Олдос Хаксли - Mortal Coils

"Miss Spence will be down directly, sir."

"Thank you," said Mr. Hutton, without turning round. Janet Spence's parlourmaid was so ugly—ugly on purpose, it always seemed to him, malignantly, criminally ugly—that he could not bear to look at her more than was necessary. The door closed. Left to himself, Mr. Hutton got up and began to wander round the room, looking with meditative eyes at the familiar objects it contained.

Photographs of Greek statuary, photographs of the Roman Forum, coloured prints of Italian masterpieces, all very safe and well known. Poor, dear Janet, what a prig—what an intellectual snob! Her real taste was illustrated in that water–colour by the pavement artist, the one she had paid half a crown for (and thirty–five shillings for the frame). How often his had heard her tell the story, how often expatiate on the beauties of that skilful imitation of an oleograph! "A real Artist in the streets," and you could hear the capital A in Artist as she spoke the words. She made you feel that part of his glory had entered into Janet Spence when she tendered him that half–crown for the copy of the oleograph. She was implying a compliment to her own taste and penetration. A genuine Old Master for half a crown. Poor, dear Janet!

Mr. Hutton came to a pause in front of a small oblong mirror. Stooping a little to get a full view of his face, he passed a white, well–manicured finger over his moustache. It was as curly, as freshly auburn as it had been twenty years ago. His hair still retained its colour, and there was no sign of baldness yet—only a certain elevation of the brow. "Shakespearean," thought Mr. Hutton, with a smile, as he surveyed the smooth and polished expanse of his forehead.

Others abide our question, thou art free…. Footsteps in the sea … Majesty … Shakespeare, thou shouldst be living at this hour. No, that was Milton, wasn't it? Milton, the Lady of Christ's. There was no lady about him. He was what the women, would call a manly man. That was why they liked him—for the curly auburn moustache and the discreet redolence of tobacco. Mr. Hutton smiled again; he enjoyed making fun of himself. Lady of Christ's? No, no. He was the Christ of Ladies. Very pretty, very pretty. The Christ of Ladies. Mr. Hutton wished there were somebody he could tell the joke to. Poor, dear Janet wouldn't appreciate it, alas?

He straightened himself up, patted his hair, and resumed his peregrination. Damn the Roman Forum; he hated those dreary photographs.

Suddenly he became aware that Janet Spence was in the room, standing near the door. Mr. Hutton started, as though he had been taken in some felonious act. To make these silent and spectral appearances was one of Janet Spence's peculiar talents. Perhaps she had been there all the time, had seen him looking at himself in the mirror. Impossible! But, still, it was disquieting.

"Oh, you gave me such a surprise," said Mr. Hutton, recovering his smile and advancing with outstretched hand to meet her.

Miss Spence was smiling too: her Gioconda smile, he had once called it, in a moment of half–ironical flattery. Miss Spence had taken the compliment seriously, and had always tried to live up to the Leonardo standard. She smiled on his silence while Mr. Hutton shook hands; that was part of the Gioconda business.

"I hope you're well," said Mr. Hutton. "You look it."

What a queer face she had! That small mouth pursed forward by the Gioconda expression into a little snout with a round hole in the middle as though for whistling—it was like a penholder seen from the front. Above the mouth a well–shaped nose, finely aquiline. Eyes large, lustrous, and dark, with the largeness, lustre, and darkness that seems to invite sties and an occasional blood–shot suffusion. They were fine eyes, but unchangingly grave. The penholder might do its Gioconda trick, but the eyes never altered in their earnestness. Above them, a pair of boldly arched, heavily pencilled black eyebrows lent a surprising air of power, as of a Roman matron, to the upper portion of the face. Her hair was dark and equally Roman; Agrippina from the brows upward.

"I thought I'd just look in on my way home," Mr. Hutton went on. "Ah, it's good to be back here"—he indicated with a wave of his hand the flowers in the vases, the sunshine and greenery beyond the windows —"it's good to be back in the country after a stuffy day of business in town."

Miss Spence, who had sat down, pointed to a chair at her side.

"No, really, I cant sit down," Mr. Hutton protested. "I must get back to see how poor Emily is. She was rather seedy this morning." He sat down, nevertheless. "It's these wretched liver chills. She's always getting them. Women—" He broke off and coughed, so as to hide the fact that he had uttered. He was about to say that women with weak digestions ought not to marry; but the remark was too cruel, and he didn't really believe it. Janet Spence, moreover, was a believer in eternal flames and spiritual attachments. "She hopes to be well enough," he added, "to see you at luncheon to–morrow. Can you come? Do!" He smiled persuasively. "It's my invitation too, you know."

She dropped her eyes, and Mr. Hutton almost thought that he detected a certain reddening of the cheek. It was a tribute; he stroked his moustache.

"I should like to come if you think Emily's really well enough to have a visitor."

"Of course. You'll do her good. You'll do us both good. In married life three is often better company than two."

"Oh, you're cynical."

Mr. Hutton always had a desire to say "Bow–wow–wow" whenever that last word was spoken. It irritated him more than any other word in the language. But instead of barking he made haste to protest.

"No, no. I'm only speaking a melancholy truth. Reality doesn't always come up to the ideal, you know. But that doesn't make me believe any the less in the ideal. Indeed, I believe in it passionately the ideal of a matrimony between two people in perfect accord. I think it's realisable. I'm sure it is."

He paused significantly and looked at her with an arch expression. A virgin of thirty–six, but still unwithered; she had her charms. And there was something really rather enigmatic about her. Miss Spence made no reply but continued to smile. There were times when Mr. Hutton got rather bored with the Gioconda. He stood up.

"I must really be going now. Farewell, mysterious Gioconda." The smile grew intenser, focused itself, as it were, in a narrower snout. Mr. Hutton made a Cinquecento gesture, and kissed her extended hand. It was the first time he had done such a thing; the action seemed not to be resented. "I look forward to to–morrow."

"Do you?"

For answer Mr. Hutton once more kissed her hand, then turned to go. Miss Spence accompanied him to the porch.

"Where's your car?" she asked.

"I left it at the gate of the drive."

"I'll come and see you off."

"No, no." Mr. Hutton was playful, but determined. "You must do no such thing. I simply forbid you."

"But I should like to come," Miss Spence protested, throwing a rapid Gioconda at him.

Mr. Hutton held up his hand. "No," he repeated, and then, with a gesture that was almost the blowing of a kiss, he started to run down the drive, lightly on his toes, with long, bounding strides like a boy's. He was proud of that run; it was quite marvellously youthful. Still, he was glad the drive was no longer. At the last bend, before passing out of sight of the house, he halted and turned round. Miss Spence was still standing on the steps, smiling her smile. He waved his hand, and this time quite definitely and overtly wafted a kiss in her direction. Then, breaking once more into his magnificent canter, he rounded the last dark promontory of trees. Once out of sight of the house he let his high paces decline to a trot, and finally to a walk. He took out his handkerchief and began wiping his neck inside his collar. What fools, what fools! Had there ever been such an ass as poor, dear Janet Spence? Never, unless it was himself. Decidedly he was the more malignant fool, since he, at least, was aware of his folly and still persisted in it. Why did he persist? Ah, the problem that was himself, the problem that was other people.