Chapter Six
Chapter One
THOUGH THE SUN WAS HOT on this July morning Mrs Lucas preferred to cover the half-mile that lay between the station and her house on her own brisk feet, and sent on her maid and her luggage in the fly that her husband had ordered to meet her. After those four hours in the train a short walk would be pleasant, but, though she veiled it from her conscious mind, another motive, sub-consciously engineered, prompted her action. It would, of course, be universally known to all her friends in Riseholme that she was arriving today by the twelve twenty-six, and at that hour the village street would be sure to be full of them. They would see the fly with luggage draw up at the door of The Hurst, and nobody except her maid would get out.
That would be an interesting thing for them: it would cause one of those little thrills of pleasant excitement and conjectural exercise which supplied Riseholme with its emotional daily bread. They would all wonder what had happened to her, whether she had been taken ill at the very last moment before leaving town and with her well-known fortitude and consideration for the feelings of others, had sent her maid on to assure her husband that he need not be anxious. That would clearly be Mrs Quantock's suggestion, for Mrs Quantock's mind, devoted as it was now to the study of Christian Science, and the determination to deny the existence of pain, disease and death as regards herself, was always full of the gloomiest views as regards her friends, and on the slightest excuse, pictured that they, poor blind things, were suffering from false claims. Indeed, given that the fly had already arrived at The Hurst, and that its arrival had at this moment been seen by or reported to Daisy Quantock, the chances were vastly in favour of that lady's having already started in to give Mrs Lucas absent treatment. Very likely Georgie Pillson had also seen the anticlimax of the fly's arrival, but he would hazard a much more probable though erroneous solution of her absence. He would certainly guess that she had sent on her maid with her luggage to the station in order to take a seat for her, while she herself, oblivious of the passage of time, was spending her last half-hour in contemplation of the Italian masterpieces at the National Gallery, or the Greek bronzes at the British Museum. Certainly she would not be at the Royal Academy, for the culture of Riseholme, led by herself, rejected as valueless all artistic efforts later than the death of Sir Joshua Reynolds, and a great deal of what went before. Her husband with his firm grasp of the obvious, on the other hand, would be disappointingly capable even before her maid confirmed his conjecture, of concluding that she had merely walked from the station.
The motive, then, that made her send her cab on, though subconsciously generated, soon penetrated into her consciousness, and these guesses at what other people would think when they saw it arrive without her, sprang from the dramatic element that formed so large a part of her mentality, and made her always take, as by right divine, the leading part in the histrionic entertainments with which the cultured of Riseholme beguiled or rather strenuously occupied such moments as could be spared from their studies of art and literature, and their social engagements. Indeed she did not usually stop at taking the leading part, but, if possible, doubled another character with it, as well as being stage-manager and adapter, if not designer of scenery. Whatever she did — and really she did an incredible deal — she did it with all the might of her dramatic perception, did it in fact with such earnestness that she had no time to have an eye to the gallery at all, she simply contemplated herself and her own vigorous accomplishment. When she played the piano as she frequently did, (reserving an hour for practice every day), she cared not in the smallest degree for what anybody who passed down the road outside her house might be thinking of the roulades that poured from her open window: she was simply Emmeline Lucas, absorbed in glorious Bach or dainty Scarletti, or noble Beethoven. The latter perhaps was her favorite composer, and many were the evenings when with lights quenched and only the soft effulgence of the moon pouring in through the uncurtained windows, she sat with her profile, cameo-like (or like perhaps to the head on a postage stamp) against the dark oak walls of her music-room, and entranced herself and her listeners, if there were people to dinner, with the exquisite pathos of the first movement of the "Moonlight Sonata". Devotedly as she worshipped the Master, whose picture hung above her Steinway Grand, she could never bring herself to believe that the two succeeding movements were on the same sublime level as the first, and besides they "went" very much faster. But she had seriously thought, as she came down in the train today and planned her fresh activities at home, of trying to master them, so that she could get through their intricacies with tolerable accuracy. Until then, she would assuredly stop at the end of the first movement in these moonlit séances, and say that the other two were more like morning and afternoon. Then with a sigh she would softly shut the piano lid, and perhaps wiping a little genuine moisture from her eyes, would turn on the electric light and taking up a book from the table, in which a paper-knife marked the extent of her penetration, say: "Georgie, you must really promise me to read this life of Antonino Caporelli the moment I have finished it. I never understood the rise of the Venetian School before. As I read I can smell the salt tide creeping up over the lagoon, and see the campanile of dear Torcello."
And Georgie would put down the tambour on which he was working his copy of an Italian cope and sigh too.
"You are too wonderful!" he would say. "How do you find time for everything?"
She rejoined with the apophthegm that made the rounds of Riseholme next day.
"My dear, it is just busy people that have time for everything."
* * *
It might be thought that even such activities as have here been indicated would be enough to occupy anyone so busily that he would positively not have time for more, but such was far from being the case with Mrs Lucas. Just as the painter Rubens amused himself with being the ambassador to the Court of St James's — a sufficient career in itself for most busy men — so Mrs Lucas amused herself, in the intervals of her pursuit of Art for Art's sake, with being not only an ambassador but a monarch. Riseholme might perhaps, according to the crude materialism of maps, be included in the kingdom of Great Britain, but in a more real and inward sense it formed a complete kingdom of its own, and its queen was undoubtedly Mrs Lucas, who ruled it with a secure autocracy pleasant to contemplate at a time when thrones were toppling, and imperial crowns whirling like dead leaves down the autumn winds. The ruler of Riseholme,
