Once more the children got to their feet. Miss Williams beat time in the air, slowly, and sang the first line of the hymn which otherwise Miss Crane might not easily have recognised; and then paused, beat again and set them all singing, unevenly, shyly, and in voices still unused to the odd, flat, foreign scale.
‘There’s a Friend for little children
Above the bright blue sky,
A Friend Who never changes,
Whose love will never die;
Our earthly friends may fail us,
And change with changing years,
This Friend is always worthy,
Of that dear Name He bears.
There’s a rest for little children,
Above the bright blue sky,
Who love the Blessèd Saviour
And to the Father cry;
A rest from every turmoil,
From sin and sorrow free,
Where every little pilgrim
Shall rest eternally.’
As they sang Miss Crane looked at them. They were a ragged little band. As a child the hymn had been one of her favourites and if it had been sung as English children sang it, with a piano or organ accompaniment, as it used to be sung in her father’s shabby school, she might have been borne down by an intensity of feeling, or regret and sadness for a lost world, a lost comfort, a lost magic. But she was not borne down, nor uplifted. She felt an incongruity, a curious resistance to the idea of subverting these children from worship of their own gods to worship of one she herself had sung to when young but now had no strong faith in. But she had, too, a sudden passionate regard for them. Hungry, poor, deprived, hopelessly at a disadvantage, they yet conveyed to her an overwhelming impression of somewhere – and it could only be there, in the Black Town – being loved. But love, as their parents knew, was not enough. Hunger and poverty could never be reduced by love alone. There were, to begin with, free chappattis.
And it came to Miss Crane then that the only excuse she or anyone of her kind had to be there, alone, sitting on a chair, holding a nosegay, being sung to, the object of the awe of uninstructed children, was if they sat there conscious of a duty to promote the cause of human dignity and happiness. And then she was no longer really ashamed of her dress, or deeply afraid of the schoolhouse or of the smell of burning cowpats. The cowpats were all that there was for fuel, the schoolhouse was small and stuffy because there was not enough money spent, not enough available, to make it large and airy, and her dress was only a symbol of the status she enjoyed and the obligations she had not to look afraid, not to be afraid, to acquire a personal grace, a personal dignity, as much as she could of either, as much as was in her power, so that she could be a living proof of there being, somewhere in the world, hope of betterment.
When the singing was sung and she had said, in halting Hindustani, ‘Thank you. It was very good,’ she asked Miss Williams whether she could stay while they had their chappattis and perhaps watch some of their games, and then, if Miss Williams had time to answer, ask one or two questions about the kind of work a teacher was required to do.
And so Miss Crane set out on the long and lonely, difficult and sometimes dangerous road that led her, many years later, to Mayapore, where she was superintendent of the district’s Protestant mission schools.
*
Although she had taken Mr Gandhi’s portrait down, there was one picture, much longer in her possession, which she kept hanging on the wall above the desk in her combined bedroom and study. She had had it since 1914, the fifth year of her service in the mission, the year in which she left the school in Muzzafirabad, where she had assisted a Mr Cleghorn, to take over on her own account the school in Ranpur.
The picture had been a gift, a parting token of esteem. The head of the mission himself had presided over the gathering at which the presentation was made, although it was Mr Cleghorn who handed the gift over while the children clapped and cheered. In the drawer of her desk she still had the inscribed plate that had been fixed to the frame. The plate was of gilt, now discoloured, and the lettering of the inscription was black, faded, but still legible. It said: ‘Presented to Edwina Lavinia Crane, in recognition of her courage, by the staff and pupils of the School of the Church of England Mission, Muzzafirabad, NWFP.’
Before she reached Ranpur she removed the plate because she was embarrassed by the word courage. All she had done was to stand on the threshold of the schoolhouse, into which she had already herded the children, and deny entry – in fluent Urdu, using expressions she could hardly have repeated to her superiors – to a detachment of half-hearted rioters. At least, she had assumed they were half-hearted, although later, only an hour later, they or more determined colleagues sacked and burned the Catholic mission house down the road, attacked the police station and set off for the civil lines where the military dispersed them by shooting one of the ringleaders and firing the rest of their volleys into the air. For four days the town lived under martial law and when peace was restored Miss Crane found herself disagreeably in the public eye. The District Magistrate called on her, accompanied by the District Superintendent of Police, and thanked her. She felt it imperative to say that she was by no means certain she had done the right thing, that she wondered, in fact, whether it wouldn’t have been better to have let the rioters in to burn whatever it was they wanted to get rid of, the prayer books or the crucifix. She had refused to let them and so they had gone away angrier than ever, and burned the Catholics to the ground and caused a great deal of trouble.
When Mr Cleghorn returned from leave, anxious for news of what he had only heard as rumour, she decided to apply for a transfer so that she could get on with her job without constant reminders of what she thought of as her false position. She told Mr Cleghorn that it was quite impossible to teach children who, facing her, saw her as a cardboard heroine and no doubt had, each of them, only one eye on the blackboard because the other was fixed on the doorway, expectant of some further disturbance they wanted her to quell. Mr Cleghorn said that he would be sorry to see her go, but that he quite understood and that if she really meant what she said he would write personally to mission headquarters to explain matters.
When the instructions for her transfer came she discovered that she had been promoted by being put in sole charge of the school at Ranpur. Before she left there was a tea, and then the presentation of the picture – a larger, more handsomely framed copy of the picture on the wall behind her desk in the Muzzafirabad schoolroom, a semi-historical, semi-allegorical picture entitled The Jewel in Her Crown, which showed the old Queen (whose image the children now no doubt confused with the person of Miss Crane) surrounded by representative figures of her Indian Empire: princes, landowners, merchants, money-lenders, sepoys, farmers, servants, children, mothers, and remarkably clean and tidy beggars. The Queen was sitting on a golden throne, under a crimson canopy, attended by her temporal and spiritual aides: soldiers, statesmen and clergy. The canopied throne was apparently in the open air because there were palm trees and a sky showing a radiant sun bursting out of bulgy clouds such as, in India, heralded the wet monsoon. Above the clouds flew the prayerful figures of the angels who were the benevolent spectators of the scene below. Among the statesmen who stood behind the throne one was painted in the likeness of Mr Disraeli holding up a parchment map of India to which he pointed with obvious pride but tactful humility. An Indian prince, attended by native servants, was approaching the throne bearing a velvet cushion on which he offered a large and sparkling gem. The children in the school thought that this gem was the jewel referred to in the title. Miss Crane had been bound to explain that the gem was simply representative of tribute, and that the jewel of the title was India herself, which had been transferred from the rule of the British East India Company to the rule of the British crown in 1858, the year after the Mutiny when the sepoys in the service of the Company (that first set foot in India in the seventeenth century) had risen in rebellion, and attempts had been made to declare an old moghu
l prince king in Delhi, and that the picture had been painted after 1877, the year in which Victoria was persuaded by Mr Disraeli to adopt the title Empress of India.
The Jewel in Her Crown was a picture about which Miss Crane had very mixed feelings. The copy that already hung on the classroom wall in Muzzafirabad when she first went there as assistant to Mr Cleghorn she found useful when teaching the English language to a class of Muslim and Hindu children. This is the Queen. That is her crown. The sky there is blue. Here there are clouds in the sky. The uniform of the sahib is scarlet. Mr Cleghorn, an ordained member of the Church and an enthusiastic amateur scholar of archaeology and anthropology, and much concerned with the impending, never-got-down-to composition of a monograph on local topography and social customs, had devoted most of his time to work for the Church and for the older boys in the middle school. He did this at the expense of the junior school, as he was aware. When Miss Crane was sent to him from Lahore in response to his requests for more permanent help in that field of his responsibility he had been fascinated to notice the practical use she made of a picture which, to him, had never been more than something hanging on the wall to brighten things up
He was fond of remarking on it, whenever he found her in class with half a dozen wide-eyed children gathered round her, looking from her to the picture as she took them through its various aspects, step by step. ‘Ah, the picture again, Miss Crane,’ he would say, ‘admirable, admirable. I should never have thought of it. To teach English and at the same time love of the English.’
She knew what he meant by love of the English. He meant love of their justice, love of their benevolence, love – anyway – of their good intentions. As often as she was irritated by his simplicity, she was touched by it. He was a good man: tireless, inquisitive, charitable. Mohammedanism and Hinduism, which still frightened her in their outward manifestations, merely amused him: as a grown man might be amused by the grim, colourful but harmless games of children. If there were times when she thought him heedless of the misery of men, she could not help knowing that in his own way he never forgot the glory of God. Mr Cleghorn’s view was that God was best served, best glorified, by the training and exercise of the intellect. Physically timid – as she knew him to be from his fear of dogs, his mortal terror, once, of a snake which the watchman had to be sent for to despatch, his twitching cheeks and trembling hands when they were met on one or two occasions on the outskirts of villages by delegations of men who looked fierce but were actually friendly – he was morally courageous, and for this she admired him.
He fought long and hard for any money he thought the mission could afford and he could spend well. He had an ear and an eye for injustice and had been known to plead successfully with the District Magistrate for suspension of sentences or quashing of convictions in cases he believed deserved it. Mr Cleghorn – the District Magistrate used to say – was wasted in the Church and should have gone into the Civil.
He showed most determination, however, in promoting the education of boys of the middle-class – Anglo-Indians, Hindus, Muslims, Sikhs. If they had above average intelligence they were all one to him, all ‘children whom the Lord has blessed with brains and sensibilities’. His work here was chiefly that of detecting just where a youth’s talents lay and in persuading him and his parents to set a course in that direction. ‘Look at young Shankar Ram,’ he might say to Miss Crane, who had but the vaguest notion which Shankar Ram he referred to, ‘he says he wants to be a civil servant. They all want to be civil servants. What chance has he got, though, beyond the post office and telegraphs? He should be an engineer. It may not be in his blood, but it is in his heart and mind.’ And so he would set about depressingly often without success looking for ways, for means, for opportunities to send young Shankar Ram out into the great world beyond Muzzafirabad to build bridges. In this, Miss Crane used to think, Mr Cleghorn looked remarkably unlike any ordinary man of God, for the Shankar Ram in question, ninety-nine times out of a hundred, turned out to be as far away from conversion to Christianity as the women of India were from social emancipation. And over the question of women, British or Indian, Mr Cleghorn was infuriatingly conservative. Women’s interests were his blind spot. ‘Your sex is made, alas,’ he said once, ‘and yet not alas, no, Heaven be praised, your sex is made, Miss Crane, for marriage or for God,’ and in the one intimate moment there ever was between them, took her hand and patted it, as if to comfort her for the fact that the first, the temporal of these blessings, was certainly denied her.
Sometimes Miss Crane wanted to point to the picture on the wall which showed the old Queen resplendent on her throne and say to him, ‘Well there, anyway, was a woman of affairs,’ but never did, and was touched when she unwrapped the presentation parcel and saw an even gaudier copy of the enigmatic picture; touched because she knew that Mr Cleghorn, deeply considering the parting gift she might most value, had characteristically hit upon the one she could have done without.
But a couple of days later, as he saw her into the Ladies’ First-Class compartment of a train, while young Joseph, a poor boy who had worked in the mission kitchens but had asked to serve and was coming with her, was seeing to the luggage, Mr Cleghorn handed her his own personal gift which, unwrapped as the train moved out into the bleak frontier landscape, turned out to be a copy of a book called Fabian Essays in Socialism, edited by Mr George Bernard Shaw. It was inscribed to ‘My friend and colleague, Edwina Crane,’ signed, ‘Arthur St John Cleghorn’, and dated July 12th, 1914.
This book she still had, in the bookcase in her room in Mayapore.
*
When she paused in the work she was doing at her desk, as she felt entitled to do at her age, which was one for contemplation as well as action, she would sometimes glance at the picture and find her attention fixed on it. After all these years it had acquired a faint power to move her with the sense of time past, of glory departed, even although she knew there had never been glory there to begin with. The India of the picture had never existed outside its gilt frame, and the emotions the picture was meant to conjure up were not much more than smugly pious. And yet now, as always, there was a feeling somewhere in it of shadowy dignity.
It still stirred thoughts in her that she found difficult to analyse. She had devoted her life, in a practical and unimportant way, to trying to prove that fear was evil because it promoted prejudice, that courage was good because it was a sign of selflessness, that ignorance was bad because fear sprang from it, that knowledge was good because the more you knew of the world’s complexity the more clearly you saw the insignificance of the part you played. It was, possibly, Miss Crane felt, this concept of personal insignificance which, lying like the dark shadows of the rain clouds behind the gaudy colours of the picture of the Queen and her subjects, informed them with a graver splendour. There was, for Miss Crane, in the attitude of the old Queen on her throne, something ironically reminiscent of the way she herself had sat years ago on a dais, dressed in white muslin; and the message that she was always trying to read into this stylised representation of tribute and matriarchal care was one that conveyed the spirit of dignity without pomp, such as a mother, her own mother, had conveyed to her as a child, and the importance of courageously accepting duties and obligations, not for self-aggrandizement, but in self-denial, in order to promote a wider happiness and well-being, in order to rid the world of the very evils the picture took no account of: poverty, disease, misery, ignorance and injustice.
And it was because (turning late, but perhaps not too late, to her own countrymen) she saw in a young man called Private Clancy, beneath the youthful brash male urge to thrust himself into prominence (and she was not blind to that aspect of his behaviour) a spark of tenderness, an instinct for self-denial that made him see to it that she had a slice of cake and sweetened tea, and, perhaps (she admitted it) because he reminded her physically in his plebeian way of the privileged and handsome Lieutenant Orme (who was killed in the First World War and won a posthumous VC
) that she thought of Clancy more often than she thought of his more plodding comrades. The tenderness, she guessed, was wafer-thin, but it was there, she believed; there, for instance, in his cheery attitude to Joseph with whom he cracked good-natured jokes in soldier’s Urdu that set the old servant grinning and looking forward to the soldiers’ visits; there in his friendship with the boy called Barrett who was clumsy, dull, ugly and unintelligent. In fact it was his friendship with Barrett, as much as his special politeness to her and attitude to Joseph, and the way he and Barrett never missed coming to tea, that caused her to consider what she really meant, in Clancy’s case, by tenderness; caused her, indeed, consciously to use that word in her thoughts about him. She knew that boys like Clancy often made friends of those whose physical and mental attributes would show their own superior ones to the best advantage. She knew that in choosing Barrett as what she understood was called a mucker, Clancy was simply conforming to an elementary rule of psychological behaviour. But whereas in the normal way Barrett would have been used by a boy like Clancy as a butt, frequently mocked, defended only if others tried to mock him, she felt that Clancy never used Barrett to such a purpose. While Clancy was present the others never mocked him. Poor Barrett was a primitive. In that spry company he could have stood out like a scarecrow in a field of cocky young green wheat. For Miss Crane, for a while, he did, but then she noticed that for the others he did not, or no longer did, and she thought that this was because over a period, through Clancy’s influence, Barrett had been accepted as one of them, that with Clancy’s help Barrett had developed facets of his personality that they recognised as those of the norm, and, through Clancy’s insistence, no longer noticed facets they must at first have thought foreign.
It was Barrett who – when the rains came and tea had to be indoors, and she gave the soldiers the run of the bungalow and even remembered to provide ashtrays and cigarettes and invite them to smoke rather than spend an hour and a half in an agony of deprivation whose relief she had originally noticed but not easily understood in the way they all lighted up directly they got to the gate on the first leg of the journey home – Barrett who first commented on the picture of the old Queen on her canopied throne; commented on in his dull-ox way, simply by going up to and staring at it, Clancy who spoke for both of them by joining Barrett and then saying, ‘It’s what they call an allegorical picture, isn’t it, Miss Crane?’ using the word with a kind of pride in his hard-won education that she found endearing and a bit shattering, because, watching Barrett looking at the picture, she had been on the point of saying, ‘It’s really an allegory, Mr Barrett,’ but had not, remembering that Barrett would not begin to know what an allegory was.