“You can write sonnets?” said Ivywood with something more like emotion in his voice than she had ever heard in it. “What comes first into your mind with these open windows?”
“I know what you mean,” said Joan after a silence. “The same hath oft …”
“Yes,” he said. “That is how I felt … of perilous seas in fairy lands forlorn.”
There was another silence and the dog sniffed round and round the circular turret chamber.
“I want it to be like that,” said Ivywood in a low and singularly moved intonation. “I want this to be the end of the house. I want this to be the end of the world. Don’t you feel that is the real beauty of all this eastern art; that it is coloured like the edges of things, like the little clouds of morning and the islands of the blest? Do you know,” and he lowered his voice yet more, “it has the power over me of making me feel as if I were myself absent and distant; some oriental traveller who was lost and for whom men were looking. When I see that greenish lemon yellow enamel there let into the white, I feel that I am standing thousands of leagues from where I stand.”
“You are right,” said Joan, looking at him with some wonder, “I have felt like that myself.”
“This art,” went on Ivywood as in a dream, “does indeed take the wings of the morning and abide in the uttermost parts of the sea. They say it contains no form of life, but surely we can read its alphabet as easily as the red hieroglyphics of sunrise and sunset which are on the fringes of the robe of God.”
“I never heard you talk like that before,” said the lady, and again stroked the vivid violet feathers of the small eastern bird.
Mr. Quoodle could stand it no longer. He had evidently formed a very low opinion of the turret chamber and of oriental art generally, but seeing Joan’s attention once more transferred to his rival, he trotted out into the longer room, and finding the gap in the woodwork which was soon to be boarded up, but which still opened on an old dark staircase, he went “galumphing” down the stairs.
Lord Ivywood gently placed the bird on the girl’s own finger, and went to one of the open windows, leaning out a little.
“Look here,” he said, “doesn’t this express what we both feel? Isn’t this the sort of fairy-tale house that ought to hang on the last wall of the world?”
And he motioned her to the window-sill, just outside which hung the bird’s empty cage, beautifully wrought in brass or some of the yellow metals.
“Why that is the best of all!” cried Lady Joan. “It makes one feel as if it really were the Arabian Nights. As if this were a tower of the gigantic Genii with turrets up to the moon; and this were an enchanted Prince caged in a golden palace suspended by the evening star.”
Something stirred in her dim but teeming subconsciousness, something like a chill or change like that by which we half know that weather has altered, or distant and unnoticed music suddenly ceased.
“Where is the dog?” she asked suddenly.
Ivywood turned with a mild, grey eye.
“Was there a dog here?” he asked.
“Yes,” said Lady Joan Brett, and gave him back the bird, which he restored carefully to its cage.
The dog after whom she inquired had in truth trundled down a dark, winding staircase and turned into the daylight, into a part of the garden he had never seen before; nor, indeed, had anybody else for some time past. It was altogether tangled and overgrown with weeds, and the only trace of human handiwork, the wreck of an old Gothic Chapel, stood waist high in numberless nettles and soiled with crawling fungoids. Most of these merely discoloured the grey crumbling stone with shades of bronze or brown; but some of them, particularly on the side farthest from the house, were of orange or purple tints almost bright enough for Lord Ivywood’s oriental decoration. Some fanciful eyes that fell on the place afterward found something like an allegory in those graven and broken saints or archangels feeding such fiery and ephemeral parasites as those toadstools like blood or gold. But Mr. Quoodle had never set himself up as an allegorist, and he merely trotted deeper and deeper into the grey-green English jungle. He grumbled very much at the thistles and nettles, much as a city man will grumble at the jostling of a crowd. But he continued to press forward, with his nose near the ground, as if he had already smelt something that interested him. And, indeed, he had smelt something in which a dog, except on special occasions, is much more interested than he is in dogs. Breaking through a last barrier of high and hoary purple thistles he came out on a semicircle of somewhat clearer ground, dotted with slender trees, and having, by way of back scene, the brown brick arch of an old tunnel. The tunnel was boarded up with a very irregular fence or mask made of motley wooden lathes, and looked, somehow, rather like a pantomime cottage. In front of this a sturdy man in very shabby shooting clothes was standing attending to a battered old frying-pan which he held over a rather irregular flame which, small as it was, smelt strongly of burnt rum. In the frying-pan, and also on the top of a cask or barrel that served for a table hard by, were a number of the grey, brown, and even orange fungi which were plastered over the stone angels and dragons of the fallen chapel.
“Hullo, old man,” said the person in the shooting jacket with tranquillity and without looking up from his cooking. “Come to pay us a visit? Come along then.” He flashed one glance at the dog and returned to the frying pan. “If your tail were two inches shorter, you’d be worth a hundred pounds. Had any breakfast?”
The dog trotted across to him and began nosing and sniffing round his dilapidated leather gaiters. The man did not interrupt his cookery, on which his eyes were fixed and both his hands were busy; but he crooked his knee and foot so as to caress the quadruped in a nerve under the angle of the jaw, the stimulation of which (as some men of science have held) is for a dog what a good cigar is for a man. At the same moment a huge voice like on ogre’s came from within the masked tunnel, calling out, “And who are ye talking to?”
A very crooked kind of window in the upper part of the pantomime cottage burst open and an enormous head, with erect, startling, and almost scarlet hair and blue eyes as big as a bullfrog’s, was thrust out above the scene.
“Hump,” cried the ogre. “Me moral counsels have been thrown away. In the last week I’ve sung you fourteen and a half songs of me own composition; instead of which you go about stealing dogs. You’re following in the path of Parson Whats-his-name in every way, I’m afraid.”
“No,” said the man with the frying pan, impartially, “Parson Whitelady struck a very good path for doubling on Pebblewick, that I was glad to follow. But I think he was quite silly to steal dogs. He was young and brought up pious. I know too much about dogs to steal one.”
“Well,” asked the large red-haired man, “and how do you get a dog like that?”
“I let him steal me,” said the person stirring the pan. And indeed the dog was sitting erect and even arrogant at his feet, as if he was a watch-dog at a high salary, and had been there before the building of the tunnel.
CHAPTER XI
VEGETARIANISM IN THE DRAWING-ROOM
THE Company that assembled to listen to the Prophet of the Moon, on the next occasion of his delivering any formal address, was much more select than the comparatively mixed and middle-class society of the Simple Souls. Miss Browning and her sister, Mrs. Mackintosh, were indeed present; for Lord Ivywood had practically engaged them both as private secretaries, and kept them pretty busy, too. There was also Mr. Leveson, because Lord Ivywood believed in his organizing power; and also Mr. Hibbs, because Mr. Leveson believed in his political judgment, whenever he could discover what it was. Mr. Leveson had straight, dark hair, and looked nervous. Mr. Hibbs had straight, fair hair, and also looked nervous. But the rest of the company were more of Ivywood’s own world, or the world of high finance with which it mixes both here and on the continent. Lord Ivywood welcomed, with something approaching to warmth, a distinguished foreign diplomatist, who was, indeed, none other than that silent German representative who had sat beside him in that last conference on the Island of the Olives. Dr. Gluck was no longer in his quiet, black suit, but wore an ornate, diplomatic uniform with a sword and Prussian, Austrian or Turkish Orders; for he was going on from Ivywood to a function at Court. But his curl of red lips, his screw of black mustache, and his unanswering almond eyes had no more changed than the face of a wax figure in a barber’s shop window.