The Regent. Arnold Bennett

made up her mind I've been teasing her a bit too much lately about those kids and their precious illnesses. And she's doing the dignified. That's what she's doing! She's doing the dignified!"

      Of course, instantly after his tea he ought to have gone upstairs to inspect the wounded victim of dogs. The victim was his own child, and its mother was his wife. He knew that he ought to have gone upstairs long since. He knew that he ought now to go, and the sooner the better! But somehow he could not go; he could not bring himself to go. In the minor and major crises of married life there are not two partners, but four; each partner has a dual personality; each partner [13] is indeed two different persons, and one of these fights against the other, with the common result of a fatal inaction.

      The wickeder of the opposing persons in Edward Henry, getting the upper hand of the more virtuous, sniggered. "Dirty teeth, indeed! Blood-poisoning, indeed! Why not rabies, while she's about it? I guarantee she's dreaming of coffins and mourning coaches already!"

      Scanning nonchalantly the titles of the music rolls, he suddenly saw: "Funeral March. Chopin."

      "She shall have it," he said, affixing the roll to the mechanism. And added: "Whatever it is!"

      For he was not acquainted with the Funeral March from Chopin's Pianoforte Sonata. His musical education had, in truth, begun only a year earlier—with the advertisements of the "Pianisto" mechanical player. He was a judge of advertisements, and the "Pianisto" literature pleased him in a high degree. He justifiably reckoned that he could distinguish between honest and dishonest advertising. He made a deep study of the question of mechanical players, and deliberately came to the conclusion that the Pianisto was the best. It was also the most costly. But one of the conveniences of having six thousand pounds a year is that you need not deny yourself the best mechanical player because it happens to be the most costly. He bought a Pianisto, and incidentally he bought a superb grand piano and exiled the old cottage piano to the nursery.

      The Pianisto was the best, partly because, like the vacuum-cleaner, it could be operated by electricity, and partly because, by means of certain curved lines on the unrolling paper, and of certain gun-metal levers and clutches, it enabled the operator to put his secret ardent [14] soul into the music. Assuredly it had given Edward Henry a taste for music. The whole world of musical compositions was his to conquer, and he conquered it at the rate of about two great masters a month. From Handel to Richard Strauss, even from Palestrina to Debussy, the achievements of genius lay at his mercy. He criticized them with a freedom that was entirely unprejudiced by tradition. Beethoven was no more to him than Arthur Sullivan—indeed, was rather less. The works of his choice were the "Tannhäuser" overture, a potpourri of Verdi's "Aida," Chopin's Study in Thirds (which ravished him), and a selection from "The Merry Widow" (which also ravished him). So that on the whole it may be said that he had a very good natural taste.

      He at once liked Chopin's Funeral March. He entered profoundly into the spirit of it. With the gun-metal levers he produced in a marvellous fashion the long tragic roll of the drums, and by the manipulation of a clutch he distilled into the chant at the graveside a melancholy sweetness that rent the heart. The later crescendoes were overwhelming. And as he played there, with the bright blaze of the chandelier on his fair hair and beard, and the blue cigar smoke in his nostrils, and the effluence of the gilded radiator behind him, and the intimacy of the drawn window-curtains and the closed and curtained door folding him in from the world, and the agony of the music grieving his artistic soul to the core—as he played there he grew gradually happier and happier, and the zest of existence seemed to return. It was not only that he felt the elemental, unfathomable satisfaction of a male who is sheltered in solitude from a pack of women that have got on his nerves. There was also the more piquant assurance that he was behaving in a very sprightly manner. How long was it since he had accomplished anything worthy of his ancient [15] reputation as a "card," as "the" card of the Five Towns? He could not say. But now he knew that he was being a card again. The whole town would smile and forgive and admire if it learnt that—

      Nellie invaded the room. She had resumed the affray.

      "Denry!" she reproached him, in an uncontrolled voice. "I'm ashamed of you! I really am!" She was no longer doing the dignified. The mask was off and the unmistakable lineaments of the outraged mother appeared. That she should address him as "Denry" proved the intensity of her agitation. Years ago, when he had been made an alderman, his wife and his mother had decided that "Denry" was no longer a suitable name for him, and had abandoned it in favour of "Edward Henry."

      He ceased playing.

      "Why?" he protested, with a ridiculous air of innocence. "I'm only playing Chopin. Can't I play Chopin?"

      He was rather surprised and impressed that she had recognized the piece for what it was. But of course she did, as a fact, know something about music, he remembered, though she never touched the Pianisto.

      "I think it's a pity you can't choose some other evening for your funeral marches!" she exclaimed.

      "If that's it," said Edward Henry like lightning, "why did you stick me out you weren't afraid of hydrophobia?"

      "I'll thank you to come upstairs," she replied with warmth.

      "Oh, all right, my dear! All right!" he cooed.

      And they went upstairs in a rather solemn procession.

      [16]

      IV

      Nellie led the way to the chamber known as "Maisie's room," where the youngest of the Machins was wont to sleep in charge of the nurse who, under the supervision of the mother of all three, had dominion over Robert, Ralph and their little sister.

      The first thing that Edward Henry noticed was the screen which shut off one of the beds. The unfurling of the four-fold screen was always a sure sign that Nellie was taking an infantile illness seriously. It was an indication to Edward Henry of the importance of the dog-bite in Nellie's esteem.

      When all the chicks of the brood happened to be simultaneously sound the screen reposed, inconspicuous, at an angle against a wall behind the door; but when pestilence was abroad, the screen travelled from one room to another in the wake of it, and, spreading wide, took part in the battle of life and death.

      In an angle of the screen, on the side of it away from the bed and near the fire (in times of stress Nellie would not rely on radiators) sat old Mrs.. Machin, knitting. She was a thin, bony woman of sixty-nine years, and as hard and imperishable as teak. So far as her son knew she had only had two illnesses in her life. The first was an attack of influenza, and the second was an attack of acute rheumatism, which had incapacitated her for several weeks.

      Edward Henry and Nellie had taken advantage of her helplessness, then, to force her to give up her barbaric cottage in Brougham Street and share permanently the splendid comfort of their home. She existed in their home like a philosophic prisoner-of-war at the court of conquerors, behaving faultlessly, behaving magnanimously in the [17] melancholy grandeur of her fall, but never renouncing her soul's secret independence, nor permitting herself to forget that she was on foreign ground.

      When Edward Henry looked at those yellow and seasoned fingers, which by hard manual labour had kept herself and him in the young days of his humble obscurity, and which during sixty years had not been idle for more than six weeks in all, he grew almost apologetic for his wealth.

      They reminded him of the day when his total resources were five pounds—won in a wager, and of the day when he drove proudly about behind a mule collecting other people's rents, and of the glittering days when he burst in on her from Llandudno with over a thousand gold sovereigns in a hat-box—product of his first great picturesque coup—imagining himself to be an English Jay Gould.

      She had not blenched, even then. She had not blenched since. And she never would blench. In spite of his gorgeous position and his unique reputation, in spite of her well-concealed but notorious pride in him, he still went in fear of that ageless woman, whose undaunted eye always told him that he was still the lad Denry, and her inferior in moral force. The curve of her thin lips seemed ever to be warning him that