Arnold Bennett - Arnold Bennett - Buried Alive, The Old Wives' Tale & The Card (3 Books in One Edition)

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The hero of a novel Buried Alive is Mr Priam Farll, a painter of considerable ability. He is, however, extremely shy – so shy that when his valet, Henry Leek, dies suddenly, the doctor believes the dead man to be Priam Farll and the live man the valet. The artist does not try to disabuse him. After the funeral , Priam Farll marries a widow and lives a happy life until the loss of his wife's money means he has to take up painting again. A connoisseur of art recognises his style but thinks the paintings are by an imposter. He makes a fortune by buying his works through a small dealer and selling them in America as genuine. Meanwhile Priam Farll refuses through his obstinate shyness to prove his own identity. The Old Wives Tale (1908), a novel set in part in the Potteries district of North Staffordshire, where Bennett grew up, is generally considered his single masterpiece. The Card is a short comic novel written by Arnold Bennett in 1911. It chronicles the rise of Edward Henry («Denry») Machin from washerwoman's son to Mayor of Bursley (a fictitious town based on Burslem). This is accomplished through luck, initiative and a fair bit of chutzpah (in slang a card is a 'character', an 'original'; a clever, audacious, person).
Arnold Bennett (1867-1931) was an English journalist, novelist, and writer. After working as a rent collector and solicitor's clerk, Bennett won a writing contest which convinced him to become a journalist. He later turned to the writing of novels, including his most famous Clayhanger and Anna of the five towns.

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"Hum!" observed Mr. Oxford, and gazed in silence. Then: "Two hundred and fifty?"

Priam had virtually promised to deliver that picture to the picture-framer on the next day, and he had not expected to receive a penny more than twelve pounds for it. But artists are strange organisms.

He shook his head. Although two hundred and fifty pounds was as much as he had earned in the previous twelve months, he shook his grey head.

"No?" said Mr. Oxford kindly and respectfully, putting his hands behind his back. "By the way," he turned with eagerness to Priam, "I presume you have seen the portrait of Ariosto by Titian that they've bought for the National Gallery? What is your opinion of it, maître ?" He stood expectant, glowing with interest.

"Except that it isn't Ariosto, and it certainly isn't by Titian, it's a pretty high-class sort of thing," said Priam.

Mr. Oxford smiled with appreciative content, nodding his head. "I hoped you would say so," he remarked. And swiftly he passed on to Segantini, then to J.W. Morrice, and then to Bonnard, demanding the maître's views. In a few moments they were really discussing pictures. And it was years since Priam had listened to the voice of informed common sense on the subject of painting. It was years since he had heard anything but exceeding puerility concerning pictures. He had, in fact, accustomed himself not to listen; he had excavated a passage direct from one ear to the other for such remarks. And now he drank up the conversation of Mr. Oxford, and perceived that he had long been thirsty. And he spoke his mind. He grew warmer, more enthusiastic, more impassioned. And Mr. Oxford listened with ecstasy. Mr. Oxford had apparently a natural discretion. He simply accepted Priam, as he stood, for a great painter. No reference to the enigma why a great painter should be painting in an attic in Werter Road, Putney! No inconvenient queries about the great painter's previous history and productions. Just the frank, full acceptance of his genius! It was odd, but it was comfortable.

"So you won't take two hundred and fifty?" asked Mr. Oxford, hopping back to business.

"No," said Priam sturdily. "The truth is," he added, "I should rather like to keep that picture for myself."

"Will you take five hundred, maître ?"

"Yes, I suppose I will," and Priam sighed. A genuine sigh! For he would really have liked to keep the picture. He knew he had never painted a better.

"And may I carry it away with me?" asked Mr. Oxford.

"I expect so," said Priam.

"I wonder if I might venture to ask you to come back to town with me?" Mr. Oxford went on, in gentle deference. "I have one or two pictures I should very much like you to see, and I fancy they might give you pleasure. And we could talk over future business. If possibly you could spare an hour or so. If I might request----"

A desire rose in Priam's breast and fought against his timidity. The tone in which Mr. Oxford had said "I fancy they might give you pleasure" appeared to indicate something very much out of the common. And Priam could scarcely recollect when last his eyes had rested on a picture that was at once unfamiliar and great.

Parfitts' Galleries

I have already indicated that the machine was somewhat out of the ordinary. It was, as a fact, exceedingly out of the ordinary. It was much larger than electric carriages usually are. It had what the writers of 'motoring notes' in papers written by the wealthy for the wealthy love to call a 'limousine body.' And outside and in, it was miraculously new and spotless. On the ivory handles of its doors, on its soft yellow leather upholstery, on its cedar woodwork, on its patent blind apparatus, on its silver fittings, on its lamps, on its footstools, on its silken arm-slings--not the minutest trace of usage! Mr. Oxford's car seemed to show that Mr. Oxford never used a car twice, purchasing a new car every morning, like stockbrokers their silk hats, or the Duke of Selsea his trousers. There was a table in the 'body' for writing, and pockets up and down devised to hold documents, also two arm-chairs, and a suspended contrivance which showed the hour, the temperature, and the fluctuations of the barometer; there was also a speaking-tube. One felt that if the machine had been connected by wireless telegraphy with the Stock Exchange, the leading studios and the Houses of Parliament, and if a little restaurant had been constructed in the rear, Mr. Oxford might never have been under the necessity of leaving the car; that he might have passed all his days in it from morn to latest eve.

The perfection of the machine and of Mr. Oxford's attire and complexion caused Priam to look rather shabby. Indeed, he was rather shabby. Shabbiness had slightly overtaken him in Putney. Once he had been a dandy; but that was in the lamented Leek's time. And as the car glided, without smell and without noise, through the encumbered avenues of London towards the centre, now shooting forward like a star, now stopping with gentle suddenness, now swerving in a swift curve round a vehicle earthy and leaden-wheeled, Priam grew more and more uncomfortable. He had sunk into a groove at Putney. He never left Putney, save occasionally to refresh himself at the National Gallery, and thither he invariably went by train and tube, because the tube always filled him with wonder and romance, and always threw him up out of the earth at the corner of Trafalgar Square with such a strange exhilaration in his soul. So that he had not seen the main avenues of London for a long time. He had been forgetting riches and luxury, and the oriental cigarette-shops whose proprietors' names end in 'opoulos,' and the haughtiness of the ruling classes, and the still sterner haughtiness of their footmen. He had now abandoned Alice in Putney. And a mysterious demon seized him and gripped him, and sought to pull him back in the direction of the simplicity of Putney, and struggled with him fiercely, and made him writhe and shrink before the brilliant phenomena of London's centre, and indeed almost pitched him out of the car and set him running as hard as legs would carry to Putney. It was the demon which we call habit. He would have given a picture to be in Putney, instead of swimming past Hyde Park Corner to the accompaniment of Mr. Oxford's amiable and deferential and tactful conversation.

However, his other demon, shyness, kept him from imperiously stopping the car.

The car stopped itself in Bond Street, in front of a building with a wide archway, and the symbol of empire floating largely over its roof. Placards said that admission through the archway was a shilling; but Mr. Oxford, bearing Priam's latest picture as though it had cost fifty thousand instead of five hundred pounds, went straight into the place without paying, and Priam accepted his impressive invitation to follow. Aged military veterans whose breasts carried a row of medals saluted Mr. Oxford as he entered, and, within the penetralia, beings in silk hats as faultless as Mr. Oxford's raised those hats to Mr. Oxford, who did not raise his in reply. Merely nodded, Napoleonically! His demeanour had greatly changed. You saw here the man of unbending will, accustomed to use men as pawns in the chess of a complicated career. Presently they reached a private office where Mr. Oxford, with the assistance of a page, removed his gloves, furs, and hat, and sent sharply for a man who at once brought a frame which fitted Priam's picture.

"Do have a cigar," Mr. Oxford urged Priam, with a quick return to his earlier manner, offering a box in which each cigar was separately encased in gold-leaf. The cigar was such as costs a crown in a restaurant, half-a-crown in a shop, and twopence in Amsterdam. It was a princely cigar, with the odour of paradise and an ash as white as snow. But Priam could not appreciate it. No! He had seen on a beaten copper plate under the archway these words: 'Parfitts' Galleries.' He was in the celebrated galleries of his former dealers, whom by the way he had never seen. And he was afraid. He was mortally apprehensive, and had a sickly sensation in the stomach.

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