Crome Yellow, Aldous Huxley [read along books txt] 📗

But he really must find that word. Curves curves⁠ ⁠… Those little valleys had the lines of a cup moulded round a woman’s breast; they seemed the dinted imprints of some huge divine body that had rested on these hills. Cumbrous locutions, these; but through them he seemed to be getting nearer to what he wanted. Dinted, dimpled, wimpled⁠—his mind wandered down echoing corridors of assonance and alliteration ever further and further from the point. He was enamoured with the beauty of words.

Becoming once more aware of the outer world, he found himself on the crest of a descent. The road plunged down, steep and straight, into a considerable valley. There, on the opposite slope, a little higher up the valley, stood Crome, his destination. He put on his brakes; this view of Crome was pleasant to linger over. The façade with its three projecting towers rose precipitously from among the dark trees of the garden. The house basked in full sunlight; the old brick rosily glowed. How ripe and rich it was, how superbly mellow! And at the same time, how austere! The hill was becoming steeper and steeper; he was gaining speed in spite of his brakes. He loosed his grip of the levers, and in a moment was rushing headlong down. Five minutes later he was passing through the gate of the great courtyard. The front door stood hospitably open. He left his bicycle leaning against the wall and walked in. He would take them by surprise.

He took nobody by surprise; there was nobody to take. All was quiet; Denis wandered from room to empty room, looking with pleasure at the familiar pictures and furniture, at all the little untidy signs of life that lay scattered here and there. He was rather glad that they were all out; it was amusing to wander through the house as though one were exploring a dead, deserted Pompeii. What sort of life would the excavator reconstruct from these remains; how would he people these empty chambers? There was the long gallery, with its rows of respectable and (though, of course, one couldn’t publicly admit it) rather boring Italian primitives, its Chinese sculptures, its unobtrusive, dateless furniture. There was the panelled drawing-room, where the huge chintz-covered armchairs stood, oases of comfort among the austere flesh-mortifying antiques. There was the morning-room, with its pale lemon walls, its painted Venetian chairs and rococo tables, its mirrors, its modern pictures. There was the library, cool, spacious, and dark, book-lined from floor to ceiling, rich in portentous folios. There was the dining-room, solidly, portwinily English, with its great mahogany table, its eighteenth-century chairs and sideboard, its eighteenth-century pictures⁠—family portraits, meticulous animal paintings. What could one reconstruct from such data? There was much of Henry Wimbush in the long gallery and the library, something of Anne, perhaps, in the morning-room. That was all. Among the accumulations of ten generations the living had left but few traces.

Lying on the table in the morning-room he saw his own book of poems. What tact! He picked it up and opened it. It was what the reviewers call “a slim volume.” He read at hazard:

“… But silence and the topless dark
Vault in the lights of Luna Park;
And Blackpool from the nightly gloom
Hollows a bright tumultuous tomb.”

He put it down again, shook his head, and sighed. “What genius I had then!” he reflected, echoing the aged Swift. It was nearly six months since the book had been published; he was glad to think he would never write anything of the same sort again. Who could have been reading it, he wondered? Anne, perhaps; he liked to think so. Perhaps, too, she had at last recognised herself in the Hamadryad of the poplar sapling; the slim Hamadryad whose movements were like the swaying of a young tree in the wind. “The Woman who was a Tree” was what he had called the poem. He had given her the book when it came out, hoping that the poem would tell her what he hadn’t dared to say. She had never referred to it.

He shut his eyes and saw a vision of her in a red velvet cloak, swaying into the little restaurant where they sometimes dined together in London⁠—three quarters of an hour late, and he at his table, haggard with anxiety, irritation, hunger. Oh, she was damnable!

It occurred to him that perhaps his hostess might be in her boudoir. It was a possibility; he would go and see. Mrs. Wimbush’s boudoir was in the central tower on the garden front. A little staircase corkscrewed up to it from the hall. Denis mounted, tapped at the door. “Come in.” Ah, she was there; he had rather hoped she wouldn’t be. He opened the door.

Priscilla Wimbush was lying on the sofa. A blotting-pad rested on her knees and she was thoughtfully sucking the end of a silver pencil.

“Hullo,” she said, looking up. “I’d forgotten you were coming.”

“Well, here I am, I’m afraid,” said Denis deprecatingly. “I’m awfully sorry.”

Mrs. Wimbush laughed. Her voice, her laughter, were deep and masculine. Everything about her was manly. She had a large, square, middle-aged face, with a massive projecting nose and little greenish eyes, the whole surmounted by a lofty and elaborate coiffure of a curiously improbable shade of orange. Looking at her, Denis always thought of Wilkie Bard as the cantatrice.

“That’s why I’m going to
Sing in op’ra, sing in op’ra,
Sing in op-pop-pop-pop-pop-popera.”

Today she was wearing a purple silk dress with a high collar and a row of pearls. The costume, so richly dowagerish, so suggestive of the Royal Family, made her look more than ever like something on the Halls.

“What have you been doing all this time?” she asked.

“Well,” said Denis, and he hesitated, almost voluptuously. He had a tremendously amusing account of London and its doings all ripe and ready in his mind. It would be a pleasure