The Unbearable Bassington by Hector Hugh Munro (Saki) (ebook reader 8 inch .txt) 📖

had time permitted.

"I think I could tame young Bassington if I had your opportunities," a form-master once remarked to a colleague whose House had the embarrassing distinction of numbering Comus among its inmates.

"Heaven forbid that I should try," replied the housemaster.

"But why?" asked the reformer.

"Because Nature hates any interference with her own arrangements, and if you start in to tame the obviously untameable you are taking a fearful responsibility on yourself."

"Nonsense; boys are Nature's raw material."

"Millions of boys are. There are just a few, and Bassington is one of them, who are Nature's highly finished product when they are in the schoolboy stage, and we, who are supposed to be moulding raw material, are quite helpless when we come in contact with them."

"But what happens to them when they grow up?"

"They never do grow up," said the housemaster; "that is their tragedy. Bassington will certainly never grow out of his present stage."

"Now you are talking in the language of Peter Pan," said the form- master.

"I am not thinking in the manner of Peter Pan," said the other. "With all reverence for the author of that masterpiece I should say he had a wonderful and tender insight into the child mind and knew nothing whatever about boys. To make only one criticism on that particular work, can you imagine a lot of British boys, or boys of any country that one knows of, who would stay contentedly playing children's games in an underground cave when there were wolves and pirates and Red Indians to be had for the asking on the other side of the trap door?"

The form-master laughed. "You evidently think that the 'Boy who would not grow up' must have been written by a 'grown-up who could never have been a boy.' Perhaps that is the meaning of the 'Never- never Land.' I daresay you're right in your criticism, but I don't agree with you about Bassington. He's a handful to deal with, as anyone knows who has come in contact with him, but if one's hands weren't full with a thousand and one other things I hold to my opinion that he could be tamed."

And he went his way, having maintained a form-master's inalienable privilege of being in the right.

* * * * *

In the prefects' room, Comus busied himself with the exact position of a chair planted out in the middle of the floor.

"I think everything's ready," he said.

Rutley glanced at the clock with the air of a Roman elegant in the Circus, languidly awaiting the introduction of an expected Christian to an expectant tiger.

"The kid is due in two minutes," he said.

"He'd jolly well better not be late," said Comus.

Comus had gone through the mill of many scorching castigations in his earlier school days, and was able to appreciate to the last ounce the panic that must be now possessing his foredoomed victim, probably at this moment hovering miserably outside the door. After all, that was part of the fun of the thing, and most things have their amusing side if one knows where to look for it.

There was a knock at the door, and Lancelot entered in response to a hearty friendly summons to "come in."

"I've come to be caned," he said breathlessly; adding by way of identification, "my name's Chetrof."

"That's quite bad enough in itself," said Comus, "but there is probably worse to follow. You are evidently keeping something back from us."

"I missed a footer practice," said Lancelot

"Six," said Comus briefly, picking up his cane.

"I didn't see the notice on the board," hazarded Lancelot as a forlorn hope.

"We are always pleased to listen to excuses, and our charge is two extra cuts. That will be eight. Get over."

And Comus indicated the chair that stood in sinister isolation in the middle of the room. Never had an article of furniture seemed more hateful in Lancelot's eyes. Comus could well remember the time when a chair stuck in the middle of a room had seemed to him the most horrible of manufactured things.

"Lend me a piece of chalk," he said to his brother prefect.

Lancelot ruefully recognised the truth of the chalk-line story.

Comus drew the desired line with an anxious exactitude which he would have scorned to apply to a diagram of Euclid or a map of the Russo-Persian frontier.

"Bend a little more forward," he said to the victim, "and much tighter. Don't trouble to look pleasant, because I can't see your face anyway. It may sound unorthodox to say so, but this is going to hurt you much more than it will hurt me."

There was a carefully measured pause, and then Lancelot was made vividly aware of what a good cane can be made to do in really efficient hands. At the second cut he projected himself hurriedly off the chair.

"Now I've lost count," said Comus; "we shall have to begin all over again. Kindly get back into the same position. If you get down again before I've finished Rutley will hold you over and you'll get a dozen."

Lancelot got back on to the chair, and was re-arranged to the taste of his executioner. He stayed there somehow or other while Comus made eight accurate and agonisingly effective shots at the chalk line.

"By the way," he said to his gasping and gulping victim when the infliction was over, "you said Chetrof, didn't you? I believe I've been asked to be kind to you. As a beginning you can clean out my study this afternoon. Be awfully careful how you dust the old china. If you break any don't come and tell me but just go and drown yourself somewhere; it will save you from a worse fate."

"I don't know where your study is," said Lancelot between his chokes.

"You'd better find it or I shall have to beat you, really hard this time. Here, you'd better keep this chalk in your pocket, it's sure to come in handy later on. Don't stop to thank me for all I've done, it only embarrasses me."

As Comus hadn't got a study Lancelot spent a feverish half-hour in looking for it, incidentally missing another footer practice.

"Everything is very jolly here," wrote Lancelot to his sister Emmeline. "The prefects can give you an awful hot time if they like, but most of them are rather decent. Some are Beasts. Bassington is a prefect though only a junior one. He is the Limit as Beasts go. At least I think so."

Schoolboy reticence went no further, but Emmeline filled in the gaps for herself with the lavish splendour of feminine imagination. Francesca's bridge went crashing into the abyss.


CHAPTER III


On the evening of a certain November day, two years after the events heretofore chronicled, Francesca Bassington steered her way through the crowd that filled the rooms of her friend Serena Golackly, bestowing nods of vague recognition as she went, but with eyes that were obviously intent on focussing one particular figure. Parliament had pulled its energies together for an Autumn Session, and both political Parties were fairly well represented in the throng. Serena had a harmless way of inviting a number of more or less public men and women to her house, and hoping that if you left them together long enough they would constitute a salon. In pursuance of the same instinct she planted the flower borders at her week-end cottage retreat in Surrey with a large mixture of bulbs, and called the result a Dutch garden. Unfortunately, though you may bring brilliant talkers into your home, you cannot always make them talk brilliantly, or even talk at all; what is worse you cannot restrict the output of those starling-voiced dullards who seem to have, on all subjects, so much to say that was well worth leaving unsaid. One group that Francesca passed was discussing a Spanish painter, who was forty-three, and had painted thousands of square yards of canvas in his time, but of whom no one in London had heard till a few months ago; now the starling-voices seemed determined that one should hear of very little else. Three women knew how his name was pronounced, another always felt that she must go into a forest and pray whenever she saw his pictures, another had noticed that there were always pomegranates in his later compositions, and a man with an indefensible collar knew what the pomegranates "meant." "What I think so splendid about him," said a stout lady in a loud challenging voice, "is the way he defies all the conventions of art while retaining all that the conventions stand for." "Ah, but have you noticed - " put in the man with the atrocious collar, and Francesca pushed desperately on, wondering dimly as she went, what people found so unsupportable in the affliction of deafness. Her progress was impeded for a moment by a couple engaged in earnest and voluble discussion of some smouldering question of the day; a thin spectacled young man with the receding forehead that so often denotes advanced opinions, was talking to a spectacled young woman with a similar type of forehead, and exceedingly untidy hair. It was her ambition in life to be taken for a Russian girl-student, and she had spent weeks of patient research in trying to find out exactly where you put the tea-leaves in a samovar. She had once been introduced to a young Jewess from Odessa, who had died of pneumonia the following week; the experience, slight as it was, constituted the spectacled young lady an authority on all things Russian in the eyes of her immediate set.

"Talk is helpful, talk is needful," the young man was saying, "but what we have got to do is to lift the subject out of the furrow of indisciplined talk and place it on the threshing-floor of practical discussion."

The young woman took advantage of the rhetorical full-stop to dash in with the remark which was already marshalled on the tip of her tongue.

"In emancipating the serfs of poverty we must be careful to avoid the mistakes which Russian bureaucracy stumbled into when liberating the serfs of the soil."

She paused in her turn for the sake of declamatory effect, but recovered her breath quickly enough to start afresh on level terms with the young man, who had jumped into the stride of his next sentence.

"They got off to a good start that time," said Francesca to herself; "I suppose it's the Prevention of Destitution they're hammering at. What on earth would become of these dear good people if anyone started a crusade for the prevention of mediocrity?"

Midway through one of the smaller rooms, still questing for an elusive presence, she caught sight of someone that she knew, and the shadow of a frown passed across her face. The object of her faintly signalled displeasure was Courtenay Youghal, a political spur-winner who seemed absurdly youthful to a generation that had never heard of Pitt. It was Youghal's ambition - or perhaps his hobby - to infuse into the greyness of modern political life some of the colour of Disraelian dandyism, tempered with the correctness of Anglo-Saxon taste, and supplemented by the flashes of wit that were inherent from the Celtic strain in him. His success