How far such odd substitution for the body is possible need not concern us now. But the devil, speaking by the lips of Mr. Rudyard Kipling, hath it that in the case of one Tomlinson, the thing, so far as the soul is concerned, has already been accomplished. Time was when men had simple souls, desires as natural as their eyes, a little reasonable philanthropy, a little reasonable philoprogenitiveness, hunger, and a taste for good living, a decent, personal vanity, a healthy, satisfying pugnacity, and so forth. But now we are taught and disciplined for years and years, and thereafter we read and read for all the time some strenuous, nerve-destroying business permits. Pedagogic hypnotists, pulpit and platform hypnotists, book-writing hypnotists, newspaper-writing hypnotists, are at us all. This sugar you are eating, they tell us, is ink, and forthwith we reject it with infinite disgust. This black draught of unrequited toil is True Happiness, and down it goes with every symptom of pleasure. This Ibsen, they say, is dull past believing, and we yawn and stretch beyond endurance. Pardon! they interrupt, but this Ibsen is deep and delightful, and we vie with one another in an excess of entertainment. And when we open the heads of these two young people, we find, not a straightforward motive on the surface anywhere; we find, indeed, not a soul so much as an oversoul, a zeitgeist, a congestion of acquired ideas, a highway's feast of fine, confused thinking. The girl is resolute to Live Her Own Life, a phrase you may have heard before, and the man has a pretty perverted ambition to be a cynical artistic person of the very calmest description. He is hoping for the awakening of Passion in her, among other things. He knows Passion ought to awaken, from the text-books he has studied. He knows she admires his genius, but he is unaware that she does not admire his head. He is quite a distinguished art critic in London, and he met her at that celebrated lady novelist's, her stepmother, and here you have them well embarked upon the Adventure. Both are in the first stage of repentance, which consists, as you have probably found for yourself, in setting your teeth hard and saying' "I WILL go on."
Things, you see, have jarred a little, and they ride on their way together with a certain aloofness of manner that promises ill for the orthodox development of the Adventure. He perceives he was too precipitate. But he feels his honour is involved, and meditates the development of a new attack. And the girl? She is unawakened. Her motives are bookish, written by a haphazard syndicate of authors, novelists, and biographers, on her white inexperience. An artificial oversoul she is, that may presently break down and reveal a human being beneath it. She is still in that schoolgirl phase when a talkative old man is more interesting than a tongue-tied young one, and when to be an eminent mathematician, say, or to edit a daily paper, seems as fine an ambition as any girl need aspire to. Bechaniel was to have helped her to attain that in the most expeditious manner, and here he is beside her, talking enigmatical phrases about passion, looking at her with the oddest expression, and once, and that was his gravest offence, offering to kiss her. At any rate he has apologised. She still scarcely realises, you see, the scrape she has got into.
XVII.
THE ENCOUNTER AT MIDHURST
We left Mr. Hoopdriver at the door of the little tea, toy, and tobacco shop. You must not think that a strain is put on coincidence when I tell you that next door to Mrs. Wardor's—that was the name of the bright-eyed, little old lady with whom Mr. Hoopdriver had stopped—is the Angel Hotel, and in the Angel Hotel, on the night that Mr. Hoopdriver reached Midhurst, were 'Mr.' and 'Miss' Beaumont, our Bechamel and Jessie Milton. Indeed, it was a highly probable thing; for if one goes through Guildford, the choice of southward roads is limited; you may go by Petersfield to Portsmouth, or by Midhurst to Chichester, in addition to which highways there is nothing for it but minor roadways to Petworth or Pulborough, and cross-cuts Brightonward. And coming to Midhurst from the north, the Angel's entrance lies yawning to engulf your highly respectable cyclists, while Mrs. Wardor's genial teapot is equally attractive to those who weigh their means in little scales. But to people unfamiliar with the Sussex roads—and such were the three persons of this story—the convergence did not appear to be so inevitable.
Bechamel, tightening his chain in the Angel yard after dinner, was the first to be aware of their reunion. He saw Hoopdriver walk slowly across the gateway, his head enhaloed in cigarette smoke, and pass out of sight up the street. Incontinently a mass of cloudy uneasiness, that had been partly dispelled during the day, reappeared and concentrated rapidly into definite suspicion. He put his screw hammer into his pocket and walked through the archway into the street, to settle the business forthwith, for he prided himself on his decision. Hoopdriver was merely promenading, and they met face to face.
At the sight of his adversary, something between disgust and laughter seized Mr. Hoopdriver and for a moment destroyed his animosity. "'Ere we are again!" he said, laughing insincerely in a sudden outbreak at the perversity of chance.
The other man in brown stopped short in Mr. Hoopdriver's way, staring. Then his face assumed an expression of dangerous civility. "Is it any information to you," he said, with immense politeness, "when I remark that you are following us?"
Mr. Hoopdriver, for some occult reason, resisted his characteristic impulse to apologise. He wanted to annoy the other man in brown, and a sentence that had come into his head in a previous rehearsal cropped up appropriately. "Since when," said Mr. Hoopdriver, catching his breath, yet bringing the question out valiantly, nevertheless,—"since when 'ave you purchased the county of Sussex?"
"May I point out," said the other man in brown, "that I object—we object not only to your proximity to us. To be frank—you appear to be following us—with an object."
"You can always," said Mr. Hoopdriver, "turn round if you don't like it, and go back the way you came."
"Oh-o!" said the other man in brown. "THAT'S it! I thought as much."
"Did you?" said Mr. Hoopdriver, quite at sea, but rising pluckily to the unknown occasion. What was the man driving at?
"I see," said the other man. "I see. I half suspected—" His manner changed abruptly to a quality suspiciously friendly. "Yes—a word with you. You will, I hope, give me ten minutes."
Wonderful things were dawning on Mr. Hoopdriver. What did the other man take him for? Here at last was reality! He hesitated. Then he thought of an admirable phrase. "You 'ave some communication—"
"We'll call it a communication," said the other man.
"I can spare you the ten minutes," said Mr. Hoopdriver, with dignity.
"This way, then," said the other man in brown, and they walked slowly down the North Street towards the Grammar School. There was, perhaps, thirty seconds' silence. The other man stroked his moustache nervously. Mr. Hoopdriver's dramatic instincts were now fully awake. He did not quite understand in what role he was cast, but it was evidently something dark and mysterious. Doctor Conan Doyle, Victor Hugo, and Alexander Dumas were well within Mr. Hoopdriver's range of reading, and he had not read them for nothing.
"I will be perfectly frank with you," said the other man in brown.
"Frankness is always the best course," said Mr. Hoopdriver.
"Well, then—who the devil set you on this business?"
"Set me ON this business?"
"Don't pretend to be stupid. Who's your employer? Who engaged you for this job?"