Summer passed in the leisurely, gorgeous way that sometimes marks its
passage into autumn, and the work ploughed forward through the sea of
difficulties. The conspiracy of obstacles continued. There was progress
on the whole, but a progress that seemed to bring success no nearer.
The beds of clay, however, were definitely determined now, and their
extent and depth fulfilled the most sanguine expectations. The troubles
lay with the railway, the men, water, weather, and a dozen things no
one could have foreseen. These seemed far-fetched, and yet were natural
enough. And they continued--until Eliot, never a man who yielded
easily, began to feel he had undertaken more than he could manage. He
weakened. The idea came to him that he would sell his interest and
leave the development to others.
To retire from the fight and acknowledge himself defeated was a step
he could not lightly take. There was a bitterness in the thought that
stung his pride and vanity. There was also the fact that if he held
on and first established a paying business, he could obtain far more
money--for Mánya. Yet he felt somehow that it was from Mánya herself
that the suggestion first had come. For the child gave hints in a
hundred different ways that he could not possibly misunderstand. They
were indirect, unconsciously given, and they followed invariably upon
curious little personal accidents that about this time seemed almost a
daily occurrence.
And these little accidents, though perfectly natural taken one by
one as they occurred, when regarded all together seemed to compose
a formidable whole. They pointed an attack almost. The menace he
had imagined was becoming aggressive. Some one who knew his habits
was playing him tricks. Some one with intimate knowledge of the way
he walked and ran and moved laid traps for him. And at each little
‘accident’ Mánya laughed her strange, sly laughter--precisely as a
child who says ‘I told you so! You brought it on yourself!’ She had
expected it, perhaps had seen it coming. And now, to avoid more grave
disasters, she wanted him--elsewhere. Her deep affection for him,
sinner though he was in her eyes, sought to coax him out of the danger
zone.
When he slipped in jumping the stream--he, who was sure-footed as
a mountain goat!--and turned his ankle; and when the heavy earth,
loosened by the rains, rolled down upon him as he climbed the
embankment, or when the splinter that entered his hand as he vaulted
the fencing near the wharf, led to festering that made him carry his
arm in a sling for days--in every case it was the same: the child
looked up at him and smiled her curious little smile of one who knew.
She was in safety, but he stood in the line of fire. She knew who
it was that laid the traps. She saw them being laid. It was always
wood, earth, water thus that hurt him and never once an artificial
contrivance of man.
‘Uncle, it wouldn’t happen if you stayed away,’ was what she said each
time, though never phrased the same. And the obvious statement only
just covered another meaning that her words contained. She knew worse
things would come, and feared for him. ‘There’s no good hiding, Uncle
Dick, because it’s in the house as well.’
He grew to feel unwelcome in his own woods and garden, an intruder in
his own moors and valleys, an element the Place rejected and wished
elsewhere. The Place had begun to turn him out. And Mánya, this queer
mysterious child, in league with the secret Influence at work against
him, was being used to point the warnings and convey the messages. Her
silent attitude, more even than her actual words, was the messenger.
The hints thus brought, moreover, now troubled themselves less and less
with disguise. He realised them at last for what they were: and they
were beyond equivocation--threatening.
And it was at this point that Eliot made the journey up to London to
see Cass Murdoch, and feel his way towards escape. Retirement was the
word he used, and the sentence John C. heard in the bar of the big
hotel as they discussed clay and cocktails was ‘sell my interest to
more competent hands who will get quicker and bigger results than I
can. The work and worry affect my health.’
The interview may be easily imagined, for John Casanova Murdoch was
more than willing to buy him out, though the conditions, with one
exception, have no special interest in this queer history: Eliot was to
lease the Place for a period of years. And this meant leaving it.
In the train on his way back his emotions fought one another in
a regular pitched battle. He stood in front of himself suddenly
revealed--a traitor. It seemed as if for a moment he saw things a
little from his niece’s inverted point of view, standing outside of
Self and looking up. It provided him with unwelcome sensations that
escaped analysis. Love and hate are one and the same force, according
to the point in the current where one stands; repulsion becomes, from
the opposite end, attraction; and a great love may be reversed into
a great hate. There is no exact dividing line between heat and cold,
no neat frontier where pleasure becomes pain, just as there is really
no such absolute thing as left and right, uphill and downhill, above
and below. Mánya stood outside these relative distinctions men have
invented for the common purposes of description. He understood at last
that the power which had drawn his life into the Place as by a kind of
absorption, was now inverted into a process of turning him out again as
by a kind of determined elimination.
It was being accomplished, moreover, as he felt and phrased it to
himself, from outside; by which perhaps he meant from beyond that fence
which men presumptuously assume to contain all the life there is. But
the dead stand also beyond that fence. And Mánya, being so obviously
in league with this hostile, eliminating Influence stood hand in hand,
therefore, with--the dead.
But for him The Dead meant only one.