"The country, oh yes," repeated Mrs. Worfolk grimly; John saw the beech-woods round Ambles blasted by his housekeeper's disapproval.
"You wouldn't care to—er—come down and give a look round yourself, Mrs. Worfolk? My sister, Mrs. Curtis—"
"Oh, I should prefer not to intrude in any way, sir. But if you insist, why, of course—"
"Oh no, I don't insist," John hurriedly interposed.
"No, sir. Well, we shall all have to get used to being left alone nowadays, and that's all there is to it."
"But I shall be back in a few days, Mrs. Worfolk. I'm a Cockney at heart, you know. Just at first—"
Mrs. Worfolk shook her head and waddled tragically to the door.
"There's nothing else you'll be wanting this morning, sir?" she turned to ask in accents that seemed to convey forgiveness of her master in spite of everything.
"No, thank you, Mrs. Worfolk. Please send Maud up to help me pack. Good heavens," he added to himself when his housekeeper had left the room, "why shouldn't I be allowed a country house? And I suppose the next thing is that James and Beatrice and George and Eleanor will all be offended because I didn't go tearing round to see them the moment I arrived. One's relations never understand that after the production of a play one requires a little rest. Besides, I must get on with my new play. I absolutely must."
John's tendency to abhor the vacuum of success was corrected by the arrival of Maud, the parlor-maid, whose statuesque anemia and impersonal neatness put something in it. Before leaving for America he had supplemented the rather hasty preliminary furnishing of his new house by ordering from his tailor a variety of country costumes. These Maud, with feminine intuition superimposed on what she would have called her "understanding of valeting," at once produced for his visit to Ambles; John in the prospect of half a dozen unworn peat-perfumed suits of tweed flung behind him any lingering doubt about there being something in success, and with the recapture of his enthusiasm for what he called "jolly things" was anxious that Maud should share in it.
"Do you think these new things are a success, Maud?" he asked, perhaps a little too boisterously. At any rate, the parlor-maid's comprehension of valeting had apparently never been so widely stretched, for a faint coralline blush tinted her waxen cheeks.
"They seem very nice, sir," she murmured, with a slight stress upon the verb.
John felt that he had trespassed too far upon the confines of Maud's humanity and retreated hurriedly. He would have liked to explain that his inquiry had merely been a venture into abstract esthetics and that he had not had the least intention of extracting her opinion about these suits on him; but he felt that an attempt at explanation would embarrass her, and he hummed instead over a selection of ties, as a bee hums from flower to flower in a garden, careless of the gardener who close at hand is potting up plants.
"I will take these ties," he announced on the last stave of A Fine Old English Gentleman.
Maud noted them gravely.
"And I shall have a few books. Perhaps there won't be room for them?"
"There won't be room for them, not in your dressing-case, sir."
"Oh, I know there won't be room in that," said John, bitterly.
His dressing-case might be considered the medal he had struck in honor of The Fall of Babylon: he had passed it every morning on his way to rehearsals and, dreaming of the triumph that might soon be his, had vowed he would buy it were such a triumph granted. It had cost £75, was heavy enough when empty to strain his wrist and when full to break his back, and it contained more parasites of the toilet table and the writing desk than one could have supposed imaginable. These parasites each possessed an abode of such individual shape that leaving them behind made no difference to the number of really useful articles, like pajamas, that could be carried in the cubic space lined with blue corded silk on which they looked down like the inconvenient houses of a fashionable square. Therefore wherever John went, the fittings went too, a glittering worthless mob of cut-glass, pigskin, tortoiseshell and ivory.
"But in my portmanteau," John persisted. "Won't there be room there?"
"I might squeeze them in," Maud admitted. "It depends what boots you're wanting to take with you, sir."
"Never mind," he sighed. "I can make a separate parcel of them."
"There's the basket what we were going to use for the cat, sir."
"No, I should prefer a brown paper parcel," he decided. It would be improper for the books out of which the historical trappings of his Joan of Arc were to be manufactured to travel in a lying-in hospital for cats.
John left Maud to finish the packing and went downstairs to his library. This double room of fine proportions was, as one might expect from the library of a popular writer, the core—the veritable omphalos of the house; with its fluted pilasters, cream-colored panels and cherub-haunted ceiling, the expanse of city and sky visible from three sedate windows at the south end and the glimpse of a busy Hampstead street caught from those facing north, not to speak of the prismatic rows of books, it was a room worthy of art's most remunerative triumphs, the nursery of inspiration, and, save for a slight suggestion that the Muses sometimes drank afternoon tea there, the room of an indomitable bachelor. When John stepped upon the wreaths, ribbons, and full-blown roses of the threadbare Aubusson rug that floated like gossamer upon a green carpet of Axminster pile as soft as some historic lawn, he was sure that success was not a vacuum. In his now optimistic mood he hoped ultimately to receive from Ambles the kind of congratulatory benediction that the library at Church Row always bestowed upon his footsteps. Indeed, if he had not had such an ambition for his country house, he could scarcely have endured to quit even for a week this library, where fires were burning in two grates and where the smoke of his Partaga was haunting, like a complacent ghost, the imperturbable air. John possessed another library at Ambles, but he had not yet had time to do more than hurriedly stock it with the standard works that he felt no country house should be without. His library in London was the outcome of historical research preparatory to writing his romantic plays; and since all works of popular historical interest are bound with a much more lavish profusion of color and ornament even than the works of fiction to which they most nearly approximate, John's shelves outwardly resembled rather a collection of armor than a collection of books. There were, of course, many books the insides of which were sufficiently valuable to excuse their dingy exterior; but none of these occupied the line, where romance after romance of exiled queens, confession after confession of morganatic wives, memoir after memoir from above and below stairs, together with catch-penny alliterative gatherings as of rude regents and libidinous landgraves flashed in a gorgeous superficiality of gilt and text. In order to amass the necessary material for a play about Joan of Arc John did not concern himself with original documents. He assumed, perhaps rightly, that a Camembert cheese is more palatable and certainly more portable than a herd of unmilked cows. To dramatize the life of Joan of Arc he took from his shelves Saints and Sinners of the Fifteenth Century … but a catalogue is unnecessary: enough that when the heap of volumes chosen stood upon his desk it glittered like the Maid herself before the walls of Orleans.
"After all," as John had once pointed out in a moment of exasperation to his brother, James, the critic, "Shakespeare didn't sit all day in the reading-room of the British Museum."
An hour later the playwright, equipped alike for country rambles and poetic excursions, was sitting in a first-class compartment of a London and South-Western railway train; two hours after
