style="font-size:15px;"> "Who's 'he?'" demanded the master.
"Carlo, sir." Upon which triumph Maud retired.
Edward Henry was dashed. Nevertheless, he quickly recovered his presence of mind and sought about for a justification of his previous verdict upon the negligence of five women.
"It would have been easy enough to put the brush where the dog couldn't get at it," he said. But he said this strictly to himself. He could not say it aloud. Nor could he say aloud the words "neuralgia," "three hundred and forty-one pounds," any more than he could say "late."
That he was in a peculiar mental condition is proved by the fact that he did not remark the absence of his mother until he was putting her share of baked ham on to a plate.
He thought: "This is a bit thick, this is!" meaning the extreme lateness of his mother for the meal. But his only audible remark was a somewhat impatient banging down of the hot plate in front of his mother's empty chair.
In answer to this banging Nellie quietly began:
"Your mother—"
(He knew instantly, then, that Nellie was disturbed about something or other. Mother-in-law and daughter-in-law lived together under one roof in perfect amity. Nay, more, they often formed powerful and unscrupulous leagues against him. But whenever Nellie was disturbed, by no matter what, she would say "your mother" instead of merely "mother!" It was an extraordinary subtle, silly and effective way of putting him in the wrong.)
"Your mother is staying upstairs with Robert."
Robert was the eldest child, aged eight.
[8]
"Oh!" breathed Edward Henry. He might have inquired what the nurse was for; he might have inquired how his mother meant to get her tea. But he refrained, adding simply, "What's up now?"
And in retort to his wife's "your," he laid a faint emphasis on the word "now," to imply that those women were always inventing some fresh imaginary woe for the children.
"Carlo's bitten him—in the calf," said Nellie, tightening her lips.
This, at any rate, was not imaginary.
"The kid was teasing him as usual, I suppose?" he suggested.
"That I don't know," said Nellie. "But I know we must get rid of that dog."
"Serious?"
"Of course we must," Nellie insisted, with an inadvertent heat, which she immediately cooled.
"I mean the bite."
"Well—it's a bite right enough."
"And you're thinking of hydrophobia, death amid horrible agony, and so on."
"No, I'm not," she said stoutly, trying to smile.
But he knew she was. And he knew also that the bite was a trifle. If it had been a good bite she would have made it enormous; she would have hinted that the dog had left a chasm in the boy's flesh.
"Yes, you are," he continued to twit her, encouraged by her attempt at a smile.
However, the smile expired.
"I suppose you won't deny that Carlo's teeth may have been dirty? He's always nosing in some filth or other," she said challengingly, in a measured tone of sagacity. "And there may be blood-poisoning."
"Blood fiddlesticks!" exclaimed Edward Henry.
Such a nonsensical and infantile rejoinder deserved no answer, and [9] it received none. Shortly afterwards Maud entered and whispered that Nellie was wanted upstairs. As soon as his wife had gone Edward Henry rang the bell.
"Maud," he said, "bring me the Signal out of my left-hand overcoat pocket."
And he defiantly finished his meal at leisure, with the news of the day propped up against the flower-pot, which he had set before him instead of the dish of ham.
III
Later, catching through the open door fragments of a conversation on the stairs which indicated that his mother was at last coming down for tea, he sped like a threatened delinquent into the drawing-room. He had no wish to encounter his mother, though that woman usually said little.
The drawing-room, after the bathroom, was Edward Henry's favourite district in the home. Since he could not spend the whole of his time in the bathroom—and he could not!—he wisely gave a special care to the drawing-room, and he loved it as one always loves that upon which one has bestowed benefits. He was proud of the drawing-room, and he had the right to be. The principal object in it, at night, was the electric chandelier, which would have been adequate for a lighthouse. Edward Henry's eyes were not what they used to be; and the minor advertisements in the Signal—which constituted his sole evening perusals—often lacked legibility. Edward Henry sincerely believed in light and heat; he was almost the only person in the Five Towns who did. In the Five Towns people have fires in their grates—not to warm the room, but to make the room bright. Seemingly [10] they use their pride to keep themselves warm. At any rate, whenever Edward Henry talked to them of radiators, they would sternly reply that a radiator did not and could not brighten a room. Edward Henry had made the great discovery that an efficient chandelier will brighten a room better even than a fire, and he had gilded his radiator. The notion of gilding the radiator was not his own; he had seen a gilded radiator in the newest hotel at Birmingham, and had rejoiced as some peculiar souls rejoice when they meet a fine line in a new poem. (In concession to popular prejudice Edward Henry had fire-grates in his house, and fires therein during exceptionally frosty weather; but this did not save him from being regarded in the Five Towns as in some ways a peculiar soul.) The effulgent source of dark heat was scientifically situated in front of the window, and on ordinarily cold evenings Edward Henry and his wife and mother, and an acquaintance if one happened to come in, would gather round the radiator and play bridge or dummy whist.
The other phenomena of the drawing-room which particularly interested Edward Henry were the Turkey carpet, the four vast easy-chairs, the sofa, the imposing cigar-cabinet and the mechanical piano-player. At one brief period he had hovered a good deal about the revolving bookcase containing the Encyclopaedia (to which his collection of books was limited), but the frail passion for literature had not survived a struggle with the seductions of the mechanical piano-player.
The walls of the room never drew his notice. He had chosen, some years before, a patent washable kind of wall-paper (which could be wiped over with a damp cloth), and he had also chosen the pattern of the paper, but it is a fact that he could spend hours in any room without [11] even seeing the pattern of its paper. (In the same way his wife's cushions and little draperies and bows were invisible to him, though he had searched for and duly obtained the perfect quality of swansdown which filled the cushions.)
The one ornament of the walls which attracted him was a large and splendidly-framed oil-painting of a ruined castle, in the midst of a sombre forest, through which cows were strolling. In the tower of the castle was a clock, and this clock was a realistic timepiece, whose fingers moved and told the hour. Two of the oriel windows of the castle were realistic holes in its masonry; through one of them you could put a key to wind up the clock, and through the other you could put a key to wind up the secret musical
