Descent into hell

"It undoubtedly needs", Peter Stanhope said, "a final pulling together, but there's hardly time for that before July, and if you're willing to take it as it is, why—" He made a gesture of presentation and dropped his eyes, thus missing the hasty reciprocal gesture of gratitude with which Mrs. Parry immediately replied on behalf of the dramatic culture of Battle Hill. Behind and beyond her the culture, some thirty faces, unessentially exhibited to each other by the May sunlight, settled to attention—naturally, efficiently, critically, solemnly, reverently. The grounds of the Manor House expanded beyond them; the universal sky sustained the whole. Peter Stanhope began to read his play. Battle Hill was one of the new estates which had been laid out after the war. It lay about thirty miles north of London and took its title from the more ancient name of the broad rise of ground which it covered. It had a quiet ostentation of comfort and culture. The poor, who had created it, had been as far as possible excluded, nor (except as hired servants) were they permitted to experience the bitterness of others' stairs. The civil wars which existed there, however bitter, were conducted with all bourgeois propriety. Politics, religion, art, science, grouped themselves, and courteously competed for numbers and reputation. This summer, however, had seen a spectacular triumph of drama, for it had become known that Peter Stanhope had consented to allow the restless talent of the Hill to produce his latest play.