The Real Charlotte - Edith Somerville [29]
Pamela refrained from pursuing her advantage.
“If you like I’ll make him come with Evelyn and me to the choir practice this afternoon,” she said after a pause. “Of course he’ll hate it, poor boy, especially as Miss Mullen wrote to me the other day and asked us to come to tea after it was over.”
“Oh, yes!” said Lady Dysart with sudden interest and forgetfulness of her recent contention, “and you will see the new importation whom we met with Mr. Lambert the other day. What a charming young creature she looked! ‘The fair one with the golden locks’ was the only description for her! And yet that miserable Christopher will only say that she is ‘chocolate-boxey!’ Oh! I have no patience with Christopher’s affectation!” she ended, rising from her knees and brushing the earth from her extensive lap with a gesture of annoyance. She began to realise that the sun was hot and luncheon late, and it was at this unpropitious moment that Pamela, having finished the flower-bed she had been weeding, approached the scene of her mother’s labours.
“Mamma,” she said faintly, “you have planted the whole bed with chickweed!”
* * *
CHAPTER IX.
It had been hard work pulling the punt across from Bruff to Lismoyle with two well-grown young women sitting in the stern; it had been a hot walk up from the landing-place to the church, but worse than these, transcendentally worse, in that it involved the suffering of the mind as well as the body, was the choir practice. Christopher’s long nose drooped despondingly over his Irish church hymnal, and his long back had a disconsolate hoop in it as he leaned it against the wall in his place in the backmost row of the choir benches. The chants had been long and wearisome, and the hymns were proving themselves equally enduring. Christopher was not eminently musical or conspicuously religious, and he regarded with a kind of dismal respect and surprise the fervour in Pamela’s pure profile as she turned to Mrs. Gascogne and suggested that the hymn they had just gone through twice should be sung over again. He supposed it was because she had High Church tendencies that she was able to stand this sort of thing, and his mind drifted into abstract speculations as to how people could be as good as Pamela was and live.
In the interval before the last hymn he derived a temporary solace from finding his own name inscribed in dull red characters in the leaf of his hymn-book, with, underneath in the same colour, the fateful inscription, “Written in blood by Garrett Dysart.” The thought of his younger brother utilising pleasantly a cut finger and the long minutes of the archdeacon’s sermon, had for the moment inspired Christopher with a sympathetic amusement, but he had relapsed into his pristine gloom. He knew the hymn perfectly well by this time, and his inoffensive tenor joined mechanically with the other voices, while his eyes roamed idly over the two rows of people in front of him. There was nothing suggestive of ethereal devotion about Pamela’s neighbours. Miss Mullen’s heaving shoulders and extended jaw spoke of nothing but her determination to out-scream everyone else; Miss Hope-Drummond and the curate, on the bench in front of him, were singing primly out of the same hymn-book, the curate obviously frightened, Miss Hope-Drummond as obviously disgusted. The Misses Beattie were furtively eyeing Miss Hope-Drummond’s costume; Miss Kathleen Baker was openly eyeing the curate, whose hymn-book she had been wont to share at happier choir practices, and Miss Fitzpatrick, seated at the end of the row, was watching from the gallery window with unaffected interest the progress of the usual weekly hostilities between Pamela’s dachshund and the sexton’s cat, and was not even pretending to occupy herself with the business in hand. Christopher’s eyes rested on her appraisingly,