Cakes and Ale

was a little boy his one idea was to own it himself and now he’d got it he was going to keep it. One would have thought the last thing he’d want to do was to live in a place where everyone knew all about his origins and everything. Once poor Amy very nearly engaged a housemaid before she discovered she was Edward’s great-niece. When Amy came here the house was furnished from attic to cellar in the best Tottenham Court Road manner; you know the sort of thing, Turkey carpets and mahogany sideboards, and a plush-covered suite in the drawing room, and modern marquetry. It was his idea of how a gentleman’s house should be furnished. Amy says it was simply awful. He wouldn’t let her change a thing and she had to go to work with the greatest care; she says she simply couldn’t have lived in it and she was determined to have things right, so she had to change things one by one so that he didn’t pay any attention. She told me the hardest job she had was with his writing desk. I don’t know whether you’ve noticed the one there is in his study now. It’s a very good period piece; I wouldn’t mind having it myself. Well, he had a horrible American roll-top desk. He’d had it for years and he’d written a dozen books on it and he simply wouldn’t part with it, he had no feeling for things like that; he just happened to be attached to it because he’d had it so long. You must get Amy to tell you the story how she managed to get rid of it in the end. It’s really priceless. She’s a remarkable woman, you know; she generally gets her own way.”

“I’ve noticed it,” I said.

It had not taken her long to dispose of Roy when he showed signs of wishing to go over the house with the visitors. He gave me a quick look and laughed. Roy was not stupid.

“You don’t know America as well as I do,” he said. “They always prefer a live mouse to a dead lion. That’s one of the reasons why I like America.”

XXV

When Mrs. Driffield, having sent the pilgrims on their way, came back she bore under her arm a portfolio.

“What very nice young men!” she said. “I wish young men in England took such a keen interest in literature. I gave them that photo of Edward when he was dead and they asked me for one of mine, and I signed it for them.” Then very graciously: “You made a great impression on them, Roy. They said it was a real privilege to meet you.”

“I’ve lectured in America so much,” said Roy, with modesty.

“Oh, but they’ve read your books. They say that what they like about them is that they’re so virile.”

The portfolio contained a number of old photographs, groups of schoolboys among whom I recognized an urchin with untidy hair as Driffield only because his widow pointed him out, Rugby fifteens with Driffield a little older, and then one of a young sailor in a jersey and a reefer jacket, Driffield when he ran away to sea.

“Here’s one taken when he was first married,” said Mrs. Driffield.

He wore a beard and black-and-white check trousers; in his buttonhole was a large white rose backed by maidenhair and on the table beside him a chimney-pot hat.

“And here is the bride,” said Mrs. Driffield, trying not to smile.

Poor Rosie, seen by a country photographer over forty years ago, was grotesque. She was standing very stiffly against a background of baronial hall, holding a large bouquet; her dress was elaborately draped, pinched at the waist, and she wore a bustle. Her fringe came down to her eyes. On her head was a wreath of orange blossoms, perched high on a mass of hair, and from it was thrown back a long veil. Only I knew how lovely she must have looked.

“She looks fearfully common,” said Roy.

“She was,” murmured Mrs. Driffield.

We looked at more photographs of Edward, photographs that had been taken of him when he began to be known, photographs when he wore only a moustache and others, all the later ones, when he was clean-shaven. You saw his face grown thinner and more lined. The stubborn commonplace of the early portraits melted gradually into a weary refinement. You saw the change in him wrought by experience, thought, and achieved ambition. I looked again at the photograph of the young sailorman and fancied that I saw in it already a trace of that aloofness that seemed to me so marked in the older ones and that I had had years before the vague sensation of in the man himself. The face you saw was a mask and the actions he performed without significance. I had an impression that the real man, to his death unknown and lonely, was a wraith that went a silent way unseen between the writer of his books and the fellow who led his life, and smiled with ironical detachment at the two puppets that the world took for Edward Driffield. I am conscious that in what I have written of him I have not presented a living man, standing on his feet, rounded, with comprehensible motives and logical activities; I have not tried to: I am glad to leave that to the abler pen of Alroy Kear.

I came across the photographs that Harry Retford, the actor, had taken of Rosie, and then a photograph of the picture that Lionel Hillier had painted of her. It gave me a pang. That was how I best remembered her. Notwithstanding the old-fashioned gown, she was alive there and tremulous with the passion that filled her. She seemed to offer herself to the assault of love.

“She gives you the impression of a hefty wench,” said Roy.

“If you like the milkmaid type,” answered Mrs. Driffield. “I’ve always thought she looked rather like a