Anna of the Five Towns

be regarded as a prodigious feat. It was indeed the highest distinction of Mynors’ commercial career. Henry was so prominently active in the Wesleyan Society that the members of that society, especially the women, were apt to ignore the other side of his individuality. They knew him supreme as a religious worker; they did not realise the likelihood of his becoming supreme in the staple manufacture. Left an orphan at seventeen, Mynors belonged to a family now otherwise extinct in the Five Towns⁠—one of those families which by virtue of numbers, variety, and personal force seem to permeate a whole district, to be a calculable item of it, an essential part of its identity. The elders of the Mynors blood had once occupied the red house opposite Tellwright’s, now used as a school, and had there reared many children: the school building was still known as “Mynors’s” by old-fashioned people. Then the parents died in middle age: one daughter married in the North, another in the South; a third went to China as a missionary and died of fever; the eldest son died; the second had vanished into Canada and was reported a scapegrace; the third was a sea-captain. Henry (the youngest) alone was left, and of all the family Henry was the only one to be connected with the earthenware trade. There was no inherited money, and during ten years he had worked for a large firm in Turnhill, as clerk, as traveller, and last as manager, living always quietly in lodgings. In the fullness of time he gave notice to leave, was offered a partnership, and refused it. Taking a newly erected manufactory in Bursley near the canal, he started in business for himself, and it became known that, at the age of twenty-eight, he had saved fifteen hundred pounds. Equally expert in the labyrinths of manufacture and in the niceties of the markets (he was reckoned a peerless traveller), Mynors inevitably flourished. His order-books were filled and flowing over at remunerative prices, and insufficiency of capital was the sole peril to which he was exposed. By the raising of a finger he could have had a dozen working and moneyed partners, but he had no desire for a working partner. What he wanted was a capitalist who had confidence in him, Mynors. In Ephraim Tellwright he found the man. Whether it was by instinct, good luck, or skilful diplomacy that Mynors secured this invaluable prize no one could positively say, and perhaps even he himself could not have catalogued all the obscure motives that had guided him to the shrewd miser of Manor Terrace.

Anna had meant to reach chapel before the commencement of the meeting, but the interview with her father threw her late. As she entered the porch an officer told her that the body of the chapel was quite full and that she should go into the gallery, where a few seats were left near the choir. She obeyed: pew-holders had no rights at that service.

The scene in the auditorium astonished her, effectually putting an end to the worldly preoccupation caused by her father’s news. The historic chapel was crowded almost in every part, and the congregation⁠—impressed, excited, eager⁠—sang the opening hymn with unprecedented vigour and sincerity; above the rest could be heard the trained voices of a large choir, and even the choir, usually perfunctory, seemed to share the general fervour. In the vast mahogany pulpit the Reverend Reginald Banks, the superintendent minister, a stout pale-faced man with pendent cheeks and cold grey eyes, stood impassively regarding the assemblage, and by his side was the revivalist, a manikin in comparison with his colleague; on the broad balustrade of the pulpit lay the cornet. The fiery and inquisitive eyes of the revivalist probed into the furthest corners of the chapel; apparently no detail of any single face or of the florid decoration escaped him, and as Anna crept into a small empty pew next to the east wall she felt that she too had been separately observed. Mr. Banks gave out the last verse of the hymn, and simultaneously with the leading chord from the organ the revivalist seized his cornet and joined the melody. Massive yet exultant, the tones rose clear over the mighty volume of vocal sound, an incitement to victorious effort. The effect was instant: an ecstatic tremor seemed to pass through the congregation, like wind through ripe corn, and at the close of the hymn it was not until the revivalist had put down his cornet that the people resumed their seats. Amid the frou-frou of dresses and subdued clearing of throats, Mr. Banks retired softly to the back of the pulpit, and the revivalist, mounting a stool, suddenly dominated the congregation. His glance swept masterfully across the chapel and round the gallery. He raised one hand with the stilling action of a mesmerist, and the people, either kneeling or inclined against the front of the pews, hid their faces from those eyes. It was as though the man had in a moment measured their iniquities, and had courageously resolved to intercede for them with God, but was not very sanguine as to the result. Everyone except the organist, who was searching his tune-book for the next tune, seemed to feel humbled, bitterly ashamed, as it were caught in the act of sin. There was a solemn and terrible pause.

Then the revivalist began:

“Behold us, O dread God, suppliants for Thy mercy⁠—”

His voice was rich and full, but at the same time sharp and decisive. The burning eyes were shut tight, and Anna, who had a profile view of his face, saw that every muscle of it was drawn tense. The man possessed an extraordinary histrionic gift, and he used it with imagination. He had two audiences, God and the congregation. God was not more distant from him than the congregation, or less real to him, or less a heart to be influenced. Declamatory and full of effects carefully