He buys himself a Roc motorbicycle, which proves mightily insubordinate, and which Touie will not allow the children near; then a chain-driven twelve-horse-power Wolseley, which is much applauded and does regular damage to the gateposts. This new motoring machine has rendered his carriage and horses redundant; though when he mentions this obvious fact to the Mam, she is outraged. You cannot put a family crest on a mere machine, she argues, let alone one which suffers the regular indignity of breaking down.
Kingsley and Mary are granted liberties not available to most of their friends. In summer they go barefoot, and may roam anywhere within a five-mile radius of Undershaw as long as they are home for meals, clean and tidy. Arthur has no objection when they make a pet of a hedgehog. On Sundays he will often announce that fresh air is better for the soul than liturgy, and enlist one of them as his caddie; a ride in the high dogcart to Hankley Golf Course, an erratic progress with a heavy golf bag, and then the reward of hot buttered toast in the clubhouse. Their father will readily explain things to them, though not always the things they need or want to know; and he does so from a great height, even when he is on his knees beside them. He encourages self-sufficiency, sports, riding; he gives Kingsley books about great battles in world history, and warns him of the perils of military unpreparedness.
Arthur's forte is solving things, but he cannot solve his children. None of their friends or schoolmates has a private monorail; yet Kingsley, with infuriating politeness, lets slip that it does not go fast enough, and perhaps the carriages should be bigger. Mary, meanwhile, climbs trees in a manner incompatible with female modesty. They are not bad children in any way; as far as he can assess the matter, they are good children. But even when they are well-mannered and properly behaved, what Arthur has not counted on is their relentlessness. It is as if they are always expectant – though of what, he cannot tell, and he doubts they can either. They are expectant of something he cannot provide.
Arthur privately thinks that Touie should have taught them more discipline; but this is a reproach he cannot make, except in the mildest terms. And so the children grow up between his erratic authoritarianism and her benign approving. When Arthur is in residence at Undershaw, he wants to work; and when he stops work, he wants to play golf or cricket, or have a quiet 200-up with Woodie on the billiards table. He has provided the family with comfort, security and money; in exchange he expects peace.
He does not get peace; still less from inside himself. When there is no chance of seeing Jean for a while, he tries to bring her close by doing what she would like doing. Because she is a keen horsewoman, he enlarges his stable at Undershaw from one horse to six, and begins riding to hounds. Because Jean is musical, Arthur decides to learn the banjo, a decision Touie greets with her normal indulgence. Arthur now plays the Bombardon tuba and the banjo, though neither instrument is famed for its ability to accompany a classically trained mezzo-soprano voice. Sometimes he and Jean arrange to read the same book while they are apart – Stevenson, Scott's poems, Meredith; each likes to imagine the other on the same page, sentence, phrase, word, syllable.
Touie's preferred reading is The Imitation of Christ. She has her faith, her children, her comfort, her quiet occupations. Arthur's guilt ensures that he behaves towards her with the utmost consideration and gentleness. Even when her saintly optimism seems to border on a monstrous complacency, and he feels a rage gathering within him, he knows he cannot inflict it upon her. To his shame, he inflicts it upon his children, upon servants, caddies, employees of the railway and idiot journalists. He remains utterly dutiful towards Touie, utterly in love with Jean; yet in other parts of his life he becomes harder and more irritable. Patientia vincit reads the admonition in stained glass. Yet he feels he is growing a stony carapace. His natural expression is turning into a prosecutor's stare. He looks through others accusingly, because he is so used to looking through himself.
He begins to think of himself geometrically, as being located at the centre of a triangle. Its points are the three women of his life, its sides the iron bars of duty. Naturally, he has placed Jean at the apex, with Touie and the Mam at the base. But sometimes the triangle seems to rotate around him, and then his head spins.
Jean never offers the slightest complaint or reproach. She tells him that she cannot, will not, ever love another person; that waiting for him is not a trial but a joy; that she is entirely happy; that their hours together are the central truth of her life.
'My darling,' he says, 'do you think there was ever such a love story as ours since the world began?'
Jean feels her eyes fill with tears. At the same time, she is a little shocked. 'Arthur dearest, it is not a sporting competition.'
He accepts the rebuke. 'Even so, how many people have had their love tested as we have? I should think our case was about unique.'
'Does not every couple think their case unique?'
'It is a common delusion. Whereas with us-'
'Arthur!' Jean does not think boastfulness appropriate to love; she is inclined to find it vulgar.
'Even so,' he persists, 'even so I feel sometimes – no often – that there is a Guardian Spirit watching over us.'
'So do I,' Jean agrees.
Arthur does not find the notion of a Guardian Spirit fanciful, or even a banality. He finds it plausible and real.
Nevertheless, he needs an earthly witness to their love. He needs to offer proof. He takes to forwarding Jean's love letters to the Mam. He does not ask permission, or regard this as breaching a confidence. He needs it to be known that their feelings for one another are still as fresh as ever, and their trials not in vain. He tells the Mam to destroy the letters, and suggests a choice of method. She may either burn them, or – preferably – tear them into tiny pieces and scatter them among the flowers at Masongill Cottage.
Flowers. Each year, without fail, on the 15th of March, Jean receives a single snowdrop with a note from her beloved Arthur. A white flower once a year for Jean, and white lies all the year round for his wife.
And all the time, Arthur's fame increases. He is a clubman, a diner-out, a public figure. He becomes an authority on worlds beyond literature and medicine. He stands for Parliament as a Liberal Unionist in Edinburgh Central, where defeat is tempered by the recognition that much of politics is a mudbath. His views are canvassed, his support counted on. He is popular. He becomes more popular when he reluctantly submits to the joint will of the Mam and the British reading public: he resuscitates Sherlock Holmes and despatches him in the footprints of an enormous hound.
When the South African War breaks out, Arthur volunteers as a medical officer. The Mam does everything to dissuade him: she thinks his large frame a sure target for the Boer bullet; further, she judges the war nothing but a dishonourable scramble for gold. Arthur disagrees. It is his duty to go; he is acknowledged to have the strongest influence over young men – especially young sporting men – of anyone in England bar Kipling. He also thinks that this war is worth a white lie or two: the nation is getting into a fight which is a rightful one.
He leaves Tilbury on the Oriental. He is to be looked after on his adventure by Cleeve, the butler from Undershaw. Jean has filled his cabin with flowers, but will not come to say farewell; she cannot face a parting amid the thronged and thumping cheerfulness of a transport. As the whistle sounds for visitors to leave the ship the Mam bids him a tight-mouthed goodbye.