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The Good Soldier
By Ford Madox Ford
Wildside PressCopyright © 2003 Ford Madox Ford
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HIS is the saddest story I have ever heard. We had known the Ashburnhams for nine seasons of the town of Nauheim with an extreme intimacy--or, rather with an acquaintanceship as loose and easy and yet as close as a good glove's with your hand. My wife and I knew Captain and Mrs Ashburnham as well as it was possible to know anybody, and yet, in another sense, we knew nothing at all about them. This is, I believe, a state of things only possible with English people of whom, till today, when I sit down to puzzle out what I know of this sad affair, I knew nothing whatever. Six months ago I had never been to England, and, certainly, I had never sounded the depths of an English heart. I had known the shallows.
I don't mean to say that we were not acquainted with many English people. Living, as we perforce lived, in Europe, and being, as we perforce were, leisured Americans, which is as much as to say that we were un-American, we were thrown very much into the society of the nicer English. Paris, you see, was our home. Somewhere between Nice and Bordighera provided yearly winter quarters for us, and Nauheim always received us from July to September. You will gather from this statement that one of us had, as the saying is, a "heart", and, from the statement that my wife is dead, that she was the sufferer.
Captain Ashburnham also had a heart. But, whereas a yearly month or so at Nauheim tuned him up to exactly the right pitch for the rest of the twelvemonth, the two months or so were only just enough to keep poor Florence alive from year to year. The reason for his heart was, approximately, polo, or too much hard sportsmanship in his youth. The reason for poor Florence's broken years was a storm at sea upon our first crossing to Europe, and the immediate reasons for our imprisonment in that continent were doctor's orders. They said that even the short Channel crossing might well kill the poor thing.
When we all first met, Captain Ashburnham, home on sick leave from an India to which he was never to return, was thirty-three; Mrs Ashburnham--Leonora--was thirty-one. I was thirty-six and poor Florence thirty. Thus today Florence would have been thirty-nine and Captain Ashburnham forty-two; whereas I am forty-five and Leonora forty. You will perceive, therefore, that our friendship has been a young-middle-aged affair, since we were all of us of quite quiet dispositions, the Ashburnhams being more particularly what in England it is the custom to call "quite good people".
They were descended, as you will probably expect, from the Ashburnham who accompanied Charles I to the scaffold, and, as you must also expect with this class of English people, you would never have noticed it. Mrs Ashburnham was a Powys; Florence was a Hurlbird of Stamford, Connecticut, where, as you know, they are more old-fashioned than even the inhabitants of Cranford, England, could have been. I myself am a Dowell of Philadelphia, Pa., where, it is historically true, there are more old English families than you would find in any six English counties taken together. I carry about with me, indeed--as if it were the only thing that invisibly anchored me to any spot upon the globe--the title deeds of my farm, which once covered several blocks between Chestnut and Walnut Streets. These title deeds are of wampum, the grant of an Indian chief to the first Dowell, who left Farnham in Surrey in company with William Penn. Florence's people, as is so often the case with the inhabitants of Connecticut, came from the neighbourhood of Fordingbridge, where the Ashburnhams' place is. From there, at this moment, I am actually writing.
You may well ask why I write. And yet my reasons are quite many. For it is not unusual in human beings who have witnessed the sack of a city or the falling to pieces of a people to desire to set down what they have witnessed for the benefit of unknown heirs or of generations infinitely remote; or, if you please, just to get the sight out of their heads.
Some one has said that the death of a mouse from cancer is the whole sack of Rome by the Goths, and I swear to you that the breaking up of our little four-square coterie was such another unthinkable event. Supposing that you should come upon us sitting together at one of the little tables in front of the club house, let us say, at Homburg, taking tea of an afternoon and watching the miniature golf, you would have said that, as human affairs go, we were an extraordinarily safe castle. We were, if you will, one of those tall ships with the white sails upon a blue sea, one of those things that seem the proudest and the safest of all the beautiful and safe things that God has permitted the mind of men to frame. Where better could one take refuge? Where better?
Permanence? Stability? I can't believe it's gone. I can't believe that that long, tranquil life, which was just stepping a minuet, vanished in four crashing days at the end of nine years and six weeks. Upon my word, yes, our intimacy was like a minuet, simply because on every possible occasion and in every possible circumstance we knew where to go, where to sit, which table we unanimously should choose; and we could rise and go, all four together, without a signal from any one of us, always to the music of the Kur orchestra, always in the temperate sunshine, or, if it rained, in discreet shelters. No, indeed, it can't be gone. You can't kill a minuet de la cour. You may shut up the music-book, close the harpsichord; in the cupboard and presses the rats may destroy the white satin favours. The mob may sack Versailles; the Trianon may fall, but surely the minuet--the minuet itself is dancing itself away into the furthest stars, even as our minuet of the Hessian bathing places must be stepping itself still. Isn't there any heaven where old beautiful dances, old beautiful intimacies prolong themselves? Isn't there any Nirvana pervaded by the faint thrilling of instruments that have fallen into the dust of wormwood but that yet had frail, tremulous, and everlasting souls?
No, by God, it is false! It wasn't a minuet that we stepped; it was a prison--a prison full of screaming hysterics, tied down so that they might not outsound the rolling of our carriage wheels as we went along the shaded avenues of the Taunus Wald.
And yet I swear by the sacred name of my creator that it was true. It was true sunshine; the true music; the true splash of the fountains from the mouth of stone dolphins. For, if for me we were four people with the same tastes, with the same desires, acting--or, no, not acting--sitting here and there unanimously, isn't that the truth? If for nine years I have possessed a goodly apple that is rotten at the core and discover its rottenness only in nine years and six months less four days, isn't it true to say that for nine years I possessed a goodly apple? So it may well be with Edward Ashburnham, with Leonora his wife and with poor dear Florence. And, if you come to think of it, isn't it a little odd that the physical rottenness of at least two pillars of our four-square house never presented itself to my mind as a menace to its security? It doesn't so present itself now though the two of them are actually dead. I don't know. . . .
I know nothing--nothing in the world--of the hearts of men. I only know that I am alone--horribly alone. No hearthstone will ever again witness, for me, friendly intercourse. No smoking-room will ever be other than peopled with incalculable simulacra amidst smoke wreaths. Yet, in the name of God, what should I know if I don't know the life of the hearth and of the smoking-room, since my whole life has been passed in those places? The warm hearthside! --Well, there was Florence: I believe that for the twelve years her life lasted, after the storm that seemed irretrievably to have weakened her heart--I don't believe that for one minute she was out of my sight, except when she was safely tucked up in bed and I should be downstairs, talking to some good fellow or other in some lounge or smoking-room or taking my final turn with a cigar before going to bed. I don't, you understand, blame Florence. But how can she have known what she knew? How could she have got to know it? To know it so fully. Heavens! There doesn't seem to have been the actual time. It must have been when I was taking my baths, and my Swedish exercises, being manicured. Leading the life I did, of the sedulous, strained nurse, I had to do something to keep myself fit. It must have been then! Yet even that can't have been enough time to get the tremendously long conversations full of worldly wisdom that Leonora has reported to me since their deaths. And is it possible to imagine that during our prescribed walks in Nauheim and the neighbourhood she found time to carry on the protracted negotiations which she did carry on between Edward Ashburnham and his wife? And isn't it incredible that during all that time Edward and Leonora never spoke a word to each other in private? What is one to think of humanity?
For I swear to you that they were the model couple. He was as devoted as it was possible to be without appearing fatuous. So well set up, with such honest blue eyes, such a touch of stupidity, such a warm goodheartedness! And she--so tall, so splendid in the saddle, so fair! Yes, Leonora was extraordinarily fair and so extraordinarily the real thing that she seemed too good to be true. You don't, I mean, as a rule, get it all so superlatively together. To be the county family, to look the county family, to be so appropriately and perfectly wealthy; to be so perfect in manner--even just to the saving touch of insolence that seems to be necessary. To have all that and to be all that! No, it was too good to be true. And yet, only this afternoon, talking over the whole matter she said to me: "Once I tried to have a lover but I was so sick at the heart, so utterly worn out that I had to send him away." That struck me as the most amazing thing I had ever heard. She said "I was actually in a man's arms. Such a nice chap! Such a dear fellow! And I was saying to myself, fiercely, hissing it between my teeth, as they say in novels--and really clenching them together: I was saying to myself: 'Now, I'm in for it and I'll really have a good time for once in my life--for once in my life!' It was in the dark, in a carriage, coming back from a hunt ball. Eleven miles we had to drive! And then suddenly the bitterness of the endless poverty, of the endless acting--it fell on me like a blight, it spoilt everything. Yes, I had to realize that I had been spoilt even for the good time when it came. And I burst out crying and I cried and I cried for the whole eleven miles. Just imagine me crying! And just imagine me making a fool of the poor dear chap like that. It certainly wasn't playing the game, was it now?"
I don't know; I don't know; was that last remark of hers the remark of a harlot, or is it what every decent woman, county family or not county family, thinks at the bottom of her heart? Or thinks all the time for the matter of that? Who knows?
Yet, if one doesn't know that at this hour and day, at this pitch of civilization to which we have attained, after all the preachings of all the moralists, and all the teachings of all the mothers to all the daughters in saecula saeculorum . . . but perhaps that is what all mothers teach all daughters, not with lips but with the eyes, or with heart whispering to heart. And, if one doesn't know as much as that about the first thing in the world, what does one know and why is one here?
I asked Mrs Ashburnham whether she had told Florence that and what Florence had said and she answered:--"Florence didn't offer any comment at all. What could she say? There wasn't anything to be said. With the grinding poverty we had to put up with to keep up appearances, and the way the poverty came about--you know what I mean--any woman would have been justified in taking a lover and presents too. Florence once said about a very similar position--she was a little too well-bred, too American, to talk about mine--that it was a case of perfectly open riding and the woman could just act on the spur of the moment. She said it in American of course, but that was the sense of it. I think her actual words were: 'That it was up to her to take it or leave it. . . .'"
I don't want you to think that I am writing Teddy Ashburnham down a brute. I don't believe he was. God knows, perhaps all men are like that. For as I've said what do I know even of the smoking-room? Fellows come in and tell the most extraordinarily gross stories--so gross that they will positively give you a pain. And yet they'd be offended if you suggested that they weren't the sort of person you could trust your wife alone with. And very likely they'd be quite properly offended--that is if you can trust anybody alone with anybody. But that sort of fellow obviously takes more delight in listening to or in telling gross stories--more delight than in anything else in the world. They'll hunt languidly and dress languidly and dine languidly and work without enthusiasm and find it a bore to carry on three minutes' conversation about anything whatever and yet, when the other sort of conversation begins, they'll laugh. and wake up and throw themselves about in their chairs. Then, if they so delight in the narration, how is it possible that they can be offended--and properly offended--at the suggestion that they might make attempts upon your wife's honour? Or again: Edward Ashburnham was the cleanest looking sort of chap;--an excellent magistrate, a first rate soldier, one of the best landlords, so they said, in Hampshire, England. To the poor and to hopeless drunkards, as I myself have witnessed, he was like a painstaking guardian. And he never told a story that couldn't have gone into the columns of the Field more than once or twice in all the nine years of my knowing him. He didn't even like hearing them; he would fidget and get up and go out to buy a cigar or something of that sort. You would have said that he was just exactly the sort of chap that you could have trusted your wife with. And I trusted mine and it was madness.
And yet again you have me. If poor Edward was dangerous because of the chastity of his expressions--and they say that is always the hall-mark of a libertine--what about myself? For I solemnly avow that not only have I never so much as hinted at an impropriety in my conversation in the whole of my days; and more than that, I will vouch for the cleanness of my thoughts and the absolute chastity of my life. At what, then, does it all work out? Is the whole thing a folly and a mockery? Am I no better than a eunuch or is the proper man--the man with the right to existence--a raging stallion forever neighing after his neighbour's womankind?
I don't know. And there is nothing to guide us. And if everything is so nebulous about a matter so elementary as the morals of sex, what is there to guide us in the more subtle morality of all other personal contacts, associations, and activities? Or are we meant to act on impulse alone? It is all a darkness.
I DON'T know how it is best to put this thing down--whether it would be better to try and tell the story from the beginning, as if it were a story; or whether to tell it from this distance of time, as it reached me from the lips of Leonora or from those of Edward himself.
So I shall just imagine myself for a fortnight or so at one side of the fireplace of a country cottage, with a sympathetic soul opposite me. And I shall go on talking, in a low voice while the sea sounds in the distance and overhead the great black flood of wind polishes the bright stars. From time to time we shall get up and go to the door and look out at the great moon and say: "Why, it is nearly as bright as in Provence!" And then we shall come back to the fireside, with just the touch of a sigh because we are not in that Provence where even the saddest stories are gay. Consider the lamentable history of Peire Vidal. Two years ago Florence and I motored from Biarritz to Las Tours, which is in the Black Mountains. In the middle of a tortuous valley there rises up an immense pinnacle and on the pinnacle are four castles--Las Tours, the Towers. And the immense mistral blew down that valley which was the way from France into Provence so that the silver grey olive leaves appeared like hair flying in the wind, and the tufts of rosemary crept into the iron rocks that they might not be torn up by the roots.
It was, of course, poor dear Florence who wanted to go to Las Tours. You are to imagine that, however much her bright personality came from Stamford, Connecticut, she was yet a graduate of Poughkeepsie. I never could imagine how she did it--the queer, chattery person that she was. With the far-away look in her eyes--which wasn't, however, in the least romantic--I mean that she didn't look as if she were seeing poetic dreams, or looking through you, for she hardly ever did look at you!--holding up one hand as if she wished to silence any objection--or any comment for the matter of that--she would talk. She would talk about William the Silent, about Gustave the Loquacious, about Paris frocks, about how the poor dressed in 1337, about Fantin-Latour, about the Paris-Lyons-Mediterranee train-deluxe, about whether it would be worth while to get off at Tarascon and go across the windswept suspension-bridge, over the Rhone to take another look at Beaucaire.
We never did take another look at Beaucaire, of course--beautiful Beaucaire, with the high, triangular white tower, that looked as thin as a needle and as tall as the Flatiron, between Fifth and Broadway--Beaucaire with the grey walls on the top of the pinnacle surrounding an acre and a half of blue irises, beneath the tallness of the stone pines, What a beautiful thing the stone pine is! . . .
No, we never did go back anywhere. Not to Heidelberg, not to Hamelin, not to Verona, not to Mont Majour--not so much as to Carcassonne itself. We talked of it, of course, but I guess Florence got all she wanted out of one look at a place. She had the seeing eye.
I haven't, unfortunately, so that the world is full of places to which I want to return--towns with the blinding white sun upon them; stone pines against the blue of the sky; corners of gables, all carved and painted with stags and scarlet flowers and crowstepped gables with the little saint at the top; and grey and pink palazzi and walled towns a mile or so back from the sea, on the Mediterranean, between Leghorn and Naples. Not one of them did we see more than once, so that the whole world for me is like spots of colour in an immense canvas. Perhaps if it weren't so I should have something to catch hold of now.
Is all this digression or isn't it digression? Again I don't know. You, the listener, sit opposite me. But you are so silent. You don't tell me anything. I am, at any rate, trying to get you to see what sort of life it was I led with Florence and what Florence was like. Well, she was bright; and she danced. She seemed to dance over the floors of castles and over seas and over and over and over the salons of modistes and over the plages of the Riviera--like a gay tremulous beam, reflected from water upon a ceiling. And my function in life was to keep that bright thing in existence. And it was almost as difficult as trying to catch with your hand that dancing reflection. And the task lasted for years.
Florence's aunts used to say that I must be the laziest man in Philadelphia. They had never been to Philadelphia and they had the New England conscience. You see, the first thing they said to me when I called in on Florence in the little ancient, colonial, wooden house beneath the high, thin-leaved elms--the first question they asked me was not how I did but what did I do. And I did nothing. I suppose I ought to have done something, but I didn't see any call to do it. Why does one do things? I just drifted in and wanted Florence. First I had drifted in on Florence at a Browning tea, or something of the sort in Fourteenth Street, which was then still residential. I don't know why I had gone to New York; I don't know why I had gone to the tea. I don't see why Florence should have gone to that sort of spelling bee. It wasn't the place at which, even then, you expected to find a Poughkeepsie graduate. I guess Florence wanted to raise the culture of the Stuyvesant crowd and did it as she might have gone in slumming. Intellectual slumming, that was what it was. She always wanted to leave the world a little more elevated than she found it. Poor dear thing, I have heard her lecture Teddy Ashburnham by the hour on the difference between a Franz Hals and a Wouvermans and why the Pre-Mycenaean statues were cubical with knobs on the top. I wonder what he made of it? Perhaps he was thankful.
I know I was. For do you understand my whole attentions, my whole endeavours were to keep poor dear Florence on to topics like the finds at Cnossos and the mental spirituality of Walter Pater. I had to keep her at it, you understand, or she might die. For I was solemnly informed that if she became excited over anything or if her emotions were really stirred her little heart might cease to beat. For twelve years I had to watch every word that any person uttered in any conversation and I had to head it off what the English call "things"--off love, poverty, crime, religion and the rest of it. Yes, the first doctor that we had when she was carried off the ship at Havre assured me that this must be done. Good God, are all these fellows monstrous idiots, or is there a freemasonry between all of them from end to end of the earth? . . . That is what makes me think of that fellow Peire Vidal.
Because, of course, his story is culture and I had to head her towards culture and at the same time it's so funny and she hadn't got to laugh, and it's so full of love and she wasn't to think of love. Do you know the story? Las Tours of the Four Castles had for chatelaine Blanche Somebody-or-other who was called as a term of commendation, La Louve--the She-Wolf. And Peire Vidal the Troubadour paid his court to La Louve. And she wouldn't have anything to do with him. So, out of compliment to her--the things people do when they're in love!--he dressed himself up in wolfskins and went up into the Black Mountains. And the shepherds of the Montagne Noire and their dogs mistook him for a wolf and he was torn with the fangs and beaten with clubs. So they carried him back to Las Tours and La Louve wasn't at all impressed. They polished him up and her husband remonstrated seriously with her. Vidal was, you see, a great poet and it was not proper to treat a great poet with indifference.
So Peire Vidal declared himself Emperor of Jerusalem or somewhere and the husband had to kneel down and kiss his feet though La Louve wouldn't. And Peire set sail in a rowing boat with four companions to redeem the Holy Sepulchre. And they struck on a rock somewhere, and, at great expense, the husband had to fit out an expedition to fetch him back. And Peire Vidal fell all over the Lady's bed while the husband, who was a most ferocious warrior, remonstrated some more about the courtesy that is due to great poets. But I suppose La Louve was the more ferocious of the two. Anyhow, that is all that came of it. Isn't that a story?
You haven't an idea of the queer old-fashionedness of Florence's aunts--the Misses Hurlbird, nor yet of her uncle. An extraordinarily lovable man, that Uncle John. Thin, gentle, and with a "heart" that made his life very much what Florence's afterwards became. He didn't reside at Stamford; his home was in Waterbury where the watches come from. He had a factory there which, in our queer American way, would change its functions almost from year to year. For nine months or so it would manufacture buttons out of bone. Then it would suddenly produce brass buttons for coachmen's liveries. Then it would take a turn at embossed tin lids for candy boxes. The fact is that the poor old gentleman, with his weak and fluttering heart, didn't want his factory to manufacture anything at all. He wanted to retire. And he did retire when he was seventy. But he was so worried at having all the street boys in the town point after him and exclaim: "There goes the laziest man in Waterbury!" that he tried taking a tour round the world. And Florence and a young man called Jimmy went with him. It appears from what Florence told me that Jimmy's function with Mr Hurlbird was to avoid exciting topics for him. He had to keep him, for instance, out of political discussions. For the poor old man was a violent Democrat in days when you might travel the world over without finding anything but a Republican. Anyhow, they went round the world.
I think an anecdote is about the best way to give you an idea of what the old gentleman was like. For it is perhaps important that you should know what the old gentleman was; he had a great deal of influence in forming the character of my poor dear wife.
Just before they set out from San Francisco for the South Seas old Mr Hurlbird said he must take something with him to make little presents to people he met on the voyage. And it struck him that the things to take for that purpose were oranges--because California is the orange country--and comfortable folding chairs. So he bought I don't know how many cases of oranges--the great cool California oranges, and half-a-dozen folding chairs in a special case that he always kept in his cabin. There must have been half a cargo of fruit.
For, to every person on board the several steamers that they employed--to every person with whom he had so much as a nodding acquaintance, he gave an orange every morning. And they lasted him right round the girdle of this mighty globe of ours. When they were at North Cape, even, he saw on the horizon, poor dear thin man that he was, a lighthouse. "Hello," says he to himself, "these fellows must be very lonely. Let's take them some oranges." So he had a boatload of his fruit out and had himself rowed to the lighthouse on the horizon. The folding chairs he lent to any lady that he came across and liked or who seemed tired and invalidish on the ship. And so, guarded against his heart and, having his niece with him, he went round the world. . . .
He wasn't obtrusive about his heart. You wouldn't have known he had one. He only left it to the physical laboratory at Waterbury for the benefit of science, since he considered it to be quite an extraordinary kind of heart. And the joke of the matter was that, when, at the age of eighty-four, just five days before poor Florence, he died of bronchitis there was found to be absolutely nothing the matter with that organ. It had certainly jumped or squeaked or something just sufficiently to take in the doctors, hut it appears that that was because of an odd formation of the lungs. I don't much understand about these matters.
I inherited his money because Florence died five days after him. I wish I hadn't. It was a great worry. I had to go out to Waterbury just after Florence's death because the poor dear old fellow had left a good many charitable bequests and I had to appoint trustees. I didn't like the idea of their not being properly handled.
Yes, it was a great worry. And just as I had got things roughly settled I received the extraordinary cable from Ashburnham begging me to come back and have a talk with him. And immediately afterwards came one from Leonora saying, "Yes, please do come. You could be so helpful." It was as if he had sent the cable without consulting her and had afterwards told her. Indeed, that was pretty much what had happened, except that he had told the girl and the girl told the wife. I arrived, however, too late to be of any good if I could have been of any good. And then I had my first taste of English life. It was amazing. It was overwhelming. I never shall forget the polished cob that Edward, beside me, drove; the animal's action, its high-stepping, its skin that was like satin. And the peace! And the red cheeks! And the beautiful, beautiful old house.
Just near Branshaw Teleragh it was and we descended on it from the high, clear, windswept waste of the New Forest. I tell you it was amazing to arrive there from Waterbury. And it came into my head--for Teddy Ashburnham, you remember, had cabled to me to "come and have a talk" with him--that it was unbelievable that anything essentially calamitous could happen to that place and those people. I tell you it was the very spirit of peace. And Leonora, beautiful and smiling, with her coils of yellow hair, stood on the top doorstep, with a butler and footman and a maid or so behind her. And she just said: "So glad you've come," as if I'd run down to lunch from a town ten miles away, instead of having come half the world over at the call of two urgent telegrams.
The girl was out with the hounds, I think.
And that poor devil beside me was in an agony. Absolute, hopeless, dumb agony such as passes the mind of man to imagine.
IT was a very hot summer, in August, 1904; and Florence had already been taking the baths for a month. I don't know how it feels to be a patient at one of those places. I never was a patient anywhere. I daresay the patients get a home feeling and some sort of anchorage in the spot. They seem to like the bath attendants, with their cheerful faces, their air of authority, their white linen. But, for myself, to be at Nauheim gave me a sense--what shall I say?--a sense almost of nakedness--the nakedness that one feels on the sea-shore or in any great open space. I had no attachments, no accumulations. In one's own home it is as if little, innate sympathies draw one to particular chairs that seem to enfold one in an embrace, or take one along particular streets that seem friendly when others may be hostile. And, believe me, that feeling is a very important part of life. I know it well, that have been for so long a wanderer upon the face of public resorts. And one is too polished up. Heaven knows I was never an untidy man. But the feeling that I had when, whilst poor Florence was taking her morning bath, I stood upon the carefully swept steps of the Englischer Hof, looking at the carefully arranged trees in tubs upon the carefully arranged gravel whilst carefully arranged people walked past in carefully calculated gaiety, at the carefully calculated hour, the tall trees of the public gardens, going up to the right; the reddish stone of the baths--or were they white half-timber chalets? Upon my word I have forgotten, I who was there so often. That will give you the measure of how much I was in the landscape. I could find my way blindfolded to the hot rooms, to the douche rooms, to the fountain in the centre of the quadrangle where the rusty water gushes out. Yes, I could find my way blindfolded. I know the exact distances. From the Hotel Regina you took one hundred and eighty-seven paces, then, turning sharp, left-handed, four hundred and twenty took you straight down to the fountain. From the Englischer Hof, starting on the sidewalk, it was ninety-seven paces and the same four hundred and twenty, but turning lefthanded this time.
And now you understand that, having nothing in the world to do--but nothing whatever! I fell into the habit of counting my footsteps. I would walk with Florence to the baths. And, of course, she entertained me with her conversation. It was, as I have said, wonderful what she could make conversation out of. She walked very lightly, and her hair was very nicely done, and she dressed beautifully and very expensively. Of course she had money of her own, but I shouldn't have minded. And yet you know I can't remember a single one of her dresses. Or I can remember just one, a very simple one of blue figured silk--a Chinese pattern--very full in the skirts and broadening out over the shoulders. And her hair was copper-coloured, and the heels of her shoes were exceedingly high, so that she tripped upon the points of her toes. And when she came to the door of the bathing place, and when it opened to receive her, she would look back at me with a little coquettish smile, so that her cheek appeared to be caressing her shoulder.
I seem to remember that, with that dress, she wore an immensely broad Leghorn hat--like the Chapeau de Paille of Rubens, only very white. The hat would be tied with a lightly knotted scarf of the same stuff as her dress. She knew how to give value to her blue eyes. And round her neck would be some simple pink, coral beads. And her complexion had a perfect clearness, a perfect smoothness . . .
Yes, that is how I most exactly remember her, in that dress, in that hat, looking over her shoulder at me so that the eyes flashed very blue--dark pebble blue . . .
And, what the devil! For whose benefit did she do it? For that of the bath attendant? of the passers-by? I don't know. Anyhow, it can't have been for me, for never, in all the years of her life, never on any possible occasion, or in any other place did she so smile to me, mockingly, invitingly. Ah, she was a riddle; but then, all other women are riddles. And it occurs to me that some way back I began a sentence that I have never finished . . . It was about the feeling that I had when I stood on the steps of my hotel every morning before starting out to fetch Florence back from the bath. Natty, precise, well-brushed, conscious of being rather small amongst the long English, the lank Americans, the rotund Germans, and the obese Russian Jewesses, I should stand there, tapping a cigarette on the outside of my case, surveying for a moment the world in the sunlight. But a day was to come when I was never to do it again alone. You can imagine, therefore, what the coming of the Ashburnhams meant to me.
I have forgotten the aspect of many things, but I shall never forget the aspect of the dining-room of the Hotel Excelsior on that evening--and on so many other evenings. Whole castles have vanished from my memory, whole cities that I have never visited again, but that white room, festooned with papier-mache fruits and flowers; the tall windows; the many tables; the black screen round the door with three golden cranes flying upward on each panel; the palm-tree in the centre of the room; the swish of the waiter's feet; the cold expensive elegance; the mien of the diners as they came in every evening--their air of earnestness as if they must go through a meal prescribed by the Kur authorities and their air of sobriety as if they must seek not by any means to enjoy their meals--those things I shall not easily forget. And then, one evening, in the twilight, I saw Edward Ashburnham lounge round the screen into the room. The head waiter, a man with a face all grey--in what subterranean nooks or corners do people cultivate those absolutely grey complexions?--went with the timorous patronage of these creatures towards him and held out a grey ear to be whispered into. It was generally a disagreeable ordeal for newcomers but Edward Ashburnham bore it like an Englishman and a gentleman. I could see his lips form a word of three syllables--remember I had nothing in the world to do but to notice these niceties--and immediately I knew that he must be Edward Ashburnham, Captain, Fourteenth Hussars, of Branshaw House, Branshaw Teleragh. I knew it because every evening just before dinner, whilst I waited in the hall, I used, by the courtesy of Monsieur Schontz, the proprietor, to inspect the little police reports that each guest was expected to sign upon taking a room.
The head waiter piloted him immediately to a vacant table, three away from my own--the table that the Grenfalls of Falls River, N.J., had just vacated. It struck me that that was not a very nice table for the newcomers, since the sunlight, low though it was, shone straight down upon it, and the same idea seemed to come at the same moment into Captain Ashburnham's head. His face hitherto had, in the wonderful English fashion, expressed nothing whatever. Nothing. There was in it neither joy nor despair; neither hope nor fear; neither boredom nor satisfaction. He seemed to perceive no soul in that crowded room; he might have been walking in a jungle. I never came across such a perfect expression before and I never shall again. It was insolence and not insolence; it was modesty and not modesty. His hair was fair, extraordinarily ordered in a wave, running from the left temple to the right; his face was a light brick-red, perfectly uniform in tint up to the roots of the hair itself; his yellow moustache was as stiff as a toothbrush and I verily believe that he had his black smoking jacket thickened a little over the shoulder-blades so as to give himself the air of the slightest possible stoop. It would be like him to do that; that was the sort of thing he thought about. Martingales, Chiffney bits, boots; where you got the best soap, the best brandy, the name of the chap who rode a plater down the Khyber cliffs; the spreading power of number three shot before a charge of number four powder . . . by heavens, I hardly ever heard him talk of anything else. Not in all the years that I knew him did I hear him talk of anything but these subjects. Oh, yes, once he told me that I could buy my special shade of blue ties cheaper from a firm in Burlington Arcade than from my own people in New York. And I have bought my ties from that firm ever since. Otherwise I should not remember the name of the Burlington Arcade. I wonder what it looks like. I have never seen it. I imagine it to be two immense rows of pillars, like those of the Forum at Rome, with Edward Ashburnham striding down between them. But it probably isn't--the least like that. Once also he advised me to buy Caledonian Deferred, since they were due to rise. And I did buy them and they did rise. But of how he got the knowledge I haven't the faintest idea. It seemed to drop out of the blue sky.
And that was absolutely all that I knew of him until a month ago--that and the profusion of his cases, all of pigskin and stamped with his initials, E. F. A. There were gun cases, and collar cases, and shirt cases, and letter cases and cases each containing four bottles of medicine; and hat cases and helmet cases. It must have needed a whole herd of the Gadarene swine to make up his outfit. And, if I ever penetrated into his private room it would be to see him standing, with his coat and waistcoat off and the immensely long line of his perfectly elegant trousers from waist to boot heel. And he would have a slightly reflective air and he would be just opening one kind of case and just closing another.
Good God, what did they all see in him? for I swear there was all there was of him, inside and out; though they said he was a good soldier. Yet, Leonora adored him with a passion that was like an agony, and hated him with an agony that was as bitter as the sea. How could he arouse anything like a sentiment, in anybody?
What did he even talk to them about--when they were under four eyes? --Ah, well, suddenly, as if by a flash of inspiration, I know. For all good soldiers are sentimentalists--all good soldiers of that type. Their profession, for one thing, is full of the big words, courage, loyalty, honour, constancy. And I have given a wrong impression of Edward Ashburnham if I have made you think that literally never in the course of our nine years of intimacy did he discuss what he would have called "the graver things." Even before his final outburst to me, at times, very late at night, say, he has blurted out something that gave an insight into the sentimental view of the cosmos that was his. He would say how much the society of a good woman could do towards redeeming you, and he would say that constancy was the finest of the virtues. He said it very stiffly, of course, but still as if the statement admitted of no doubt.
Constancy! Isn't that the queer thought? And yet, I must add that poor dear Edward was a great reader--he would pass hours lost in novels of a sentimental type--novels in which typewriter girls married Marquises and governesses Earls. And in his books, as a rule, the course of true love ran as smooth as buttered honey. And he was fond of poetry, of a certain type--and he could even read a perfectly sad love story. I have seen his eyes filled with tears at reading of a hopeless parting. And he loved, with a sentimental yearning, all children, puppies, and the feeble generally. . . .
So, you see, he would have plenty to gurgle about to a woman--with that and his sound common sense about martingales and his--still sentimental--experiences as a county magistrate; and with his intense, optimistic belief that the woman he was making love to at the moment was the one he was destined, at last, to be eternally constant to. . . . Well, I fancy he could put up a pretty good deal of talk when there was no man around to make him feel shy. And I was quite astonished, during his final burst out to me--at the very end of things, when the poor girl was on her way to that fatal Brindisi and he was trying to persuade himself and me that he had never really cared for her--I was quite astonished to observe how literary and how just his expressions were. He talked like quite a good book--a book not in the least cheaply sentimental. You see, I suppose he regarded me not so much as a man. I had to be regarded as a woman or a solicitor. Anyhow, it burst out of him on that horrible night. And then, next morning, he took me over to the Assizes and I saw how, in a perfectly calm and business-like way, he set to work to secure a verdict of not guilty for a poor girl, the daughter of one of his tenants, who had been accused of murdering her baby. He spent two hundred pounds on her defence . . . Well, that was Edward Ashburnham.
I had forgotten about his eyes. They were as blue as the sides of a certain type of box of matches. When you looked at them carefully you saw that they were perfectly honest, perfectly straightforward, perfectly, perfectly stupid. But the brick pink of his complexion, running perfectly level to the brick pink of his inner eyelids, gave them a curious, sinister expression--like a mosaic of blue porcelain set in pink china. And that chap, coming into a room, snapped up the gaze of every woman in it, as dexterously as a conjurer pockets billiard balls. It was most amazing. You know the man on the stage who throws up sixteen balls at once and they all drop into pockets all over his person, on his shoulders, on his heels, on the inner side of his sleeves; and he stands perfectly still and does nothing. Well, it was like that. He had rather a rough, hoarse voice.
And, there he was, standing by the table. I was looking at him, with my back to the screen. And suddenly, I saw two distinct expressions flicker across his immobile eyes. How the deuce did they do it, those unflinching blue eyes with the direct gaze? For the eyes themselves never moved, gazing over my shoulder towards the screen. And the gaze was perfectly level and perfectly direct and perfectly unchanging. I suppose that the lids really must have rounded themselves a little and perhaps the lips moved a little too, as if he should be saying: "There you are, my dear." At any rate, the expression was that of pride, of satisfaction, of the possessor. I saw him once afterwards, for a moment, gaze upon the sunny fields of Branshaw and say: "All this is my land!"
And then again, the gaze was perhaps more direct, harder if possible--hardy too. It was a measuring look; a challenging look. Once when we were at Wiesbaden watching him play in a polo match against the Bonner Hussaren I saw the same look come into his eyes, balancing the possibilities, looking over the ground. The German Captain, Count Baron Idigon von Leloffel, was right up by their goal posts, coming with the ball in an easy canter in that tricky German fashion. The rest of the field were just anywhere. It was only a scratch sort of affair. Ashburnham was quite close to the rails not five yards from us and I heard him saying to himself: "Might just be done!" And he did it. Goodness! he swung that pony round with all its four legs spread out, like a cat dropping off a roof. . . .
Well, it was just that look that I noticed in his eyes: "It might," I seem even now to hear him muttering to himself, "just be done."
I looked round over my shoulder and saw, tall, smiling brilliantly and buoyant--Leonora. And, little and fair, and as radiant as the track of sunlight along the sea--my wife.
That poor wretch! to think that he was at that moment in a perfect devil of a fix, and there he was, saying at the back of his mind: "It might just be done." It was like a chap in the middle of the eruption of a volcano, saying that he might just manage to bolt into the tumult and set fire to a haystack. Madness? Predestination? Who the devil knows?
Mrs Ashburnham exhibited at that moment more gaiety than I have ever since known her to show. There are certain classes of English people--the nicer ones when they have been to many spas, who seem to make a point of becoming much more than usually animated when they are introduced to my compatriots. I have noticed this often. Of course, they must first have accepted the Americans. But that once done, they seem to say to themselves: "Hallo, these women are so bright. We aren't going to be outdone in brightness." And for the time being they certainly aren't. But it wears off. So it was with Leonora--at least until she noticed me. She began, Leonora did--and perhaps it was that that gave me the idea of a touch of insolence in her character, for she never afterwards did any one single thing like it--she began by saying in quite a loud voice and from quite a distance:
"Don't stop over by that stuffy old table, Teddy. Come and sit by these nice people!"
And that was an extraordinary thing to say. Quite extraordinary. I couldn't for the life of me refer to total strangers as nice people. But, of course, she was taking a line of her own in which I at any rate--and no one else in the room, for she too had taken the trouble to read through the list of guests--counted any more than so many clean, bull terriers. And she sat down rather brilliantly at a vacant table, beside ours--one that was reserved for the Guggenheimers. And she just sat absolutely deaf to the remonstrances of the head waiter with his face like a grey ram's. That poor chap was doing his steadfast duty too. He knew that the Guggenheimers of Chicago, after they had stayed there a month and had worried the poor life out of him, would give him two dollars fifty and grumble at the tipping system. And he knew that Teddy Ashburnham and his wife would give him no trouble whatever except what the smiles of Leonora might cause in his apparently unimpressionable bosom--though you never can tell what may go on behind even a not quite spotless plastron! --And every week Edward Ashburnham would give him a solid, sound, golden English sovereign. Yet this stout fellow was intent on saving that table for the Guggenheimers of Chicago. It ended in Florence saying:
"Why shouldn't we all eat out of the same trough? --that's a nasty New York saying. But I'm sure we're all nice quiet people and there can be four seats at our table. It's round."
Then came, as it were, an appreciative gurgle from the Captain and I was perfectly aware of a slight hesitation--a quick sharp motion in Mrs Ashburnham, as if her horse had checked. But she put it at the fence all right, rising from the seat she had taken and sitting down opposite me, as it were, all in one motion.
I never thought that Leonora looked her best in evening dress. She seemed to get it too clearly cut, there was no ruffling. She always affected black and her shoulders were too classical. She seemed to stand out of her corsage as a white marble bust might out of a black Wedgwood vase. I don't know.
I loved Leonora always and, today, I would very cheerfully lay down my life, what is left of it, in her service. But I am sure I never had the beginnings of a trace of what is called the sex instinct towards her. And I suppose--no I am certain that she never had it towards me. As far as I am concerned I think it was those white shoulders that did it. I seemed to feel when I looked at them that, if ever I should press my lips upon them that they would be slightly cold--not icily, not without a touch of human heat, but, as they say of baths, with the chill off. I seemed to feel chilled at the end of my lips when I looked at her . . .
No, Leonora always appeared to me at her best in a blue tailor-made. Then her glorious hair wasn't deadened by her white shoulders. Certain women's lines guide your eyes to their necks, their eyelashes, their lips, their breasts. But Leonora's seemed to conduct your gaze always to her wrist. And the wrist was at its best in a black or a dog-skin glove and there was always a gold circlet with a little chain supporting a very small golden key to a dispatch box. Perhaps it was that in which she locked up her heart and her feelings.
Anyhow, she sat down opposite me and then, for the first time, she paid any attention to my existence. She gave me, suddenly, yet deliberately, one long stare. Her eyes too were blue and dark and the eyelids were so arched that they gave you the whole round of the irises. And it was a most remarkable, a most moving glance, as if for a moment a lighthouse had looked at me. I seemed to perceive the swift questions chasing each other through the brain that was behind them. I seemed to hear the brain ask and the eyes answer with all the simpleness of a woman who was a good hand at taking in qualities of a horse--as indeed she was. "Stands well; has plenty of room for his oats behind the girth. Not so much in the way of shoulders," and so on. And so her eyes asked: "Is this man trustworthy in money matters; is he likely to try to play the lover; is he likely to let his women be troublesome? Is he, above all, likely to babble about my affairs?"
And, suddenly, into those cold, slightly defiant, almost defensive china blue orbs, there came a warmth, a tenderness, a friendly recognition . . . oh, it was very charming and very touching--and quite mortifying. It was the look of a mother to her son, of a sister to her brother. It implied trust; it implied the want of any necessity for barriers. By God, she looked at me as if I were an invalid--as any kind woman may look at a poor chap in a bath chair. And, yes, from that day forward she always treated me and not Florence as if I were the invalid. Why, she would run after me with a rug upon chilly days. I suppose, therefore, that her eyes had made a favourable answer. Or, perhaps, it wasn't a favourable answer. And then Florence said: "And so the whole round table is begun." Again Edward Ashburnham gurgled slightly in his throat; but Leonora shivered a little, as if a goose had walked over her grave. And I was passing her the nickel-silver basket of rolls. Avanti! . . .
So began those nine years of uninterrupted tranquillity. They were characterized by an extraordinary want of any communicativeness on the part of the Ashburnhams to which we, on our part, replied by leaving out quite as extraordinarily, and nearly as completely, the personal note. Indeed, you may take it that what characterized our relationship was an atmosphere of taking everything for granted. The given proposition was, that we were all "good people." We took for granted that we all liked beef underdone but not too underdone; that both men preferred a good liqueur brandy after lunch; that both women drank a very light Rhine wine qualified with Fachingen water--that sort of thing. It was also taken for granted that we were both sufficiently well off to afford anything that we could reasonably want in the way of amusements fitting to our station--that we could take motor cars and carriages by the day; that we could give each other dinners and dine our friends and we could indulge if we liked in economy. Thus, Florence was in the habit of having the Daily Telegraph sent to her every day from London. She was always an Anglo-maniac, was Florence; the Paris edition of the New York Herald was always good enough for me. But when we discovered that the Ashburnhams' copy of the London paper followed them from England, Leonora and Florence decided between them to suppress one subscription one year and the other the next. Similarly it was the habit of the Grand Duke of Nassau Schwerin, who came yearly to the baths, to dine once with about eighteen families of regular Kur guests. In return he would give a dinner of all the eighteen at once. And, since these dinners were rather expensive (you had to take the Grand Duke and a good many of his suite and any members of the diplomatic bodies that might be there)--Florence and Leonora, putting their heads together, didn't see why we shouldn't give the Grand Duke his dinner together. And so we did. I don't suppose the Serenity minded that economy, or even noticed it. At any rate, our joint dinner to the Royal Personage gradually assumed the aspect of a yearly function. Indeed, it grew larger and larger, until it became a sort of closing function for the season, at any rate as far as we were concerned.
I don't in the least mean to say that we were the sort of persons who aspired to mix "with royalty." We didn't; we hadn't any claims; we were just "good people." But the Grand Duke was a pleasant, affable sort of royalty, like the late King Edward VII, and it was pleasant to hear him talk about the races and, very occasionally, as a bonne bouche, about his nephew, the Emperor; or to have him pause for a moment in his walk to ask after the progress of our cures or to be benignantly interested in the amount of money we had put on Leloffel's hunter for the Frankfurt Welter Stakes.
But upon my word, I don't know how we put in our time. How does one put in one's time? How is it possible to have achieved nine years and to have nothing whatever to show for it? Nothing whatever, you understand. Not so much as a bone penholder, carved to resemble a chessman and with a hole in the top through which you could see four views of Nauheim. And, as for experience, as for knowledge of one's fellow beings--nothing either. Upon my word, I couldn't tell you offhand whether the lady who sold the so expensive violets at the bottom of the road that leads to the station, was cheating me or no; I can't say whether the porter who carried our traps across the station at Leghorn was a thief or no when he said that the regular tariff was a lira a parcel. The instances of honesty that one comes across in this world are just as amazing as the instances of dishonesty. After forty-five years of mixing with one's kind, one ought to have acquired the habit of being able to know something about one's fellow beings. But one doesn't.
I think the modern civilized habit--the modern English habit of taking every one for granted--is a good deal to blame for this. I have observed this matter long enough to know the queer, subtle thing that it is; to know how the faculty, for what it is worth, never lets you down.
Mind, I am not saying that this is not the most desirable type of life in the world; that it is not an almost unreasonably high standard. For it is really nauseating, when you detest it, to have to eat every day several slices of thin, tepid, pink india rubber, and it is disagreeable to have to drink brandy when you would prefer to be cheered up by warm, sweet Kummel. And it is nasty to have to take a cold bath in the morning when what you want is really a hot one at night. And it stirs a little of the faith of your fathers that is deep down within you to have to have it taken for granted that you are an Episcopalian when really you are an old-fashioned Philadelphia Quaker.
But these things have to be done; it is the cock that the whole of this society owes to AEsculapius.
And the odd, queer thing is that the whole collection of rules applies to anybody--to the anybodies that you meet in hotels, in railway trains, to a less degree, perhaps, in steamers, but even, in the end, upon steamers. You meet a man or a woman and, from tiny and intimate sounds, from the slightest of movements, you know at once whether you are concerned with good people or with those who won't do. You know, this is to say, whether they will go rigidly through with the whole programme from the underdone beef to the Anglicanism. It won't matter whether they be short or tall; whether the voice squeak like a marionette or rumble like a town bull's; it won't matter whether they are Germans, Austrians, French, Spanish, or even Brazilians-- they will be the Germans or Brazilians who take a cold bath every morning and who move, roughly speaking, in diplomatic circles.
But the inconvenient--well, hang it all, I will say it--the damnable nuisance of the whole thing is, that with all the taking for granted, you never really get an inch deeper than the things I have catalogued.
I can give you a rather extraordinary instance of this. I can't remember whether it was in our first year--the first year of us four at Nauheim, because, of course, it would have been the fourth year of Florence and myself--but it must have been in the first or second year. And that gives the measure at once of the extraordinariness of our discussion and of the swiftness with which intimacy had grown up between us. On the one hand we seemed to start out on the expedition so naturally and with so little preparation, that it was as if we must have made many such excursions before; and our intimacy seemed so deep. . . .
Yet the place to which we went was obviously one to which Florence at least would have wanted to take us quite early, so that you would almost think we should have gone there together at the beginning of our intimacy. Florence was singularly expert as a guide to archaeological expeditions and there was nothing she liked so much as taking people round ruins and showing you the window from which some one looked down upon the murder of some one else. She only did it once; but she did it quite magnificently. She could find her way, with the sole help of Baedeker, as easily about any old monument as she could about any American city where the blocks are all square and the streets all numbered, so that you can go perfectly easily from Twenty-fourth to Thirtieth.
Now it happens that fifty minutes away from Nauheim, by a good train, is the ancient city of M----, upon a great pinnacle of basalt, girt with a triple road running sideways up its shoulder like a scarf. And at the top there is a castle--not a square castle like Windsor, but a castle all slate gables and high peaks with gilt weathercocks flashing bravely--the castle of St Elizabeth of Hungary. It has the disadvantage of being in Prussia; and it is always disagreeable to go into that country; but it is very old and there are many double-spired churches and it stands up like a pyramid out of the green valley of the Lahn. I don't suppose the Ashburnhams wanted especially to go there and I didn't especially want to go there myself. But, you understand, there was no objection. It was part of the cure to make an excursion three or four times a week. So that we were all quite unanimous in being grateful to Florence for providing the motive power. Florence, of course, had a motive of her own. She was at that time engaged in educating Captain Ashburnham--oh, of course, quite pour le bon motif! She used to say to Leonora: "I simply can't understand how you can let him live by your side and be so ignorant!" Leonora herself always struck me as being remarkably well educated. At any rate, she knew beforehand all that Florence had to tell her. Perhaps she got it up out of Baedeker before Florence was up in the morning. I don't mean to say that you would ever have known that Leonora knew anything, but if Florence started to tell us how Ludwig the Courageous wanted to have three wives at once--in which he differed from Henry VIII, who wanted them one after the other, and this caused a good deal of trouble--if Florence started to tell us this, Leonora would just nod her head in a way that quite pleasantly rattled my poor wife.
She used to exclaim: "Well, if you knew it, why haven't you told it all already to Captain Ashburnham? I'm sure he finds it interesting!" And Leonora would look reflectively at her husband and say: "I have an idea that it might injure his hand--the hand, you know, used in connection with horses' mouths. . . ." And poor Ashburnham would blush and mutter and would say: "That's all right. Don't you bother about me."
I fancy his wife's irony did quite alarm poor Teddy; because one evening he asked me seriously in the smoking-room if I thought that having too much in one's head would really interfere with one's quickness in polo. It struck him, he said, that brainy Johnnies generally were rather muffs when they got on to four legs. I reassured him as best I could. I told him that he wasn't likely to take in enough to upset his balance. At that time the Captain was quite evidently enjoying being educated by Florence. She used to do it about three or four times a week under the approving eyes of Leonora and myself. It wasn't, you understand, systematic. It came in bursts. It was Florence clearing up one of the dark places of the earth, leaving the world a little lighter than she had found it. She would tell him the story of Hamlet; explain the form of a symphony, humming the first and second subjects to him, and so on; she would explain to him the difference between Arminians and Erastians; or she would give him a short lecture on the early history of the United States. And it was done in a way well calculated to arrest a young attention. Did you ever read Mrs Markham? Well, it was like that. . . .
But our excursion to M---- was a much larger, a much more full dress affair. You see, in the archives of the Schloss in that city there was a document which Florence thought would finally give her the chance to educate the whole lot of us together. It really worried poor Florence that she couldn't, in matters of culture, ever get the better of Leonora. I don't know what Leonora knew or what she didn't know, but certainly she was always there whenever Florence brought out any information. And she gave, somehow, the impression of really knowing what poor Florence gave the impression of having only picked up. I can't exactly define it. It was almost something physical. Have you ever seen a retriever dashing in play after a greyhound? You see the two running over a green field, almost side by side, and suddenly the retriever makes a friendly snap at the other. And the greyhound simply isn't there. You haven't observed it quicken its speed or strain a limb; but there it is, just two yards in front of the retriever's outstretched muzzle. So it was with Florence and Leonora in matters of culture.
But on this occasion I knew that something was up. I found Florence some days before, reading books like Ranke's History of the Popes, Symonds' Renaissance, Motley's Rise of the Dutch Republic and Luther's Table Talk.
I must say that, until the astonishment came, I got nothing but pleasure out of the little expedition. I like catching the two-forty; I like the slow, smooth roll of the great big trains--and they are the best trains in the world! I like being drawn through the green country and looking at it through the clear glass of the great windows. Though, of course, the country isn't really green. The sun shines, the earth is blood red and purple and red and green and red. And the oxen in the ploughlands are bright varnished brown and black and blackish purple; and the peasants are dressed in the black and white of magpies; and there are great Rocks of magpies too. Or the peasants' dresses in another field where there are little mounds of hay that will be grey-green on the sunny side and purple in the shadows--the peasants' dresses are vermilion with emerald green ribbons and purple skirts and white shirts and black velvet stomachers. Still, the impression is that you are drawn through brilliant green meadows that run away on each side to the dark purple fir-woods; the basalt pinnacles; the immense forests. And there is meadowsweet at the edge of the streams, and cattle. Why, I remember on that afternoon I saw a brown cow hitch its horns under the stomach of a black and white animal and the black and white one was thrown right into the middle of a narrow stream. I burst out laughing. But Florence was imparting information so hard and Leonora was listening so intently that no one noticed me. As for me, I was pleased to be off duty; I was pleased to think that Florence for the moment was indubitably out of mischief--because she was talking about Ludwig the Courageous (I think it was Ludwig the Courageous but I am not an historian) about Ludwig the Courageous of Hessen who wanted to have three wives at once and patronized Luther--something like that!--I was so relieved to be off duty, because she couldn't possibly be doing anything to excite herself or set her poor heart a-fluttering--that the incident of the cow was a real joy to me. I chuckled over it from time to time for the whole rest of the day. Because it does look very funny, you know, to see a black and white cow land on its back in the middle of a stream. It is so just exactly what one doesn't expect of a cow.
I suppose I ought to have pitied the poor animal; but I just didn't. I was out for enjoyment. And I just enjoyed myself. It is so pleasant to be drawn along in front of the spectacular towns with the peaked castles and the many double spires. In the sunlight gleams come from the city--gleams from the glass of windows; from the gilt signs of apothecaries; from the ensigns of the student corps high up in the mountains; from the helmets of the funny little soldiers moving their stiff little legs in white linen trousers. And it was pleasant to get out in the great big spectacular Prussian station with the hammered bronze ornaments and the paintings of peasants and flowers and cows; and to hear Florence bargain energetically with the driver of an ancient droschka drawn by two lean horses. Of course, I spoke German much more correctly than Florence, though I never could rid myself quite of the accent of the Pennsylvania Duitsch of my childhood. Anyhow, we were drawn in a sort of triumph, for five marks without any trinkgeld, right up to the castle. And we were taken through the museum and saw the fire-backs, the old glass, the old swords and the antique contraptions. And we went up winding corkscrew staircases and through the Rittersaal, the great painted hall where the Reformer and his friends met for the first time under the protection of the gentleman that had three wives at once and formed an alliance with the gentleman that had six wives, one after the other (I'm not really interested in these facts but they have a bearing on my story). And we went through chapels, and music rooms, right up immensely high in the air to a large old chamber, full of presses, with heavily-shuttered windows all round. And Florence became positively electric. She told the tired, bored custodian what shutters to open; so that the bright sunlight streamed in palpable shafts into the dim old chamber. She explained that this was Luther's bedroom and that just where the sunlight fell had stood his bed. As a matter of fact, I believe that she was wrong and that Luther only stopped, as it were, for lunch, in order to evade pursuit. But, no doubt, it would have been his bedroom if he could have been persuaded to stop the night. And then, in spite of the protest of the custodian, she threw open another shutter and came tripping back to a large glass case.
"And there," she exclaimed with an accent of gaiety, of triumph, and of audacity. She was pointing at a piece of paper, like the half-sheet of a letter with some faint pencil scrawls that might have been a jotting of the amounts we were spending during the day. And I was extremely happy at her gaiety, in her triumph, in her audacity. Captain Ashburnham had his hands upon the glass case. "There it is--the Protest." And then, as we all properly stage-managed our bewilderment, she continued: "Don't you know that is why we were all called Protestants? That is the pencil draft of the Protest they drew up. You can see the signatures of Martin Luther, and Martin Bucer, and Zwingli, and Ludwig the Courageous. . . ."
I may have got some of the names wrong, but I know that Luther and Bucer were there. And her animation continued and I was glad. She was better and she was out of mischief. She continued, looking up into Captain Ashburnham's eyes: "It's because of that piece of paper that you're honest, sober, industrious, provident, and clean-lived. If it weren't for that piece of paper you'd be like the Irish or the Italians or the Poles, but particularly the Irish. . . ."
And she laid one finger upon Captain Ashburnham' s wrist.
I was aware of something treacherous, something frightful, something evil in the day. I can't define it and can't find a simile for it. It wasn't as if a snake had looked out of a hole. No, it was as if my heart had missed a beat. It was as if we were going to run and cry out; all four of us in separate directions, averting our heads. In Ashburnham's face I know that there was absolute panic. I was horribly frightened and then I discovered that the pain in my left wrist was caused by Leonora's clutching it:
"I can't stand this," she said with a most extraordinary passion; "I must get out of this."
I was horribly frightened. It came to me for a moment, though I hadn't time to think it, that she must be a madly jealous woman--jealous of Florence and Captain Ashburnham, of all people in the world! And it was a panic in which we fled! We went right down the winding stairs, across the immense Rittersaal to a little terrace that overlooks the Lahn, the broad valley and the immense plain into which it opens out.
"Don't you see?" she said, "don't you see what's going on?" The panic again stopped my heart. I muttered, I stuttered--I don't know how I got the words out:
"No! What's the matter? Whatever's the matter?"
She looked me straight in the eyes; and for a moment I had the feeling that those two blue discs were immense, were overwhelming, were like a wall of blue that shut me off from the rest of the world. I know it sounds absurd; but that is what it did feel like.
"Don't you see," she said, with a really horrible bitterness, with a really horrible lamentation in her voice, "Don't you see that that's the cause of the whole miserable affair; of the whole sorrow of the world? And of the eternal damnation of you and me and them. . . ."
I don't remember how she went on; I was too frightened; I was too amazed. I think I was thinking of running to fetch assistance--a doctor, perhaps, or Captain Ashburnham. Or possibly she needed Florence's tender care, though, of course, it would have been very bad for Florence's heart. But I know that when I came out of it she was saying: "Oh, where are all the bright, happy, innocent beings in the world? Where's happiness? One reads of it in books!"
She ran her hand with a singular clawing motion upwards over her forehead. Her eyes were enormously distended; her face was exactly that of a person looking into the pit of hell and seeing horrors there. And then suddenly she stopped. She was, most amazingly, just Mrs Ashburnham again. Her face was perfectly clear, sharp and defined; her hair was glorious in its golden coils. Her nostrils twitched with a sort of contempt. She appeared to look with interest at a gypsy caravan that was coming over a little bridge far below us.
"Don't you know," she said, in her clear hard voice, "don't you know that I'm an Irish Catholic?"
THOSE words gave me the greatest relief that I have ever had in my life. They told me, I think, almost more than I have ever gathered at any one moment--about myself. I don't think that before that day I had ever wanted anything very much except Florence. I have, of course, had appetites, impatiences . . . Why, sometimes at a table d'hote, when there would be, say, caviare handed round, I have been absolutely full of impatience for fear that when the dish came to me there should not be a satisfying portion left over by the other guests. I have been exceedingly impatient at missing trains. The Belgian State Railway has a trick of letting the French trains miss their connections at Brussels. That has always infuriated me. I have written about it letters to The Times that The Times never printed; those that I wrote to the Paris edition of the New York Herald were always printed, but they never seemed to satisfy me when I saw them. Well, that was a sort of frenzy with me.
It was a frenzy that now I can hardly realize. I can understand it intellectually. You see, in those days I was interested in people with "hearts." There was Florence, there was Edward Ashburnham--or, perhaps, it was Leonora that I was more interested in. I don't mean in the way of love. But, you see, we were both of the. same profession--at any rate as I saw it. And the profession was that of keeping heart patients alive.
You have no idea how engrossing such a profession may become. Just as the blacksmith says: "By hammer and hand all Art doth stand," just as the baker thinks that all the solar system revolves around his morning delivery of rolls, as the postmaster-general believes that he alone is the preserver of society--and surely, surely, these delusions are necessary to keep us going--so did I and, as I believed, Leonora, imagine that the whole world ought to be arranged so as to ensure the keeping alive of heart patients. You have no idea how engrossing such a profession may become--how imbecile, in view of that engrossment, appear the ways of princes, of republics, of municipalities. A rough bit of road beneath the motor tyres, a couple of succeeding "thank'ee-marms" with their quick jolts would be enough to set me grumbling to Leonora against the Prince or the Grand Duke or the Free City through whose territory we might be passing. I would grumble like a stockbroker whose conversations over the telephone are incommoded by the ringing of bells from a city church. I would talk about medieval survivals, about the taxes being surely high enough. The point, by the way, about the missing of the connections of the Calais boat trains at Brussels was that the shortest possible sea journey is frequently of great importance to sufferers from the heart. Now, on the Continent, there are two special heart cure places, Nauheim and Spa, and to reach both of these baths from England if in order to ensure a short sea passage, you come by Calais--you have to make the connection at Brussels. And the Belgian train never waits by so much the shade of a second for the one coming from Calais or from Paris. And even if the French train, are just on time, you have to run--imagine a heart patient running! --along the unfamiliar ways of the Brussels station and to scramble up the high steps of the moving train. Or, if you miss connection, you have to wait five or six hours. . . . I used to keep awake whole nights cursing that abuse.
My wife used to run--she never, in whatever else she may have misled me, tried to give me the impression that she was not a gallant soul. But, once in the German Express, she would lean back, with one hand to her side and her eyes closed. Well, she was a good actress. And I would be in hell. In hell, I tell you. For in Florence I had at once a wife and an unattained mistress--that is what it comes to--and in the retaining of her in this world I had my occupation, my career, my ambition. It is not often that these things are united in one body. Leonora was a good actress too. By Jove she was good! I tell you, she would listen to me by the hour, evolving my plans for a shock-proof world. It is true that, at times, I used to notice about her an air of inattention as if she were listening, a mother, to the child at her knee, or as if, precisely, I were myself the patient.
You understand that there was nothing the matter with Edward Ashburnham's heart--that he had thrown up his commission and had left India and come half the world over in order to follow a woman who had really had a "heart" to Nauheim. That was the sort of sentimental ass he was. For, you understand, too, that they really needed to live in India, to economize, to let the house at Branshaw Teleragh.
Of course, at that date, I had never heard of the Kilsyte case. Ashburnham had, you know, kissed a servant girl in a railway train, and it was only the grace of God, the prompt functioning of the communication cord and the ready sympathy of what I believe you call the Hampshire Bench, that kept the poor devil out of Winchester Gaol for years and years. I never heard of that case until the final stages of Leonora's revelations. . . .
But just think of that poor wretch. . . . I, who have surely the right, beg you to think of that poor wretch. Is it possible that such a luckless devil should be so tormented by blind and inscrutable destiny? For there is no other way to think of it. None. I have the right to say it, since for years he was my wife's lover, since he killed her, since he broke up all the pleasantnesses that there were in my life. There is no priest that has the right to tell me that I must not ask pity for him, from you, silent listener beyond the hearth-stone, from the world, or from the God who created in him those desires, those madnesses. . . .
Of course, I should not hear of the Kilsyte case. I knew none of their friends; they were for me just good people--fortunate people with broad and sunny acres in a southern county. Just good people! By heavens, I sometimes think that it would have been better for him, poor dear, if the case had been such a one that I must needs have heard of it--such a one as maids and couriers and other Kur guests whisper about for years after, until gradually it dies away in the pity that there is knocking about here and there in the world. Supposing he had spent his seven years in Winchester Gaol or whatever it is that inscrutable and blind justice allots to you for following your natural but ill-timed inclinations--there would have arrived a stage when nodding gossips on the Kursaal terrace would have said, "Poor fellow," thinking of his ruined career. He would have been the fine soldier with his back now bent. . . . Better for him, poor devil, if his back had been prematurely bent.
Why, it would have been a thousand times better. . . . For, of course, the Kilsyte case, which came at the very beginning of his finding Leonora cold and unsympathetic, gave him a nasty jar. He left servants alone after that.
It turned him, naturally, all the more loose amongst women of his own class. Why, Leonora told me that Mrs Maidan--the woman he followed from Burma to Nauheim--assured her he awakened her attention by swearing that when he kissed the servant in the train he was driven to it. I daresay he was driven to it, by the mad passion to find an ultimately satisfying woman. I daresay he was sincere enough. Heaven help me, I daresay he was sincere enough in his love for Mrs Maidan. She was a nice little thing, a dear little dark woman with long lashes, of whom Florence grew quite fond. She had a lisp and a happy smile. We saw plenty of her for the first month of our acquaintance, then she died, quite quietly--of heart trouble.
But you know, poor little Mrs Maidan--she was so gentle, so young. She cannot have been more than twenty-three and she had a boy husband out in Chitral not more than twenty-four, I believe. Such young things ought to have been left alone. Of course Ashburnham could not leave her alone. I do not believe that he could. Why, even I, at this distance of time am aware that I am a little in love with her memory. I can't help smiling when I think suddenly of her--as you might at the thought of something wrapped carefully away in lavender, in some drawer, in some old house that you have long left. She was so--so submissive. Why, even to me she had the air of being submissive--to me that not the youngest child will ever pay heed to. Yes, this is the saddest story . . .
No, I cannot help wishing that Florence had left her alone--with her playing with adultery. I suppose it was; though she was such a child that one has the impression that she would hardly have known how to spell such a word. No, it was just submissiveness--to the importunities, to the tempestuous forces that pushed that miserable fellow on to ruin. And I do not suppose that Florence really made much difference. If it had not been for her that Ashburnham left his allegiance for Mrs Maidan, then it would have been some other woman. But still, I do not know. Perhaps the poor young thing would have died--she was bound to die, anyhow, quite soon--but she would have died without having to soak her noonday pillow with tears whilst Florence, below the window, talked to Captain Ashburnham about the Constitution of the United States. . . . Yes, it would have left a better taste in the mouth if Florence had let her die in peace. . . .
Leonora behaved better in a sense. She just boxed Mrs Maidan's ears--yes, she hit her, in an uncontrollable access of rage, a hard blow on the side of the cheek, in the corridor of the hotel, outside Edward's rooms. It was that, you know, that accounted for the sudden, odd intimacy that sprang up between Florence and Mrs Ashburnham.
Because it was, of course, an odd intimacy. If you look at it from the outside nothing could have been more unlikely than that Leonora, who is the proudest creature on God's earth, would have struck up an acquaintanceship with two casual Yankees whom she could not really have regarded as being much more than a carpet beneath her feet. You may ask what she had to be proud of. Well, she was a Powys married to an Ashburnham--I suppose that gave her the right to despise casual Americans as long as she did it unostentatiously. I don't know what anyone has to be proud of. She might have taken pride in her patience, in her keeping her husband out of the bankruptcy court. Perhaps she did.
At any rate that was how Florence got to know her. She came round a screen at the corner of the hotel corridor and found Leonora with the gold key that hung from her wrist caught in Mrs Maidan's hair just before dinner. There was not a single word spoken. Little Mrs Maidan was very pale, with a red mark down her left cheek, and the key would not come out of her black hair. It was Florence who had to disentangle it, for Leonora was in such a state that she could not have brought herself to touch Mrs Maidan without growing sick.
And there was not a word spoken. You see, under those four eyes--her own and Mrs Maidan's--Leonora could just let herself go as far as to box Mrs Maidan's ears. But the moment a stranger came along she pulled herself wonderfully up. She was at first silent and then, the moment the key was disengaged by Florence she was in a state to say: "So awkward of me . . . I was just trying to put the comb straight in Mrs Maidan's hair. . . ."
Mrs Maidan, however, was not a Powys married to an Ashburnham; she was a poor little O'Flaherty whose husband was a boy of country parsonage origin. So there was no mistaking the sob she let go as she went desolately away along the corridor. But Leonora was still going to play up. She opened the door of Ashburnham's room quite ostentatiously, so that Florence should hear her address Edward in terms of intimacy and liking. "Edward," she called. But there was no Edward there.
You understand that there was no Edward there. It was then, for the only time of her career, that Leonora really compromised herself--She exclaimed . . . "How frightful! . . . Poor little Maisie! . . ."
She caught herself up at that, but of course it was too late. It was a queer sort of affair. . . .
I want to do Leonora every justice. I love her very dearly for one thing and in this matter, which was certainly the ruin of my small household cockle-shell, she certainly tripped up. I do not believe--and Leonora herself does not believe--that poor little Maisie Maidan was ever Edward's mistress. Her heart was really so bad that she would have succumbed to anything like an impassioned embrace. That is the plain English of it, and I suppose plain English is best. She was really what the other two, for reasons of their own, just pretended to be. Queer, isn't it? Like one of those sinister jokes that Providence plays upon one. Add to this that I do not suppose that Leonora would much have minded, at any other moment, if Mrs Maidan had been her husband's mistress. It might have been a relief from Edward's sentimental gurglings over the lady and from the lady's submissive acceptance of those sounds. No, she would not have minded.
But, in boxing Mrs Maidan's ears, Leonora was just striking the face of an intolerable universe. For, that afternoon she had had a frightfully painful scene with Edward.
As far as his letters went, she claimed the right to open them when she chose. She arrogated to herself the right because Edward's affairs were in such a frightful state and he lied so about them that she claimed the privilege of having his secrets at her disposal. There was not, indeed, any other way, for the poor fool was too ashamed of his lapses ever to make a clean breast of anything. She had to drag these things out of him.
It must have been a pretty elevating job for her. But that afternoon, Edward being on his bed for the hour and a half prescribed by the Kur authorities, she had opened a letter that she took to come from a Colonel Hervey. They were going to stay with him in Linlithgowshire for the month of September and she did not know whether the date fixed would be the eleventh or the eighteenth. The address on this letter was, in handwriting, as like Colonel Hervey's as one blade of corn is like another. So she had at the moment no idea of spying on him.
But she certainly was. For she discovered that Edward Ashburnham was paying a blackmailer of whom she had never heard something like three hundred pounds a year . . . It was a devil of a blow; it was like death; for she imagined that by that time she had really got to the bottom of her husband's liabilities. You see, they were pretty heavy. What had really smashed them up had been a perfectly common-place affair at Monte Carlo--an affair with a cosmopolitan harpy who passed for the mistress of a Russian Grand Duke. She exacted a twenty thousand pound pearl tiara from him as the price of her favours for a week or so. It would have pipped him a good deal to have found so much, and he was not in the ordinary way a gambler. He might, indeed, just have found the twenty thousand and the not slight charges of a week at an hotel with the fair creature. He must have been worth at that date five hundred thousand dollars and a little over.
Well, he must needs go to the tables and lose forty thousand pounds. . . . Forty thousand solid pounds, borrowed from sharks! And even after that he must--it was an imperative passion--enjoy the favours of the lady. He got them, of course, when it was a matter of solid bargaining, for far less than twenty thousand, as he might, no doubt, have done from the first. I daresay ten thousand dollars covered the bill.
Anyhow, there was a pretty solid hole in a fortune of a hundred thousand pounds or so. And Leonora had to fix things up; he would have run from money-lender to money-lender. And that was quite in the early days of her discovery of his infidelities--if you like to call them infidelities. And she discovered that one from public sources. God knows what would have happened if she had not discovered it from public sources. I suppose he would have concealed it from her until they were penniless. But she was able, by the grace of God, to get hold of the actual lenders of the money, to learn the exact sums that were needed. And she went off to England.
Yes, she went right off to England to her attorney and his while he was still in the arms of his Circe--at Antibes, to which place they had retired. He got sick of the lady quite quickly, but not before Leonora had had such lessons in the art of business from her attorney that she had her plan as clearly drawn up as was ever that of General Trochu for keeping the Prussians out of Paris in 1870. It was about as effectual at first, or it seemed so.
That would have been, you know, in 1895, about nine years before the date of which I am talking--the date of Florence's getting her hold over Leonora; for that was what it amounted to. . . . Well, Mrs Ashburnham had simply forced Edward to settle all his property upon her. She could force him to do anything; in his clumsy, good-natured, inarticulate way he was as frightened of her as of the devil. And he admired her enormously, and he was as fond of her as any man could be of any woman. She took advantage of it to treat him as if he had been a person whose estates are being managed by the Court of Bankruptcy. I suppose it was the best thing for him.
Anyhow, she had no end of a job for the first three years or so. Unexpected liabilities kept on cropping up--and that afflicted fool did not make it any easier. You see, along with the passion of the chase went a frame of mind that made him be extraordinarily ashamed of himself. You may not believe it, but he really had such a sort of respect for the chastity of Leonora's imagination that he hated--he was positively revolted at the thought that she should know that the sort of thing that he did existed in the world. So he would stick out in an agitated way against the accusation of ever having done anything. He wanted to preserve the virginity of his wife's thoughts. He told me that himself during the long walks we had at the last--while the girl was on the way to Brindisi.
So, of course, for those three years or so, Leonora had many agitations. And it was then that they really quarrelled.
Yes, they quarrelled bitterly. That seems rather extravagant. You might have thought that Leonora would be just calmly loathing and he lachrymosely contrite. But that was not it a bit . . . Along with Edward's passions and his shame for them went the violent conviction of the duties of his station--a conviction that was quite unreasonably expensive. I trust I have not, in talking of his liabilities, given the impression that poor Edward was a promiscuous libertine. He was not; he was a sentimentalist. The servant girl in the Kilsyte case had been pretty, but mournful of appearance. I think that, when he had kissed her, he had desired rather to comfort her. And, if she had succumbed to his blandishments I daresay he would have set her up in a little house in Portsmouth or Winchester and would have been faithful to her for four or five years. He was quite capable of that.
No, the only two of his affairs of the heart that cost him money were that of the Grand Duke's mistress and that which was the subject of the blackmailing letter that Leonora opened. That had been a quite passionate affair with quite a nice woman. It had succeeded the one with the Grand Ducal lady. The lady was the wife of a brother officer and Leonora had known all about the passion, which had been quite a real passion and had lasted for several years. You see, poor Edward's passions were quite logical in their progression upwards. They began with a servant, went on to a courtesan and then to a quite nice woman, very unsuitably mated. For she had a quite nasty husband who, by means of letters and things, went on blackmailing poor Edward to the tune of three or four hundred a year--with threats of the Divorce Court. And after this lady came Maisie Maidan, and after poor Maisie only one more affair and then--the real passion of his life. His marriage with Leonora had been arranged by his parents and, though he always admired her immensely, he had hardly ever pretended to be much more than tender to her, though he desperately needed her moral support, too. . . .
But his really trying liabilities were mostly in the nature of generosities proper to his station. He was, according to Leonora, always remitting his tenants' rents and giving the tenants to understand that the reduction would be permanent; he was always redeeming drunkards who came before his magisterial bench; he was always trying to put prostitutes into respectable places--and he was a perfect maniac about children. I don't know how many ill-used people he did not pick up and provide with careers--Leonora has told me, but I daresay she exaggerated and the figure seems so preposterous that I will not put it down. All these things, and the continuance of them seemed to him to be his duty--along with impossible subscriptions to hospitals and Boy Scouts and to provide prizes at cattle shows and antivivisection societies. . . .
Well, Leonora saw to it that most of these things were not continued. They could not possibly keep up Branshaw Manor at that rate after the money had gone to the Grand Duke's mistress. She put the rents back at their old figures; discharged the drunkards from their homes, and sent all the societies notice that they were to expect no more subscriptions. To the children, she was more tender; nearly all of them she supported till the age of apprenticeship or domestic service. You see, she was childless herself.
She was childless herself, and she considered herself to be to blame. She had come of a penniless branch of the Powys family, and they had forced upon her poor dear Edward without making the stipulation that the children should be brought up as Catholics. And that, of course, was spiritual death to Leonora. I have given you a wrong impression if I have not made you see that Leonora was a woman of a strong, cold conscience, like all English Catholics. (I cannot, myself, help disliking this religion; there is always, at the bottom of my mind, in spite of Leonora, the feeling of shuddering at the Scarlet Woman, that filtered in upon me in the tranquility of the little old Friends' Meeting House in Arch Street, Philadelphia.) So I do set down a good deal of Leonora's mismanagement of poor dear Edward's case to the peculiarly English form of her religion. Because, of course, the only thing to have done for Edward would have been to let him sink down until he became a tramp of gentlemanly address, having, maybe, chance love affairs upon the highways. He would have done so much less harm; he would have been much less agonized too. At any rate, he would have had fewer chances of ruining and of remorse. For Edward was great at remorse.
But Leonora's English Catholic conscience, her rigid principles, her coldness, even her very patience, were, I cannot help thinking, all wrong in this special case. She quite seriously and naively imagined that the Church of Rome disapproves of divorce; she quite seriously and naively believed that her church could be such a monstrous and imbecile institution as to expect her to take on the impossible job of making Edward Ashburnham a faithful husband. She had, as the English would say, the Nonconformist temperament. In the United States of North America we call it the New England conscience. For, of course, that frame of mind has been driven in on the English Catholics. The centuries that they have gone through--centuries of blind and malignant oppression, of ostracism from public employment, of being, as it were, a small beleagured garrison in a hostile country, and therefore having to act with great formality--all these things have combined to perform that conjuring trick. And I suppose that Papists in England are even technically Nonconformists.
Continental Papists are a dirty, jovial and unscrupulous crew. But that, at least, lets them be opportunists. They would have fixed poor dear Edward up all right. (Forgive my writing of these monstrous things in this frivolous manner. If I did not I should break down and cry.) In Milan, say, or in Paris, Leonora would have had her marriage dissolved in six months for two hundred dollars paid in the right quarter. And Edward would have drifted about until he became a tramp of the kind I have suggested. Or he would have married a barmaid who would have made him such frightful scenes in public places and would so have torn out his moustache and left visible signs upon his face that he would have been faithful to her for the rest of his days. That was what he wanted to redeem him. . . .
For, along with his passions and his shames there went the dread of scenes in public places, of outcry, of excited physical violence; of publicity, in short. Yes, the barmaid would have cured him. And it would have been all the better if she drank; he would have been kept busy looking after her.
I know that I am right in this. I know it because of the Kilsyte case. You see, the servant girl that he then kissed was nurse in the family of the Nonconformist head of the county--whatever that post may be called. And that gentleman was so determined to ruin Edward, who was the chairman of the Tory caucus, or whatever it is--that the poor dear sufferer had the very devil of a time. They asked questions about it in the House of Commons; they tried to get the Hampshire magistrates degraded; they suggested to the War Ministry that Edward was not the proper person to hold the King's commission. Yes, he got it hot and strong.
The result you have heard. He was completely cured of philandering amongst the lower classes. And that seemed a real blessing to Leonora. It did not revolt her so much to be connected--it is a sort of connection--with people like Mrs Maidan, instead of with a little kitchenmaid.
In a dim sort of way, Leonora was almost contented when she arrived at Nauheim, that evening. . . .
She had got things nearly straight by the long years of scraping in little stations in Chitral and Burma--stations where living is cheap in comparison with the life of a county magnate, and where, moreover, liaisons of one sort or another are normal and inexpensive too. So that, when Mrs Maidan came along--and the Maidan affair might have caused trouble out there because of the youth of the husband--Leonora had just resigned herself to coming home. With pushing and scraping and with letting Branshaw Teleragh, and with selling a picture and a relic of Charles I or so. had got--and, poor dear, she had never had a really decent dress to her back in all those years and years--she had got, as she imagined, her poor dear husband back into much the same financial position as had been his before the mistress of the Grand Duke had happened along. And, of course, Edward himself had helped her a little on the financial side. He was a fellow that many men liked. He was so presentable and quite ready to lend you his cigar puncher--that sort of thing. So, every now and then some financier whom he met about would give him a good, sound, profitable tip. And Leonora was never afraid of a bit of a gamble--English Papists seldom are, I do not know why.
So nearly all her investment turned up trumps, and Edward was really in fit case to reopen Branshaw Manor and once more to assume his position in the county. Thus Leonora had accepted Maisie Maidan almost with resignation--almost with a sigh of relief. She really liked the poor child--she had to like somebody. And, at any rate, she felt she could trust Maisie--she could trust her not to rook Edward for several thousands a week, for Maisie had refused to accept so much as a trinket ring from him. It is true that Edward gurgled and raved about the girl in a way that she had never yet experienced. But that, too, was almost a relief. I think she would really have welcomed it if he could have come across the love of his life. It would have given her a rest.
And there could not have been anyone better than poor little Mrs Maidan; she was so ill she could not want to be taken on expensive jaunts. . . . It was Leonora herself who paid Maisie's expenses to Nauheim. She handed over the money to the boy husband, for Maisie would never have allowed it; but the husband was in agonies of fear. Poor devil!
I fancy that, on the voyage from India, Leonora was as happy as ever she had been in her life. Edward was wrapped up, completely, in his girl--he was almost like a father with a child, trotting about with rugs and physic and things, from deck to deck. He behaved, however, with great circumspection, so that nothing leaked through to the other passengers. And Leonora had almost attained to the attitude of a mother towards Mrs Maidan. So it had looked very well--the benevolent, wealthy couple of good people, acting as saviours to the poor, dark-eyed, dying young thing. And that attitude of Leonora's towards Mrs Maidan no doubt partly accounted for the smack in the face. She was hitting a naughty child who had been stealing chocolates at an inopportune moment.
It was certainly an inopportune moment. For, with the opening of that blackmailing letter from that injured brother officer, all the old terrors had redescended upon Leonora. Her road had again seemed to stretch out endless; she imagined that there might be hundreds and hundreds of such things that Edward was concealing from her--that they might necessitate more mortgagings, more pawnings of bracelets, more and always more horrors. She had spent an excruciating afternoon. The matter was one of a divorce case, of course, and she wanted to avoid publicity as much as Edward did, so that she saw the necessity of continuing the payments. And she did not so much mind that. They could find three hundred a year. But it was the horror of there being more such obligations.
She had had no conversation with Edward for many years--none that went beyond the mere arrangements for taking trains or engaging servants. But that afternoon she had to let him have it. And he had been just the same as ever. It was like opening a book after a decade to find the words the same. He had the same motives. He had not wished to tell her about the case because he had not wished her to sully her mind with the idea that there was such a thing as a brother officer who could be a blackmailer--and he had wanted to protect the credit of his old light of love. That lady was certainly not concerned with her husband. And he swore, and swore, and swore, that there was nothing else in the world against him. She did not believe him.
He had done it once too often--and she was wrong for the first time, so that he acted a rather creditable part in the matter. For he went right straight out to the post-office and spent several hours in coding a telegram to his solicitor, bidding that hard-headed man to threaten to take out at once a warrant against the fellow who was on his track. He said afterwards that it was a bit too thick on poor old Leonora to be ballyragged any more. That was really the last of his outstanding accounts, and he was ready to take his personal chance of the Divorce Court if the blackmailer turned nasty. He would face it out--the publicity, the papers, the whole bally show. Those were his simple words. . . .
He had made, however, the mistake of not telling Leonora where he was going, so that, having seen him go to his room to fetch the code for the telegram, and seeing, two hours later, Maisie Maidan come out of his room, Leonora imagined that the two hours she had spent in silent agony Edward had spent with Maisie Maidan in his arms. That seemed to her to be too much.
As a matter of fact, Maisie's being in Edward's room had been the result, partly of poverty, partly of pride, partly of sheer innocence. She could not, in the first place, afford a maid; she refrained as much as possible from sending the hotel servants on errands, since every penny was of importance to her, and she feared to have to pay high tips at the end of her stay. Edward had lent her one of his fascinating cases contaiing fifteen different sizes of scisssors, and, having seen from her window, his departure for the post-office, she had taken the opportunity of returning the case. She could not see why she should not, though she felt a certain remorse at the thought that she had kissed the pillows of his bed. That was the way it took her.
But Leonora could see that, without the shadow of a doubt, the incident gave Florence a hold over her. It let Florence into things and Florence was the only created being who had any idea that the Ashburnhams were not just good people with nothing to their tails. She determined at once, not so much to give Florence the privilege of her intimacy--which would have been the payment of a kind of blackmail--as to keep Florence under observation until she could have demonstrated to Florence that she was not in the least jealous of poor Maisie. So that was why she had entered the dining-room arm in arm with my wife, and why she had so markedly planted herself at our table. She never left us, indeed, for a minute that night, except just to run up to Mrs Maidan's room to beg her pardon and to beg her also to let Edward take her very markedly out into the gardens that night. She said herself, when Mrs Maidan came rather wistfully down into the lounge where we were all sitting: "Now, Edward, get up and take Maisie to the Casino. I want Mrs Dowell to tell me all about the families in Connecticut who came from Fordingbridge." For it had been discovered that Florence came of a line that had actually owned Branshaw Teleragh for two centuries before the Ashburnhams came there. And there she sat with me in that hall, long after Florence had gone to bed, so that I might witness her gay reception of that pair. She could play up.
And that enables me to fix exactly the day of our going to the town of M----. For it was the very day poor Mrs Maidan died. We found her dead when we got back--pretty awful, that, when you come to figure out what it all means. . . .
At any rate the measure of my relief when Leonora said that she was an Irish Catholic gives you the measure of my affection for that couple. It was an affection so intense that even to this day I cannot think of Edward without sighing. I do not believe that I could have gone on any more with them. I was getting too tired. And I verily believe, too, if my suspicion that Leonora was jealous of Florence had been the reason she gave for her outburst I should have turned upon Florence with the maddest kind of rage. Jealousy would have been incurable. But Florence's mere silly jibes at the Irish and at the Catholics could be apologized out of existence. And that I appeared to fix up in two minutes or so.
She looked at me for a long time rather fixedly and queerly while I was doing it. And at last I worked myself up to saying:
"Do accept the situation. I confess that I do not like your religion. But I like you so intensely. I don't mind saying that I have never had anyone to be really fond of, and I do not believe that anyone has ever been fond of me, as I believe you really to be."
"Oh, I'm fond enough of you," she said. "Fond enough to say that I wish every man was like you. But there are others to be considered." She was thinking, as a matter of fact, of poor Maisie. She picked a little piece of pellitory out of the breast-high wall in front of us. She chafed it for a long minute between her finger and thumb, then she threw it over the coping.
"Oh, I accept the situation," she said at last, "if you can."
I REMEMBER laughing at the phrase, "accept the situation", which she seemed to repeat with a gravity too intense. I said to her something like:
"It's hardly as much as that. I mean, that I must claim the liberty of a free American citizen to think what I please about your co-religionists. And I suppose that Florence must have liberty to think what she pleases and to say what politeness allows her to say."
"She had better," Leonora answered, "not say one single word against my people or my faith."
It struck me at the time, that there was an unusual, an almost threatening, hardness in her voice. It was almost as if she were trying to convey to Florence, through me, that she would seriously harm my wife if Florence went to something that was an extreme. Yes, I remember thinking at the time that it was almost as if Leonora were saying, through me to Florence:
"You may outrage me as you will; you may take all that I personally possess, but do not you care to say one single thing in view of the situation that that will set up--against the faith that makes me become the doormat for your feet."
But obviously, as I saw it, that could not be her meaning. Good people, be they ever so diverse in creed, do not threaten each other. So that I read Leonora's words to mean just no more than:
"It would be better if Florence said nothing at all against my co-religionists, because it is a point that I am touchy about."
That was the hint that, accordingly, I conveyed to Florence when, shortly afterwards, she and Edward came down from the tower. And I want you to understand that, from that moment until after Edward and the girl and Florence were all dead together, I had never the remotest glimpse, not the shadow of a suspicion, that there was anything wrong, as the saying is. For five minutes, then, I entertained the possibility that Leonora might be jealous; but there was never another flicker in that flame-like personality. How in the world should I get it?
For, all that time, I was just a male sick nurse. And what chance had I against those three hardened gamblers, who were all in league to conceal their hands from me? What earthly chance? They were three to one--and they made me happy. Oh God, they made me so happy that I doubt if even paradise, that shall smooth out all temporal wrongs, shall ever give me the like. And what could they have done better, or what could they have done that could have been worse? I don't know. . . .
I suppose that, during all that time I was a deceived husband and that Leonora was pimping for Edward. That was the cross that she had to take up during her long Calvary of a life. . . .
You ask how it feels to be a deceived husband. Just Heavens, I do not know. It feels just nothing at all. It is not Hell, certainly it is not necessarily Heaven. So I suppose it is the intermediate stage. What do they call it? Limbo. No, I feel nothing at all about that. They are dead; they have gone before their Judge who, I hope, will open to them the springs of His compassion. It is not my business to think about it. It is simply my business to say, as Leonora's people say: "Requiem aeternam dona eis, Do mine, et lux perpetua luceat eis. In memoria aeterna erit. . . ." But what were they? The just? The unjust? God knows! I think that the pair of them were only poor wretches, creeping over this earth in the shadow of an eternal wrath. It is very terrible. . . .
It is almost too terrible, the picture of that judgement, as it appears to me sometimes, at nights. It is probably the suggestion of some picture that I have seen somewhere. But upon an immense plain, suspended in mid-air, I seem to see three figures, two of them clasped close in an intense embrace, and one intolerably solitary. lt is in black and white, my picture of that judgement, an etching, perhaps; only I cannot tell an etching from a photographic reproduction. And the immense plain is the hand of God, stretching out for miles and miles, with great spaces above it and below it. And they are in the sight of God, and it is Florence that is alone. . . .
And, do you know, at the thought of that intense solitude I feel an overwhelming desire to rush forward and comfort her. You cannot, you see, have acted as nurse to a person for twelve years without wishing to go on nursing them, even though you hate them with the hatred of the adder, and even in the palm of God. But, in the nights, with that vision of judgement before me, I know that I hold myself back. For I hate Florence. I hate Florence with such a hatred that I would not spare her an eternity of loneliness. She need not have done what she did. She was an American, a New Englander. She had not the hot passions of these Europeans. She cut out that poor imbecile of an Edward--and I pray God that he is really at peace, clasped close in the arms of that poor, poor girl! And, no doubt, Maisie Maidan will find her young husband again, and Leonora will burn, clear and serene, a northern light and one of the archangels of God. And me. . . . Well, perhaps, they will find me an elevator to run. . . . But Florence. . . .
She should not have done it. She should not have done it. It was playing it too low down. She cut out poor dear Edward from sheer vanity; she meddled between him and Leonora from a sheer, imbecile spirit of district visiting. Do you understand that, whilst she was Edward's mistress, she was perpetually trying to reunite him to his wife? She would gabble on to Leonora about forgiveness--treating the subject from the bright, American point of view. And Leonora would treat her like the whore she was. Once she said to Florence in the early morning:
"You come to me straight out of his bed to tell me that that is my proper place. I know it, thank you."
But even that could not stop Florence. She went on saying that it was her ambition to leave this world a little brighter by the passage of her brief life, and how thankfully she would leave Edward, whom she thought she had brought to a right frame of mind, if Leonora would only give him a chance. He needed, she said, tenderness beyond anything.
And Leonora would answer--for she put up with this outrage for years--Leonora, as I understand, would answer something like:
"Yes, you would give him up. And you would go on writing to each other in secret, and committing adultery in hired rooms. I know the pair of you, you know. No. I prefer the situation as it is."
Half the time Florence would ignore Leonora's remarks. She would think they were not quite ladylike. The other half of the time she would try to persuade Leonora that her love for Edward was quite spiritual--on account of her heart. Once she said:
"If you can believe that of Maisie Maidan, as you say you do, why cannot you believe it of me?"
Leonora was, I understand, doing her hair at that time in front of the mirror in her bedroom. And she looked round at Florence, to whom she did not usually vouchsafe a glance,--she looked round coolly and calmly, and said:
"Never do you dare to mention Mrs Maidan's name again. You murdered her. You and I murdered her between us. I am as much a scoundrel as you. I don't like to be reminded of it."
Florence went off at once into a babble of how could she have hurt a person whom she hardly knew, a person whom with the best intentions, in pursuance of her efforts to leave the world a little brighter, she had tried to save from Edward. That was how she figured it out to herself. She really thought that. . . . So Leonora said patiently:
"Very well, just put it that I killed her and that it's a painful subject. One does not like to think that one had killed someone. Naturally not. I ought never to have brought her from India."
And that, indeed, is exactly how Leonora looked at it. It is stated a little baldly, but Leonora was always a great one for bald statements.
What had happened on the day of our jaunt to the ancient city of M---- had been this:
Leonora, who had been even then filled with pity and contrition for the poor child, on returning to our hotel had gone straight to Mrs Maidan's room. She had wanted just to pet her. And she had perceived at first only, on the clear, round table covered with red velvet, a letter addressed to her. It ran something like:
"Oh, Mrs Ashburnham, how could you have done it? I trusted you so. You never talked to me about me and Edward, but I trusted you. How could you buy me from my husband? I have just heard how you have--in the hall they were talking about it, Edward and the American lady. You paid the money for me to come here. Oh, how could you? How could you? I am going straight back to Bunny. . . ."
Bunny was Mrs Maidan's husband.
And Leonora said that, as she went on reading the letter, she had, without looking round her, a sense that that hotel room was cleared, that there were no papers on the table, that there were no clothes on the hooks, and that there was a strained silence--a silence, she said, as if there were something in the room that drank up such sounds as there were. She had to fight against that feeling, whilst she read the postscript of the letter.
"I did not know you wanted me for an adulteress," the postscript began. The poor child was hardly literate. "It was surely not right of you and I never wanted to be one. And I heard Edward call me a poor little rat to the American lady. He always called me a little rat in private, and I did not mind. But, if he called me it to her, I think he does not love me any more. Oh, Mrs Ashburnham, you knew the world and I knew nothing. I thought it would be all right if you thought it could, and I thought you would not have brought me if you did not, too. You should not have done it, and we out of the same convent. . . ."
Leonora said that she screamed when she read that.
And then she saw that Maisie's boxes were all packed, and she began a search for Mrs Maidan herself--all over the hotel. The manager said that Mrs Maidan had paid her bill, and had gone up to the station to ask the Reiseverkehrsbureau to make her out a plan for her immediate return to Chitral. He imagined that he had seen her come back, but he was not quite certain. No one in the large hotel had bothered his head about the child. And she, wandering solitarily in the hall, had no doubt sat down beside a screen that had Edward and Florence on the other side. I never heard then or after what had passed between that precious couple. I fancy Florence was just about beginning her cutting out of poor dear Edward by addressing to him some words of friendly warning as to the ravages he might be making in the girl's heart. That would be the sort of way she would begin. And Edward would have sentimentally assured her that there was nothing in it; that Maisie was just a poor little rat whose passage to Nauheim his wife had paid out of her own pocket. That would have been enough to do the trick.
For the trick was pretty efficiently done. Leonora, with panic growing and with contrition very large in her heart, visited every one of the public rooms of the hotel--the dining-room, the lounge, the schreibzimmer, the winter garden. God knows what they wanted with a winter garden in an hotel that is only open from May till October. But there it was. And then Leonora ran--yes, she ran up the stairs--to see if Maisie had not returned to her rooms. She had determined to take that child right away from that hideous place. It seemed to her to be all unspeakable. I do not mean to say that she was not quite cool about it. Leonora was always Leonora. But the cold justice of the thing demanded that she should play the part of mother to this child who had come from the same convent. She figured it out to amount to that. She would leave Edward to Florence and to me--and she would devote all her time to providing that child with an atmosphere of love until she could be returned to her poor young husband. It was naturally too late.
She had not cared to look round Maisie's rooms at first. Now, as soon as she came in, she perceived, sticking out beyond the bed, a small pair of feet in high-heeled shoes. Maisie had died in the effort to strap up a great portmanteau. She had died so grotesquely that her little body had fallen forward into the trunk, and it had closed upon her, like the jaws of a gigantic alligator. The key was in her hand. Her dark hair, like the hair of a Japanese, had come down and covered her body and her face.
Leonora lifted her up--she was the merest featherweight--and laid her on the bed with her hair about her. She was smiling, as if she had just scored a goal in a hockey match. You understand she had not committed suicide. Her heart had just stopped. I saw her, with the long lashes on the cheeks, with the smile about the lips, with the flowers all about her. The stem of a white lily rested in her hand so that the spike of flowers was upon her shoulder. She looked like a bride in the sunlight of the mortuary candles that were all about her, and the white coifs of the two nuns that knelt at her feet with their faces hidden might have been two swans that were to bear her away to kissing-kindness land, or wherever it is. Leonora showed her to me. She would not let either of the others see her. She wanted, you know, to spare poor dear Edward's feelings. He never could bear the sight of a corpse. And, since she never gave him an idea that Maisie had written to her, he imagined that the death had been the most natural thing in the world. He soon got over it. Indeed, it was the one affair of his about which he never felt much remorse.
Excerpted from The Good Soldier by Ford Madox Ford Copyright © 2003 by Ford Madox Ford. Excerpted by permission.
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Table of ContentsAcknowledgments
Ford Madox Ford: A Brief Chronology
The Good Soldier: A Narrative Chronology
A Note on the Text
The Good Soldier: A Tale of Passion
Dedicatory Letter to Stella Ford (1927)
Appendix A: Ford Madox Ford, "On Heaven"
Appendix B: Ford Madox Ford, excerpts from Henry James: A Critical Study
Appendix C: Ford Madox Ford, "On Impressionism"
Appendix D: Contemporary Reviews
Appendix E: Ford Madox Ford, "Techniques"
Appendix F: F. L. Cross, "Anglo-Catholicism and the Twentieth Century"
Appendix G: H. C. Allen, from Great Britain and the United States: A History of Anglo-American Relations, 1783-1952
Appendix H: Ezra Pound, Obituary for Ford Madox Ford
Most Helpful Customer Reviews
This arch narrative, covering the subtle, adult betrayals of four members of a pair of couples visiting spas and various grand estates in the early part of the 20th century, conveys as much tragedy as any play by O'Neill and tells you as much about England as any work of Shakespeare. Published in 1915, THE GOOD SOLDIER conveys a sense of Britain's decline not usually detailed in British literature until the 1930s. It seems extraordinarily modern. In some ways, it seems less naive than something written today. Its prose is Jamesian, but these characters are decadent to the core. James never quite describes decadence. It is, also, somehow, a very funny book. HAMLET can be funny, too, of course, so, beware: This is a dark tale indeed.
'The best French novel in the English language' lives up to its description (I forget by whom). I was lucky to find (and abscond with) it in my uncle's old book closet. It is a fascinating read; the characters slowly develop and morph as the book continues, and the reader has the pleasure of watching the narrator's own perception of the incidents morph upon extended reflection. I agree with the previous review: once you've finished it, you'll find it just begs to be read a second time.
Skip the intro. It tells you everything that happens and takes away the joy of discovery. You can read it after you finish the book.
¿If for nine years I have possessed a goodly apple that is rotten at the core and discover its rotteness only in nine years and six months less four days, isn¿t it true to say that for nine years I possessed a goodly apple?¿ Amazing. Is ignorance bliss? This book is a classic case of the 'unreliable narrator.' Don't trust what Dowell says- draw your own conclusions. Therein lies the brilliance of the story. Read it again and you'll only discover more...
The story starts out simply enough. But then, somewhere in the middle of the reading, there exists a subtle shift; the tale becomes something other, a slow transformation into a strong example of the early Modernists. The narrator Dowell exists as Prufrock's older brother: troubled, unreliable, gullible, flawed.
"The Good Soldier" follows two well-to-do couples, John (the narrator) and Florence Dowell and Edward and Leonora Ashburnham through the course of their relationships, especially Edward's endless philandering with any woman who will submit to his relentless sexual advances. The story, told long after the events have actually transpired, details Dowell's conversion from innocent onlooker in the four-way friendship into a man whose world has been turned upside down by the discovery that his wife has tried to seduce his best friend. Even then, Dowell chalks up Ashburnham's dalliances to mere "sentimentalism," a need to paternalistically place himself in a situation where he is seen as the selfless hero, as the "good soldier." While Dowell is sometimes more than fair with Ashburnham, at times he relentlessly mocks him, commenting on his stupid expressions and his petit bourgeois concern with "keeping up appearances," even in the face of a sham of a marriage. Ford seems to be looking for answers to explain such behavior, but doesn't even seem convinced by his own dubious explanations.Marked by a radical break with the earlier, traditional Victorian novel, "The Good Soldier" is highly evocative of the society novels of Henry James, Edith Wharton, and even some D. H. Lawrence. Adultery is discussed frankly and directly, and instead of the morally certain, honest, objective narration that we see in work before it, Ford's narrator is bereft when he finds his search for meaning and simplicity an empty one, finding in its place an ambiguous and unreliable world. This is a hard pill to swallow for those who have been weaned on Dickens, Thackeray, and Trollope. Its subtlety and sensitive psychological representations mirror the complexities of people, not stock characters.One of the most fascinating aspects of the story is how utterly conflicted Dowell remains throughout the novel. The authority of his narrative voice waxes and wanes (mostly wanes) through the entire story, which might be frustrating for some readers, but was a welcome relief for me. Concomitant with this voice is an overall ambiance of moral turpitude and decadence, and not simply as a result of Florence and Ashburnham's affair. Dowell is never slow to remind the reader that he knows little, that he might be wrong, that this was only the way things seemed to him. It is hardly a surprise that Ford, who considered himself an "impressionist," has very much up to the name and written a novel of fleeting impressions and reminiscences which always fall short of cohering into a unified story whose characters motivations are convincingly delineated.One of the results of Ford's technique is that it breaks with one's usual response after having completed a novel: since Aristotle, we have come to find some sort of intellectual catharsis from tragedy, but this is a story that complicates that expectation, even if we are afforded some sort of edification in human moral psychology. The novel was written in 1915, no doubt a perilous time in European history. At the risk of committing an egregious post hoc ergo propter hoc, it may be that Ford's narrative is indicative of a world on the precipice of the Great War, whose social and cultural orders have shifted from firmly hierarchical to nebulous in less than a generation.Even if you do not care for the novel itself, it would be difficult to deny its important place in a canon of works that need to be carefully and thoughtfully read to have a fuller and more appreciative knowledge of twentieth-century English literature. I cherished it, and its characters seemed like some of the most artfully drawn I've ever read. Weeks after having finished the novel, the various tête-à-têtes and interrelationships continue to dance through my head while I imagine sitting down next to Dowell while he tells me his story.
Thinking this was another book ruined for me by being required reading in school, I had another go at it as an adult. Yuck. Boring.
I've heard this book touted as a 'perfect' novel, and I have to say, I think that's true. It's taut, gripping, and endlessly fascinating - despite the fact that it relies on sexist underpinnings, it still seems to ring true. I loathe every character in it, and yet I feel enormous sympathy for them, because - aren't we all loathsome?In any case, heartily recommended.
Ford Madox Ford reportedly told someone in a letter that someone else had called this "the finest French novel ever written in English". I could see that - it is a little like Flaubert, or Zola. I think it also has a touch of the gothic about it - madness and suicide feature prominently and everything is told as though no one had acted of their own volition so much as played out their parts, long since set for them by the heavy hand of fate. See, the fact that I want to write sentences like that after I've read it shows you what a touch of the gothic it has.It is also told in parts, from the end-ish, to the beginning, to somewhere in the middle, to the end again, but hopping around between them as the spirit moves - the premise being that the narrator is writing as though he's telling you this late in the evening, as you sit by the fireside. And he's figuring out what happened to him as he goes along, himself. Honestly, while I liked the plot, and it gave me a lot of food for thought, I'm not sure I agreed with the narrator, or thought his objectives were worthy. He thinks it's too bad that he never did marry a pretty girl who loved him, and settled down to a nice, quiet life, yet he persisted in sticking with this crowd of people who obviously didn't love him, and never did try to seek what he would deem real happiness elsewhere. He admitted that silent manipulation, particularly by Florence (his wife) and Leonora (his friend's wife), had doomed many of the other characters, yet allowed himself and the others to be blindly manipulated, though in all fairness, he may not have known he was being manipulated at the time. But by the end of the book, he is STILL being manipulated, and still accepting it as its lot. Then again, one of the book's premises seems to be that he is only a person, and sometimes people do allow that. He had nothing but contempt for his wife, partially because she messed around on him (very understandable), but also because she would've told 'everyone' about it. While of course that is 'gauche', and would've hurt people, particularly him, you could certainly argue that, had she done that, it would've been the more honorable choice, compared to what ensued. Or, to put the plot another way - the protagonist from the Jeeves novels marries Emma Bovary, who falls in love with a fairly nice, if inconstant lord of the manor (generous to his tenants, and all too generous with his affections, mostly because he gets so little affection at home). Their lives are all quietly ruined by his scheming wife, who has the personality of a minor character in a Jane Austen plot (think Charlotte in Pride and Prejudice, who marries the clergyman - only a Charlotte with utter control over the lives of everyone around her).Ford originally wanted to call this book "The Saddest Story". It would've fit.
Difficult, wordy, old-fashioned language and moral quandries, but ultimately a very satisfying book. Highly recommended.
An impressionistic masterpiece? A tragedy or a comedy? This novel, published in 1915, from the pen of Ford Madox Ford is unique enough to have been described by its critics as all of the preceding and more. Subtitled "A Tale of Passion", it is unique both in my experience and within the author's total work. The story is narrated by an American, John Dowell, who invites the reader to sit down with him beside the fire of his study to listen to the "saddest story" he has ever known. The story, set during the decade preceding the Great War, while sad for some of the participants is truly sad only in the ironic sense of the word. The characters are not particularly likable or sympathetic. Considering that, it is counter intuitive, but the reader is spurred on to read the novel by the precision and the beauty of the prose and the intrigue within the story. The narrative unfolds in a mosaic-like way with a traversal of the narrator's memory back and forth over the nine year period that is covered. When complete, the tale is ended perfectly much as it begins. The result is a beautiful small novel that ranks high in this reader's experience.
In 20th Century British literature it always stuns me how the characters react so stoicly when it seems more natural to act emotionally. No one is willing to talk about their feelings. This always leads to tragedy. That is why Ford Madox Ford almost named this book "The Saddest Story." Yet it isn't a tale that will make you weep. Infact, I don't feel sorry for any of the characters, because everything that happened they brought upon themselves.The novel is narrated by John Dowell the husaband of Florence. They are a rich American couple who live in Europe and go to a spa every year because Florence has a "heart." There they meet Edward and Leonora Ashburnham, a rich British couple who come to the spa for Edward's "heart." Edward is the "good soldier" who seems honnest and respectable. They start a friendship because Dowell is bored with being Florence's nursemaid and Leonora wants to use Florence to get Edward's mind of a young woman who is the real reason he is at the spa. Florence and Edward, again the only people in this novel that the narrator describes as having a "heart" start an affair and then everything goes down hill from there, or maybe that wasn't the beginning. Florence and Edward are characterized as having heart conditions when really they are two passionate people who married for convience. Their spouses, especially Leonora, are rather cold and unfeeling. Florence isn't the kindest person in the world to poor Dowell, but he is a dim-wit. At the beginning of the novel he describes the tale he is about to tell as the saddest story he has ever heard. What does he mean "heard"? He was living with these people when all the events occurred. This is where we come back to the stoic British. These two couples are portrayed as "good people" and good people never show emotion in public. They put masks on and pretend that they lead happy lives, because they are rich and hob-nob in high society.Dowell is not a reliable narrator. He tells the story in the first person, but he is relating the saga as it was told to him. He wants to state the tale as if he were sitting with the reader next a roaring fire on a cold night. The narrative starts out jumbled and gets clearer as it becomes clearer in Dowell's mind. He comes to realizations and adds his own thoughts as the story progresses.I recommend this novel because of the intriguing way it is written. The use of an unreliable narrator makes it well worth reading. It is also an excellent example of late 19th Century and early 20th Century literature with it's portrayal of members of high society caring more about how they are percieved by others than about how they treat others. It reminded me very much of Edith Warton and Henry James.
Writing in the literary appropriation of impressionism pioneered by his erstwhile friend Joseph Conrad, Ford Madox Ford¿s modernist narrative is an enemy of structure and coherence as it mimics his American narrator Dowell¿s memory of his obsessive psycho-sexual relationships with his suicidal wife Florence, British stick Edward and his wife Leonora, chronology rolling in on itself over and again. When, at beginning of its fourth part, Dowell apologises for having told the story ¿in a very rambling way¿ because ¿it may be difficult for anyone to find their way through what may be a sort of maze¿, well, reader, I sighed. Yet this is still engrossing thanks to its thick atmosphere steeped in turn of the last century continental privilege, and some beautifully rendered characterisation, especially Leonora, a passive aggressive viper who can ruin a man by simply giving him some of her attention. And knows it. And does.
This is a book about ambiguity. Is it a tragedy or a comedy, or even a tragicomedy? Can we trust the narrator - the eponymous, personality-less John Dowell? Does he believe in what he's telling us, or is he trying to convince himself as much as us? Reflecting on his marriage to Florence Dowell and their friendship with the Ashburnhams, Dowell claims to be unaware of his wife's affair with Edward Ashburnham. As he attempts to peel back the layers of truth and fiction which make up his life, there is much which remains unsatisfactory and unresolved. If he is unaware of his wife's affair, he is beyond gullible. If he felt no pain upon enlightenment, he is either completely unfeeling or unwilling to admit it. His persistent reference to 'poor dear' Florence and his determination to justify the 'good' Edward would seem to suggest he has adopted self-delusion and denial as bulwarks against truth and 'reality'. In 'The Good Soldier' silence tells us more than words, and the relationship between truth and fiction is laid bare. In narrating his life, Dowell attempts to control it; imposing his own version of 'truth' over that which has been decided for him. The novel is structured as an imagined a conversation between Dowell and the 'silent listener'; in other words, the narrative leaps around like a frog on hot coals, telling us more about Dowell's state of mind than about the tangled plot which enveloped him. Ultimately, Ford lets us draw our own conclusions, leaving us with a sense that we have only a glimpse of a much, much larger picture.
The Good Soldier is less about what the text says than about what it doesn't.John Dowell is the narrator of this story of two couples (John and Florence Dowell; and Edward and Leonora Ashenburner). He is, allegedly, unaware of the affair between his wife and Edward until after her death, when he relates the story to the reader. How a man could be 1/4 of a close circle of people and remain unaware of their activities stretches credibility; hence, we must come to view John Dowell as an unreliable narrator.The writing is superb and kept me interested in spite of little direct action and almost no dialogue. This is the kind of book that could be read several times, and each time will bring new insights into John's character, and through those insights, to the "truth" of what really happened.
This book starts out painfully slow and the old-school English sentence structure is really tedious until you get into the rhythm. Turns out the style suits the story perfectly. Better yet, the story does grow on you slowly but surely. I can't say it's a page turner or that I "couldn't wait to read more," but it makes its point very well and will probably stick with me for a while. It's odd that there's no real protagonist, no villain, just "good people" laid bare and fully exposed.
all i ever hear about this book is that it's a fantastic example of an unreliable narrator (which is true). they don't tell you how this is the most heartbreaking and hilarious novel ever written. and so decadent! a must-read.
(Spoilers) I¿d read this book before, but reading it again (for a class) reminded me what a well written tragedy it was. Especially good because we read it alongside Goethe's Elective Affinities ¿ there were many parallels between the two. It¿s a story of betrayed and lost love ¿ plenty of those ¿ but even the basic plot is complex. To make things more complicated, the book is narrated by the least aware participant in the two love quartets. He moves from generalities to specific memories, spanning different times, with changing opinions, realizing things and judging. Few novels are more subjective. The story follows John Dowell, the nearly nameless narrator, who marries Florence and takes her to Europe. There they meet the Ashburnhams and Edward starts an affair with Florence. His long suffering wife, Leonora ¿ who put up with his multiple mistresses but still loves him ¿ keeps quiet. There was also an Edward in Elective Affinities ¿ another man who is rather narcissistic and falls in love with a younger woman who¿s like a daughter to him and his long suffering, practical wife. Nancy is the stand in for Ottilie ¿ everyone falls in love with both of them, both bring about their own slow destruction when they choose to never be with either Edward. Leonora is the rational wife who attempts to smooth things over but eventually fails, as was Charlotte. She doesn¿t really have a Captain ¿ possibly the very ordinary Rodney Bayham, who she marries at the end.
Somewhat dated ... some "old-fashioned" racism that may be actually used to show a negative for a character ... some of that double-reverse English understatement-type stuff ...
This book just proves there is nothing new under the sun. The narrator was so wrapped up into himself that he never realized til his wife was dead that she had played him like a card! The author writes this in a realistic vein. After learning that his entire marriage has been a sham, the narrator is so upset he has to journal the events on paper. I can't say chronicle because he didn't write anything in order.
The Good Soldier is a truly brilliant book. While I was a little distressed to realize I was in my 30's by the time I got around to reading it, I also suspect I might not have fully appreciated this masterpiece at a younger age, and I don't say that very often. The Good Soldier's innocuous title masks a dark, complex, and perceptive portrait of "the falling to pieces of a people." Ford Madox Ford makes masterful use of the "dim witted" narrator trick to infuse much of this dark tale with a surprisingly effective wit, in a manner reminiscent of, but much sharper than, Wilkie Collins's Moonstone character Betteredge. Indeed, Ford takes several unconventional techniques and perfects them in this book, such as the use of a non-chronological narration a la Henry James. The novel will cause you to wade up to the knees in rich and often sinister word play, but it manages to seldom feel overwhelming. I highly recommend it.
A riveting masterpieece.