Before them, as they turn a corner, the door of the Dining-hall looms up and, obliterating most of it, with his hand on the brass handle, is Swelter. He swings open the door for them and they enter the Dining-Hall. They are the last to arrive, and more through coincidence than design this is as it should be – Titus being the guest of honour, or perhaps the
Fuchsia climbs the seven wooden steps which lead up to the rostrum and the long table. Away to her right spreads the cold, echoing hall, with the pool of rain-drips spreading on the stone floor. The drumming of the thick vertical rain on the roof is a background to everything that happens. Reaching down with her right hand Fuchsia helps Mrs Slagg up the last two steps. The assemblage, perfectly silent at the long table, have turned their heads towards Nannie with her momentous bundle, and when both her feet are well established upon the level of the rostrum the company rise and there is a scraping of chair-legs on the board. It seems to Fuchsia that high, impenetrable forests have risen before her, great half-lit forms of a nature foreign to her own – belonging to some other kingdom. But though for a moment she thinks of this, she is not feeling it, for she is subjugated beneath the weight of her fear for her father.
It is with a shock of indefinable emotion that she sees him as she lifts her head. She had never for a moment contemplated his being able to attend the Breakfast, imagining that the Doctor would be with him in his bedroom. So vivid in her mind is the picture of her father in his room as she had last seen him, that to find him in this so different atmosphere gives her for a moment a gush of hope – hope that she had been dreaming – that she had not been to his room – that he had not been upon the mantelpiece with his round, loveless eyes; for now as she stares at him he is so gentle and sad and thin and she can see that there is a weak smile of welcome upon his lips.
Swelter, who has followed them in, is now ushering Mrs Slagg into a chair on whose back-rest is painted the words: ‘FOR A SERVANT’. There is a space cleared before her on the table in the shape of a half-circle, in which has been laid a long cushion. When Mrs Slagg sits down she finds that her chin is on a level with the table-edge, and it is with difficulty that she lifts the lilac bundle high enough to place it on the cushion. On her left is Gertrude Groan. Mrs Slagg glances at her apprehensively. She is gazing at an expanse of darkness, for the black clothes of the Countess seem to have no ending. She lifts her eyes a little and there is still darkness. She lifts them more, and still the darkness climbs. Raising her whole head and staring almost vertically above her she imagines that, near the zenith of her vision, she can descry a warmth of colour in the night. To think that an hour earlier she had been helping to plait those locks that now appear to be brushing the flaking cherubs of the ceiling.
On her right is the Earl. He leans back in his chair, very listless and weak, but he still smiles wanly at his daughter, who is on the opposite side of the table and facing her mother. On Fuchsia’s right and left sit Irma Prunesquallor and her brother respectively, The Doctor and Fuchsia have their little fingers interlocked under the table. Cora is sitting opposite to the Earl her brother, and on the left of the Countess, and facing Irma, is Clarice. A fine, succulent ham, lit by a candle, takes up most of the space at the Earl’s and Cora’s end of the table, where Swelter presides and has now taken up his official duties armed with carving-knife and steel. At the other end of the table Barquentine smoulders on a high chair.
The eating is done spasmodically whenever a gap of time appears between the endless formalities and ornate procedures which Barquentine sets in motion at the correct time-honoured moments. Tiresome in the extreme for all those present, it would be hardly less tedious for the reader to be obliged to suffer the long catalogue of Breakfast ritual, starting with the smashing of the central Vase, whose shattered fragments are gathered together in two heaps, one at the head and the other at the feet of Titus, and ending with the extraordinary spectacle of Barquentine trampling (apparently as a symbol of the power invested in his hands as warder of the unbroken laws of Gormenghast), up and down the length of the Breakfast table seven times amidst the
Unknown to any who sit there at the long table there are not nine of them upon the daïs – but ten. All through the meal there have been ten.
