Man and Superman by George Bernard Shaw (world of reading TXT) 📕

at the top of the hill. Between us and this platform is a flower garden with a circular basin and fountain in the centre, surrounded by geometrical flower beds, gravel paths, and clipped yew trees in the genteelest order. The garden is higher than our lawn; so we reach it by a few steps in the middle of its embankment. The platform is higher again than the garden, from which we mount a couple more steps to look over the balustrade at a fine view of the town up the valley and of the hills that stretch away beyond it to where, in the remotest distance, they become mountains. On our left is the villa, accessible by steps from the left hand corner of the garden. Returning from the platform through the garden and down again to the lawn (a movement which leaves the villa behind us on our right) we find evidence of literary interests on the part of the tenants in the fact that there is no tennis net nor set of croquet hoops, but, on our left, a little iron garden table with books on it, mostly yellow-backed, and a chair beside it. A chair on the right has also a couple of open books upon it. There are no newspapers, a circumstance which, with the absence of games, might lead an intelligent spectator to the most far reaching conclusions as to the sort of people who live in the villa. Such speculations are checked, however, on this delightfully fine afternoon, by the appearance at a little gate in a paling on our left, of Henry Straker in his professional costume. He opens the gate for an elderly gentleman, and follows him on to the lawn.

This elderly gentleman defies the Spanish sun in a black frock coat, tall silk bat, trousers in which narrow stripes of dark grey and lilac blend into a highly respectable color, and a black necktie tied into a bow over spotless linen. Probably therefore a man whose social position needs constant and scrupulous affirmation without regard to climate: one who would dress thus for the middle of the Sahara or the top of Mont Blanc. And since he has not the stamp of the class which accepts as its life-mission the advertizing and maintenance of first rate tailoring and millinery, he looks vulgar in his finery, though in a working dress of any kind he would look dignified enough. He is a bullet cheeked man with a red complexion, stubbly hair, smallish eyes, a hard mouth that folds down at the corners, and a dogged chin. The looseness of skin that comes with age has attacked his throat and the laps of his cheeks; but he is still hard as an apple above the mouth; so that the upper half of his face looks younger than the lower. He has the self-confidence of one who has made money, and something of the truculence of one who has made it in a brutalizing struggle, his civility having under it a perceptible menace that he has other methods in reserve if necessary. Withal, a man to be rather pitied when he is not to be feared; for there is something pathetic about him at times, as if the huge commercial machine which has worked him into his frock coat had allowed him very little of his own way and left his affections hungry and baffled. At the first word that falls from him it is clear that he is an Irishman whose native intonation has clung to him through many changes of place and rank. One can only guess that the original material of his speech was perhaps the surly Kerry brogue; but the degradation of speech that occurs in London, Glasgow, Dublin and big cities generally has been at work on it so long that nobody but an arrant cockney would dream of calling it a brogue now; for its music is almost gone, though its surliness is still perceptible. Straker, as a very obvious cockney, inspires him with implacable contempt, as a stupid Englishman who cannot even speak his own language properly. Straker, on the other hand, regards the old gentleman’s accent as a joke thoughtfully provided by Providence expressly for the amusement of the British race, and treats him normally with the indulgence due to an inferior and unlucky species, but occasionally with indignant alarm when the old gentleman shows signs of intending his Irish nonsense to be taken seriously.

Straker I’ll go tell the young lady. She said you’d prefer to stay here. He turns to go up through the garden to the villa. Malone Who has been looking round him with lively curiosity. The young lady? That’s Miss Violet, eh? Straker Stopping on the steps with sudden suspicion. Well, you know, don’t you? Malone Do I? Straker His temper rising. Well, do you or don’t you? Malone What business is that of yours? Straker, now highly indignant, comes back from the steps and confronts the visitor. Straker I’ll tell you what business it is of mine. Miss Robinson⁠— Malone Interrupting. Oh, her name is Robinson, is it? Thank you. Straker Why, you don’t know even her name? Malone Yes I do, now that you’ve told me. Straker After a moment of stupefaction at the old man’s readiness in repartee. Look here: what do you mean by gittin into my car and lettin me bring you here if you’re not the person I took that note to? Malone Who else did you take it to, pray? Straker I took it to Mr. Ector Malone, at Miss Robinson’s request, see? Miss Robinson is not my principal: I took it to oblige her. I know Mr. Malone; and he ain’t you, not by a long chalk. At the hotel they told me that your name is Ector Malone. Malone Hector Malone. Straker With calm superiority. Hector in your own country: that’s what comes o livin in provincial places like Ireland and America. Over here