“Very good, miss,” said Wiggerson politely, and came forward to close the bedroom door.
Miriam flung off her outer things and faced herself in the mirror in her plain black hopsack dress with the apple green velveteen pipings about the tight bodice and the square box sleeves which filled the square mirror from side to side as she stood. “This dress is a nightmare in this room,” she thought, puffing up her hair under her fringe-net with a hatpin. “Never mind, I mustn’t think about it,” she added hurriedly, disconcerted for a moment by the frightened look in her eyes. The distant soft flat silvery swell of a little gong sent her hurrying to the mound of soft bath towel in the wide pale blue wash-hand basin. She found a bulging copper hot-water jug, brilliantly polished, with a wicker-covered handle. The water hissed gently into the wide shallow basin, sending up a great cloud of comforting steam. Dare’s soap … extraordinary. People like this being taken in by advertisements … awful stuff, full of free soda, any transparent soap is bad for the skin, must be, in the nature of things … makes your skin feel tight. Perhaps they only use it for their hands. … Advertisement will do anything, Pater said. … Perhaps in houses like this—plonk, it certainly made a lovely hard ring falling into the basin—where everything was warm and clean and fragrant even Dare’s soap could not hurt you. The room behind her seemed to encourage the idea. But surely it couldn’t be her room. It was a spare room. They had put her into it for her month on trial. Could it possibly be hers, just her room, if she stayed … the strange, beautiful, beautiful long wide hang of the faintly patterny faintly blue curtains covering the whole of the window space; the firelight on them as she came into the room with Wiggerson, the table with a blotter, there had been a table by the door with a blotter, as Wiggerson spoke. She looked round, there it was … the blue covered bed, the frilled pillows, high silky-looking bed curtains with some sort of little pattern on them, the huge clear fire, the big wicker chair.
Miriam laughed over her strange hot wine-clear wine-flavoured soup … two things about soup besides taking it from the side of your spoon, which everybody knows—you eat soup, and you tilt your plate away, not towards you (chum along, chum along and eat your nice hot soup). … Her secure, shy, contented laugh was all right as a response to Mrs. Corrie, sitting at the head of the long table, a tall graceful bird, thin broad shoulders, with the broad black frill slipping from them, rather broad thin oval white face, wiry auburn Princess of Wales fringe coming down into a peak with hollow beaten-in temples each side of it, auburn coils shining as she moved her head and the chalky lisping voice that said little things and laughed at them and went on without waiting for answers. But to herself the laugh meant much more than liking Mrs. Corrie and holding her up and begging her to go on. It meant the large dark room, the dark invisible picture, the big pieces of strange dark furniture in gloomy corners, the huge screen near the door where the parlourmaid came in and out; the table like an island under the dome of the low-hanging rose-shaded lamp, the table-centre thickly embroidered with beetles’ wings, the little dishes stuck about, sweets, curiously crusted brown almonds, sheeny grey-green olives; the misty beaded glass of the finger bowls—Venetian glass from that shop in Regent Street—the four various wine glasses at each right hand, one on a high thin stem, curved and fluted like a shallow tulip, filled with hock; and floating in the warmth amongst all these things the strange, exciting, dry sweet fragrance coming from the mass of mimosa, a forest of little powdery blossoms, little stiff grey—the arms of railway signals at junctions—Japanese looking leaves—standing as if it were growing, in a shallow bowl under the rose-shaded lamp.
“Mélie’s coming on Friday.”
The parlourmaid set before Miriam a small shapely fish, with scales like mother-of-pearl and pink fins, lying in a curl of paper. “Red mullet,” she exclaimed to herself; “how on earth do I know that it’s red mullet? And those are olives, of course.” Mrs. Corrie was humming to herself about Mélie as the fork in her thin little fingers plucked fitfully at the papered fish. “Do you know planchette?” she asked, in a faint singsong, turning with a little bold pounce to the saltcellar close at Miriam’s left hand. “Oh-h-h” said Miriam intelligently. … “Planchette … Planchette … Cloches de Corneville. Planquette. Is planchette a part of all this? … Planchette, a French dressmaker, perhaps.” She turned fully round to Mrs. Corrie and waited, smiling sympathetically. “It’s deadly uncanny,” Mrs. Corrie went on, “I can tell you. Deadly.” Her delicate voice stopped fearfully and she glanced at Miriam with a laugh. “I don’t believe I know what it is,” said Miriam, sniffing in the scent of the mimosa and savouring the delicate flavour of the fish. These things would go on after planchette was disposed of, she thought, and took a sip of hock.
“It’s deadly. I hope Mélie’ll bring one. She’s a fairy; real Devonshire fairy. She’ll make it work. We’ll have such fun.”
“What is it?” said Miriam a little uneasily. … A fairy and a planchette and fun—silly laughter, some tiresome sort of game; a hoax.
“I tell you all about it, all, all …” intoned Mrs. Corrie provisionally, whilst the maid handed
