Lady Sunningdale had few habits, and was thus very adaptable, but one was to make a punctual first appearance half an hour before luncheon. Her appearance, though long-delayed, was brilliant when it came, and it was as if a fresh and many-coloured sun had arisen to take the shine out of the splendour of the noon-day. Years were the only things in which she was no longer young, but the youthfulness of her mind, tastes, character was perfectly spontaneous and natural, and she still retained to the full all the eager curiosity of youth, all youth’s insatiable appetite for pleasure. In person she was very tall and largely made, but she moved with exquisite briskness and vigour, and, though stout, still clung to her waist. Her hat generally contained a perfect aviary of birds perched about on it, and her dresses to match her tastes were rather youthful in cut and colour. She wore also white satin shoes with extremely high heels, which had been known, when she walked in wet or clayey places, to be drawn with a cloop, like the drawing of a cork, completely off her feet, the heel being driven into the ground by her weight in the manner of a nail. But, as a rule, she avoided clayey places; indeed, she seldom walked at all, except at this stated time, half an hour before luncheon. But she made up for her lack of walking by talking; this she did on all occasions to as many people as possible, and was extremely entertaining.
She was staying now (she spent the greater part of her life in staying) for a rather extensive weekend, that is to say from Friday till Monday, with Lord Flintshire, and the morning after her arrival came radiantly downstairs at a quarter-past one. Two irrepressible dachshunds barked excitedly round her, and as she stepped on to the terrace where her host was sitting, she was trying, without the least success, to put up a pale-blue sunshade with a handle of Saxe-china.
“Dear Flints,” she cried, “how sweet of you to wait for me! Where is everybody? Yes. Isn’t it a divine morning? Everything looks as if it had been washed during the night. Why is one such a fool as ever to leave the country and go to London? If one had a single spark of originality one would never go near it. Yes. Please put up my sunshade for me. I know I look hideous this morning; but it doesn’t matter how one looks in the country, which is another of its charms. But I didn’t sleep a wink—I never close my eyes in the country; really, London is the place to live in. I have contradicted myself, have I not? Who cares? I’m sure I don’t. Where are the dogs? Please whistle on your fingers, if you can. So piercing, is it not? There they are! Ah, how naughty! Yes, who cares whether one contradicts one’s self? It shews, in fact, that one’s powers of sympathy and of seeing other points of view are defective, unless one sees both sides of every question, and upholds both vehemently. Yes, do let us walk down the terrace. I adore walking. Oh, Suez Canal, running over the flower-beds like that! How naughty!”
“Suez Canal?” interpolated Lord Flintshire, who, walking by her side, looked like a small rowing-boat towed by a brig in full sail.
“Yes, don’t you see how dreadfully long he is? Now tell me all about your brother who dined here last night. I thought him too fascinating, and we had a great talk about somebody called Kennet, I think he said. Mr. Chancellor is very high-church, is he not? His mouth looked to me high-church. There is something perfectly beautiful about high-church mouths. Look at Lady Otterbourne’s: her mouth is exactly like your brother’s. So is the Bishop of Tavistock’s, whom I adore. He plays the flute divinely, looking funnier than anything I ever saw—so funny that I never want to laugh. Somehow a bishop playing on a flute—or do I mean low-church? I think I must mean low-church. And so your brother is Martin’s father. I sent a message by him last night to tell Martin to come and see me this afternoon. I completely lost my heart to Martin last winter. It is terrible to lose one’s heart when one is fifty, because one has already lost one’s looks, so that it leaves one really denuded. Besides it seems so careless. That is a chestnut, I think. But everything worth saying has been said years before even I was born. Where is Suez? Naughty!”
Lady Sunningdale’s conversation flowed in the manner of a river in flood; it flowed over everything, it foamed and spouted, and there was always the sense—never left unjustified—that there was plenty more to come. It flowed, in fact, over so many different subjects that her interlocutor had a practically limitless range of topics from which to select the matter of his reply; on the other hand, he could fly off on any tangent of his own without initiating incongruity, or, again, he could be silent, completely confident that Lady Sunningdale would go on. But the last topic suited Lord Flintshire very well.
“Do tell me what you think of Martin,” he said.
“But too fascinating and a genius. That combination is so rare; geniuses are usually quite unpresentable. He was staying with us at Easter, and I used to borrow him, as one borrows a book and tries to forget to return it. Where is Sahara? Will you whistle again, please. And his playing—well, merely sublime. He can even play Wagner on the piano. Orchestral music on the piano is generally detestable, but Martin—I used to tell him I believed he had instruments concealed about his person. He is quite clever enough to. My dear, you can hear the strings. Then he used to draw me caricatures of all the extremely tiresome people who were in the house. And his mimicry! Sunningdale finding fault with the soup, and me telling him he was a gross feeder. My dear Flint, I could have sworn it was us. You know the charming way we behave at dinner. Frank Yorkshire, too—you would have thought that nobody could have imitated Frank. But Martin—‘Beauty is probably evil in its origin, which accounts for the extreme plainness of good people!’ Simply too killing. I suppose your low-church brother doesn’t approve of him, or appreciate him. A slight frigidity occurred when I mentioned Martin!”
“He certainly doesn’t appreciate all the excellencies you have mentioned. I doubt if he really knows they exist.”
“That is always the way,” said Lady Sunningdale, with a florid gesture of despair. “That very rare product, a natural artistic genius, always makes its wayward appearance in utterly uncongenial places. I am bound to say it usually leaves them before long; but what a waste of time! Dear Flints, don’t walk quite so fast. I had no idea this terrace was so interminable. We shall be miles from the house when we reach the end. Where are my angels? But it really is a pity. And I suppose his father will make a curate or a Greek scholar of him.”
“That is just what he is afraid he will not do. He was talking to me about it last night.”
Lady Sunningdale’s attention suddenly and completely wandered.
“You should build a pergola here, Flints,” she said. “There is a pergola at Frank Yorkshire’s villa in Capri, which is the most divine thing I ever saw, covered with roses. We used to dine there, and earwigs dropped into one’s hair, and from the dark one heard those extraordinary Italian melodies from the piazza. That is where I should like to live, to leave the world utterly and entirely and just exist. So unworldly. Yes. My angels, they want their dinner, and so does their mamma.”
They had got to the end of the terrace, and Lady Sunningdale gazed about her with roving, abstracted eyes. She never did anything, even gaze, without her thoughts being occupied with something totally different, and now as she looked over the great swelling lines of downs which flowed and melted into each other like interlacing muscles away to the horizon, across the hollow where the roofs and grey spires of Winchester trembled in a haze of heat, her thoughts were further away than the horizon itself.
“So affected of people to pretend not to like food,” she said, “or, if it is genuine, it shows they are partly imbecile, lacking the sense of taste. Yes, what Martin wants is to be chucked into an artistic milieu to see what he is really worth. And the artistic milieu is exactly what he hasn’t got. He is starving, he is living on himself. Now, no artist except the very greatest artist can do that, and even then he dies very quickly. He wants to be soaked and steeped in art. Paris, now! There is the artistic milieu there; but the music is generally atrocious—nearly as bad as in London. He could lunch at the Café Champêtre then.”
“Why do you wish him to do that?” asked Lord Flintshire.
“Dear Flints, because the cooking is so good. The really artist is a gourmet in everything, including food. Think of the story of Beethoven and the soup. He threw it in the footman’s face because it was cold. He could not bear that it should not be hot.