the town, tier on tier of richly-coloured ovens and chimneys. Along the field-paths couples moved slowly. All was quiescent, languorous, beautiful in the glow of the sun's stately declension. Anna put her arms on the wall. Far more impressively than in the afternoon she realised that this was the end of one epoch in her career and the beginning of another. Enthralled by austere traditions and that stern conscience of hers, she had never permitted herself to dream of the possibility of an escape from the parental servitude. She had never looked beyond the horizons of her present world, but had sought spiritual satisfaction in the ideas of duty and sacrifice. The worst tyrannies of her father never dulled the sense of her duty to him; and, without perhaps being aware of it, she had rather despised love and the dalliance of the sexes. In her attitude towards such things there had been not only a little contempt but also some disapproval, as though man were destined for higher ends. Now she saw, in a quick revelation, that it was the lovers, and not she, who had the right to scorn. She saw how miserably narrow, tepid, and trickling the stream of her life had been, and had threatened to be. Now it gushed forth warm, impetuous, and full, opening out new and delicious vistas. She lived; and she was finding the sight to see, the courage to enjoy. Now, as she leaned over the wall, she would not have cared if Henry Mynors indeed had called that night. She perceived something splendid and free in his abandonment of habit and discretion at the bidding of a desire. To be the magnet which could draw that pattern and exemplar of seemliness from the strict orbit of virtuous custom! It was she, the miser's shabby daughter, who had caused this amazing phenomenon. The thought intoxicated her. Without the support of the wall she might have fallen. In a sort of trance she murmured these words: 'He loves me.'
This was Anna Tellwright, the ascetic, the prosaic, the impassive.
After an interval which to her was as much like a minute as a century, she went back into the house. As she entered by the kitchen she heard an impatient knocking at the front door.
'At last,' said her father grimly, when she opened the door. In two words he had resumed his terrible sway over her. Agnes looked timidly from one to the other and slipped past them into the house.
'I was in the garden,' Anna explained. 'Have you been here long?' She tried to smile apologetically.
'Only about a quarter of an hour,' he answered, with a grimness still more portentous.
'He won't speak again to-night,' she thought fearfully. But she was mistaken. After he had carefully hung his best hat on the hat-rack, he turned towards her, and said, with a queer smile:
'Ye've been day-dreaming, eh, Sis?'
'Sis' was her pet name, used often by Agnes, but by her father only at the very rarest intervals. She was staggered at this change of front, so unaccountable in this man, who, when she had unwittingly annoyed him, was capable of keeping an awful silence for days together. What did he know? What had those old eyes seen?
'I forgot,' she stammered, gathering herself together happily, 'I forgot the time.' She felt that after all there was a bond between them which nothing could break—the tie of blood. They were father and daughter, united by sympathies obscure but fundamental. Kissing was not in the Tellwright blood, but she had a fleeting wish to hug the tyrant.
[1] Tellwright: tile-wright, a name specially characteristic of, and possibly originating in, this clay-manufacturing district.
CHAPTER III
THE BIRTHDAY
The next morning there was no outward sign that anything unusual had occurred. As the clock in the kitchen struck eight Anna carried to the back parlour a tray on which were a dish of bacon and a coffee-pot. Breakfast was already laid for three. She threw a housekeeper's glance over the table, and called: 'Father!' Mr. Tellwright was re-setting some encaustic tiles in the lobby. He came in, coatless, and, dropping a trowel on the hearth, sat down at the end of the table nearest the fireplace. Anna sat opposite to him, and poured out the coffee.
On the dish were six pieces of bacon. He put one piece on a plate, and set it carefully in front of Agnes's vacant chair, two he passed to Anna, three he kept for himself.
'Where's
