Part 2

The Head Master pondered this for some moments and then held out his hand. Old Mole looked through him and walked on. He had not gone twenty yards when he began to chuckle, to gulp, to blink, and then to laugh. He laughed out loud, went on laughing, thumped in the air with his fist. Suddenly the laughter died in him and he thought:

"Twenty-five years! That's a large slice out of a man's life. Ended--in what? Begun--in what? To show--what is there? Ended in one sleepy, generous impulse leading to disaster. Twenty-five years, slumbered away, in an ancient and honorable profession, in teaching awkward, conceited, and, for the most part, grubby little boys things which they looked forward to forgetting as soon as they passed out into the world." And he had taken pride in it, pride in a possession which chance and the muddle-headed excitability of men could in a short space of time demolish, pride in the thought that he was half remembered by some hundreds of the citizens of that huge, roaring city from whose turmoil and gross energy he had lived secluded. He looked back, and the years stretched before him tranquil and monotonous and foolish. He totted up the amount of money that he had drawn out of Thrigsby during those years and set against it what he had given--the use of himself, the unintelligent, mechanical use of himself. He turned from this unpleasant contemplation to the future. That was even more appalling. Within twenty-four hours he had to perform the definite act of disappearing from the scene. Beyond that lay nothing. To what place in the world could he disappear? He had one brother, a Chancery barrister and a pompous ass. They dined together once a year and quarreled. . . . His only sister was married to a curate, had an enormous family and small means. All his relations lived in a church atmosphere--his father had been a parson in Lincolnshire--and they distrusted him because of his avowed love for Lucretius and Voltaire. Certainly they would be no sort of help in time of trouble. . . . As for friends, he had none. His work, his days spent with crowds of homunculi had given him a taste for solitude and the habit of it. He had prided himself on being a clubbable man and he had had many acquaintances, but not, in his life, one single human being to whom in his distress he wished to turn. He had liked the crowds through which he had wandered. They had given him the most comforting kind of solitude. He was distressed now that the streets were so empty; shops, public-houses, theaters were closed. How dreary the streets were! How aimless, haphazard and sprawling was the town! How aimless, haphazard and sprawling his own life in it had been!

A woman passed him and breathed a hurried salute. He surveyed her with a detached, though warmly humorous, interest. She was, like himself, outcast, though she had found her feet and her own way of living. With the next woman he shook hands. She laughed at him. He raised his hat to the third. She stopped and stared at him, open-mouthed. As amazed, he stared at her. It was the young woman of the train.

He could find nothing to say, nor she; neither could move. Feeling the necessity of a salute, he removed his hat, bowed, and, finding a direct approach impossible, shot off obliquely and absurdly.

"I had once a German colleague who was a lavish and indiscriminate patron of the ladies of a certain profession. He resigned. I also have resigned."

She said:

"I'm sorry," and, having found her tongue, added:

"Can you tell me the way to the Flat Iron Market. My aunt won't take me in."

"Are you also in disgrace?"

"Yes, sir. I was in service. It was the young master. I did love him, I did really."

"You had been dismissed when I met you in the train?"

"Yes, sir. They gave me a quarter of an hour to go, without wages, and they are sending on my box. My aunt won't take me in."

Again in her eyes was the expression of helplessness and impotence in the face of distress that had so moved him, and once again he melted. He forgot his own situation and was only concerned to see that she should not come to harm or be thrown destitute upon a cold, a busy, harsh, and indifferent world. Upon his inquiry as to the state of her purse, she told him she had only a shilling, and he pressed half a sovereign into her hand. Then he asked her why she wished to find the Flat Iron Market, and she informed him she had an uncle, Mr. Copas, who was there. She had only seen him twice, but he had been kind to her mother when she was alive, although he was not respectable.

They were directed by a policeman, and as they walked Beenham gave her the story of his experience at the police station and how he had accepted the Chief Constable's ultimatum. And he employed the opportunity to complete his explanation of his extraordinary lapse from decorum.

"You can do silly things when you're half awake," said Matilda. "It's like being in love, isn't it?"

"I have never been in love."

She shot a quick, darting glance at him and he blinked.

Flat Iron Market is a piece of waste land over against a railway arch. Here on Saturdays and holidays is held a traffic in old metal, cheap laces and trinkets, sweets and patent medicines, and in one corner are set up booths, merry-go-rounds, swing boats, cocoanut shies, and sometimes a penny gaff. In the evening, under the flare and flicker of naphtha lamps, the place is thronged with artisans and their wives and little dirty wizened children, and young men and maidens seeking the excitement of each other's jostling neighborhood.

Now, as Beenham and Matilda came to it, it was dark and deserted; the wooden houses were shrouded, and the awnings of the little booths and the screens of the cocoanut shies flapped in the night wind. They passed a caravan with a fat woman and two young men sitting on the steps, and they yawped at the sight of Beenham's white shirtfront.

"Does Mr. Copas live in a caravan?" asked Beenham.

"It's the theayter," replied Matilda.

Picking their way over the shafts of carts and empty wooden boxes, they came to a red and gilt fronted building adorned with mirrors and knobs and scrolls, above the portico of which was written: "Copases Theater Royal," in large swollen letters. At either end of this inscription was a portrait, one of Mrs. Siddons in tragedy, the other of J. L. Toole in comedy. Toole had been only recently painted and had been given bright red hair. Mrs. Siddons, but for her label, would only have been recognizable by her nose.

In front of this erection was a narrow platform, on which stood a small automatic musical machine surmounted with tubular bells played by two little wooden figures, a man and a woman in Tyrolian costume, who moved along a semi-circular cavity. In the middle of the façade was an aperture closed in with striped canvas curtains. This aperture was approached from the ground by a flight of wooden steps through the platform.

"Please," said Beenham, "please give my name as Mr. Mole."

Matilda nodded and ran up the wooden steps and through the aperture. She called:

"It's dark."

When Mr. Mole followed her he found himself standing on the top of another flight of steps leading down into impenetrable gloom. He struck a light and peered into an auditorium of rough benches, the last few rows of which were raised above the rest. Matilda looked up at him, and he was struck by the beauty of the line of her cheek from the brow down into the neck. She smiled and her teeth flashed white. Then the match went out.

He lit another, and they moved toward the stage, through the curtains of which came a smell of onions and cheese, rather offensive on such a hot night. For the first time Beenham began to feel a qualm as to the adventure. The second match went out, and he felt Matilda place her hand on his arm, and she led him toward the stage, told him to duck his head, and they passed through into a narrow space, lit by a light through another curtain, and filled, so far as he could see, with scenery and properties.

"Have you been here before?" he said.

"When I was a little girl. I think it's this way."

He stumbled and brought a great pole and a mass of dusty canvas crashing down. At once there was the battering of feet on boards, the din of voices male and female, and above them all a huge booming bass roaring:

"In Hell's name, what's that?"

Matilda giggled.

A curtain was torn aside, and the light filled the place where they were. Against it they could see silhouetted the shape of a diminutive man craning forward and peering. He had a great stick in his hand, and he bellowed:

"Come out o' that! It's not the first time I've leathered a man, and it won't be the last. This 'ere's a theater, my theater. It ain't a doss house. Come out o' that."

"It's me," said Matilda.

"Gorm, it's a woman!"

"It's me, uncle."

"Eh?"

"It's me, Matilda Burn."

"What? Jenny's girl?"

"Yes, uncle."

"Well, I never! Who's your fancy?"

"It's Mr. Mole."

The figure turned and vanished, and the curtain swung to again. They heard whisperings and exclamations of surprise, and in a moment Mr. Copas returned with a short ladder which he thrust down into their darkness. They ascended it and found themselves on the stage. Matilda was warmly embraced, while her companion stood shyly by and gazed round him at the shabby scenery and the footlights and the hanging lamps over his head. He found it oddly exciting to be standing in such a place, and he said to himself: "This is the stage," as in Rome one might stand and say: "This is the Forum." This excitement and romantic fervor carried with it a certain helplessness, as though he had been plunged into a foreign land that before he had only dimly realized.

"This is the stage! This is the theater!"

It was a strange sensation of being detached and remote, of having passed out of ordinary existence into a region not directly concerned with it and subject to other laws. He felt entirely foreign to it, but then, also, under its influence, he felt foreign to his own existence which had cast him high and dry and ebbed away from him. It was like one of those dreams in which one startlingly leaves the earth and, as startlingly, finds security in the thin air through which, bodiless, one soars. There was something buoyant in the atmosphere, a zestfulness, and at the same time an oppressiveness, against which rather feebly he struggled, while at the same time he wondered whether it came from the place or from the people. Mr. Copas, the large golden-haired lady, the thin, hungry-looking young man, the drabbish young woman, the wrinkled, ruddy, beaming old woman, the loutish giant, the elderly, seedy individual, the little girl with her hair hanging in rat's tails, who clustered round Matilda and smiled at her and glowered at her and kissed her and fondled her.

To all these personages he was presented as "Mr. Mole." When at length Mr. Copas and his niece had come to an end of their exchange of family reminiscence, the men shook hands with him and the women bowed and curtsied with varying degrees of ceremony, after which he was bidden to supper and found himself squatting in a circle with them round a disordered collection of plates and dishes, bottles, and enameled iron cups, all set down among papers and costumes and half-finished properties.

"Sit down, Mr. Mole," said Mr. Copas. "Any friend of any member of my family is my friend. I'm not particular noble in my sentiments, but plain and straightforward. I'm an Englishman, and I say: 'My country right or wrong.' I'm a family man and I say: 'My niece is my niece, right or wrong.' Them's my sentiments, and I drink toward you."

When Mr. Copas spoke there was silence. When he had finished then all the rest spoke at once, as though such moments were too rare to be wasted. Matilda and Mr. Copas engaged in an earnest conversation and the clatter of tongues went on, giving Mr. Mole the opportunity to still his now raging hunger and slake the tormenting thirst that had taken possession of him. Silence came again and he found himself being addressed by Mr. Copas.

"Trouble is trouble, I say, and comes to all of us. For your kindness to my niece, much thanks. She will come along of us and welcome. And if you, being a friend of hers, feel so disposed, you can come along, too. It's a come-day-go-day kind of life, here to-day and gone to-morrow, but there's glory in it. It means work and plenty of it, but no one's ever the worse for that."

It was a moment or two before Beenham realized that he was being offered a position in the troupe. He took a long draught of beer and looked round at the circle of faces. They were all friendly and smiling, and Matilda's eyes were dancing with excitement. He met her gaze and she nodded, and he lost all sense of incongruity and said that he would come, adding, in the most courteous and elegant phrasing, that he was deeply sensible of the privilege extended to him, but that he must return to his house that night and set his affairs in order, whereafter he would with the greatest pleasure renounce his old life and enter upon the new. He was doubtful (he said) of his usefulness, but he would do his best and endeavor not to be an encumbrance.

"If you gave me the Lord Mayor of Thrigsby," said Mr. Copas, "I would turn him, if not into a real actor, at least into something so like one that only myself and one other man in England could tell the difference."

Mr. Mole found that he had just time to catch the last train home, and, after arranging for his return on the following day, he exchanged courtesies all round, was shown out by a little door at the back of the stage, and walked away through the now empty streets. He was greatly excited and uplifted, and it was not until he reached the incline of the station that memory reasserted itself and brought with it the old habit of prudence, discretion, and common sense. He was able to go far enough back to see the little dusty theater and the queer characters in it as fantastic and antipodean, but when he came to the events of that evening the contrast was blurred and the world of settled habit and conviction was merged into the unfamiliarity of the stage and became one with it in absurdity. The thought of stepping back from his late experience into ordinary existence filled him with anger and hot resentment: the passage from the scene at the club and the interview with his chief to Mr. Copas's company was an easy and natural transition, or so it seemed when he thought of Matilda.

He felt very defiant when he reached Bigley and half hoped that he might meet some of his acquaintances. They would go on catching the early train in the morning and the through train in the evening, while he would be away and free. Some such feeling he had always had in July of superiority over the commercial men who had but three weeks' holiday in the year, while he had eight weeks at a stretch. Now he was to go away forever, and Bigley would talk for a little and then forget and go on cluttering about its families and its ailments and its inheritances and its church affairs and its golf course and the squabbles with the Lord of the Manor. He met no one and found his house shut up, and it took him fully half an hour to rouse his man. By that time he had lost his temper and had no desire save to bully the fellow. Everything else was wiped out, and he wanted only to assert himself in bluster. In this way he avoided any awkward wondering whether the man knew, got out the information that he was going away, probably leaving Bigley, selling the house and furniture, and would write further instructions when he had settled down. He ordered and counter-ordered and ordered breakfast until he had fixed it at ten, and at last, after a round volley of oaths because the man turned to him with a question in his eyes, went upstairs to his room, rolled into bed, and slept as deeply as an enchanted knight beneath the castle of a fairy princess.

The next morning he went through his accounts, found that his capital amounted to nearly four thousand pounds, had his large suitcase packed with a careful selection of clothes and books, told his man he was going abroad, paid him three months' wages in advance, apologized for his violence overnight, shook hands, went round the garden to say good-bye to his vegetable marrows and sweet peas, and then departed.

In Thrigsby he saw his solicitor (an old pupil), who was professionally sympathetic, but took his instructions for the sale of his house and furniture gravely and promised to keep his whereabouts and all communications secret.

"It is a most serious calamity," said the solicitor.

"Damn it all," rejoined Old Mole, "I like it." And he visited his bank. The manager had always thought Beenham "queer," and received his rather unusual instructions without astonishment.

"You are leaving Thrigsby?"

"For good. Can't think why I've stayed here so long."

He drew a large sum of money in notes and gold and dined well and expensively at a musty, heavily carpeted commercial hotel. When the porter had placed his bag in a cab and turned for his instructions he gaped in surprise on being told to drive to the Flat Iron Market. Even more surprised were the frequenters of that resort when the cab drew up by the pavement and a well-dressed, middle-aged gentleman with gold spectacles descended and pushed his way through the crowd jostling and chattering under the blare and din of the mechanical organs and the flicker and flare of the naphtha lamps to the back of Copas's Theater Royal, which he entered by the stage door. It was whispered that he was a detective, and he was followed by a buzzing train of men and women. Disappointed of the looked-for sensation, they soon dispersed and were swallowed up in the shifting crowd.

Groping through the darkness, he came to the greenroom--Mr. Copas's word for it--and deposited his bag. On the stage, through a canvas curtain, he could hear the thudding of feet and the bellowing of a great voice broken every now and then with cheers at regular intervals and applause from the auditorium. In a corner on a basket sat Matilda. She was wearing a pasteboard crown and gazing at herself in a mirror. As he dropped his bag she looked up and grinned.

"So you've come back? I didn't think you would."

"Yes, I've come back. The school has broken up."

She removed her crown.

"Like to see the show? Uncle's got 'em tonight."

"Got? What has he got?"

"The audience."

She led him to the front of the house, where they were compelled to stand, for all the benches were full, packed with sweating, zestful men and women who had paid for enjoyment and were receiving it in full measure.

In the "Tales out of School," published after H. J. Beenham's death by one of the many pupils who became grateful on his achieving celebrity, there is an admirable account of his first impression of the theater which can only refer to the performance of Mr. Copas in the Flat Iron Market. Till then he says he had always regarded the theater as one of those pleasures without which life would be more tolerable, one of those pleasures to face which it is necessary to eat and drink too much. The two respectable theaters in Thrigsby were maintained by annual pantomimes and kept open from week to week by the visits of companies presenting replicas of alleged successful London plays. He had never attended either theater unless some one else paid. . . . Here now in this ramshackle Theater Royal, half tent, half booth, his sensations were very mixed. At first the shabby scenery, the poverty of the stage furniture, the tawdriness of the costumes of the players, filled him with a pitying sense of the ludicrous. The program was generous, opening with "Robert Macaire," passing on to "Mary Queen of Scots," and ending with a farce called "Trouble in the Home," while between the pieces there would be song and dance by Mr. Fitter, the celebrated comedian. All this was announced on a placard hanging from the proscenium. . . . Mary Queen of Scots was sitting, crowned, on a Windsor chair at the back of the stage, surrounded with three courtiers. As Darnley (or it might be Bothwell), Mr. Copas was delivering himself of an impassioned if halting narration, addressed to the hapless Queen through the audience. He was certainly a very bad actor, so Beenham thought until he had listened to him for nearly five minutes, at the end of which a change took place in his mind and he found himself forced to accept Mr. Copas's own view of the traffic of the stage. It was impossible to make rhyme or reason of the play, which showed the most superb disregard for history and sense. Apart from Mr. Copas it did not exist. He was its center and its circumference. It began and ended in him, moved through him from its beginning to its end. The rest of the characters were his puppets. When he came to an end of a period Mary Queen of Scots would turn on one of three moods--the tearful, the regal, the noisily defiant; or a page would say, "Me Lord! Me Lord!"; or the lugubrious young man, dressed in priestly black, would borrow from another play and in a sepulchral voice declaim, "Beware the Ides of March." The performance was an improvisation and in that art only Mr. Copas had any skill, unless he had deliberately so subdued the rest that he was left with his own passionate belief in himself and acting as acting to clothe the naked and deformed skeleton with flesh. Whatever the process of his mind he did succeed in hypnotizing himself and his audience, including Mr. Mole and Matilda, and worked up to a certain height and ended in shocking bathos so suddenly as to create surprise rather than derision. He believed in it all and made everybody else believe.

Matilda gave a sigh as the curtains were drawn and Mr. Copas appeared, bowing and bowing again, using his domination over his audience to squeeze more and more applause out of them.

"Ain't it lovely?" said Matilda.

"It is certainly remarkable," replied Mr. Mole.

"You'd never think he had a floating kidney, would you?"

"I would not."

"It's that makes him a little quick in his temper."

From the audience arose a smell of oranges, beer and peppermint, and there were much talk and laughter, giggling and round resounding kissing. No change of scene was considered necessary for the song and dance of Mr. Fitter, who turned out to be the lugubrious young man. He had no humor, but he worked very hard and created some amusement. Mr. Copas did not appear in the farce, which was deplorable and made Mr. Mole feel depressed and ashamed, so that for a moment his old point of view reasserted itself and he felt aghast at the undertaking upon which he was embarked. A moment or two before he had been telling himself that this was "life"--the talk and the laughter and the kissing; now he felt only disgust at its coarseness and commonness. He was dejected and miserable, stripped even of the intellectual interest roused by Mr. Copas. The loutish buffoons on the stage with their brutal humors filled him with resentment at their degradation. Only his obstinacy saved him from yielding to the impulse to escape. . . . Matilda had grown tired of standing and had taken his arm. She laughed at nearly all the jokes. Her laughter was shrill and immoderate. He called himself fool, but he stayed.

He was warmly welcomed by Mr. Copas after the performance. His congratulations and praise were accepted with proper modesty.

"Acting," said Mr. Copas, "is a nart. There's some as thinks it's a trick, like performing dogs, but it's a nart. What did you think of Mrs. Copas?"

The question was embarrassing. Fortunately no answer was expected.

"I've taught her everything she knows. She's not very good at queens, but her mad scenes can't be beat, can't be beat. My line's tragedy by nature, but a nartist has to be everything. . . . What's your line, Mr. Mole?"