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Fair Margaret: A Portrait

by F. Marion Crawford · English · Gutenberg #25838 · 572,139 chars · public domain (US)

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Title: Fair Margaret: A Portrait

Author: F. Marion Crawford

Illustrator: Horace T. Carpenter


        
Release date: June 19, 2008 [eBook #25838]
                Most recently updated: January 3, 2021

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK FAIR MARGARET: A PORTRAIT ***




Produced by Taavi Kalju and the Online Distributed
Proofreading Team at https://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)






[Illustration: "He pressed the handsome chalked hand in his own and
then to his lips in a very un-English way."]



FAIR MARGARET


_A PORTRAIT_



By

F. MARION CRAWFORD

AUTHOR OF "SARACINESCA," "SANT' ILARIO," "WHOSOEVER
SHALL OFFEND," ETC., ETC.


_WITH ILLUSTRATIONS BY
HORACE T. CARPENTER_



NEW YORK
GROSSET & DUNLAP
PUBLISHERS

COPYRIGHT, 1905,
BY F. MARION CRAWFORD.

COPYRIGHT, 1905,
BY THE MACMILLAN COMPANY.

Set up and electrotyped. Published November, 1905. Reprinted
November, December, 1905; April, 1906; July, September, 1908;
July, 1909; February, twice, 1910.

_Thirty-seventh Thousand_

Norwood Press
J. S. Cushing & Co.--Berwick & Smith Co
Norwood, Mass., U.S.A.




FAIR MARGARET




CHAPTER I


'I am a realist,' said Mr. Edmund Lushington, as if that explained
everything. 'We could hardly expect to agree,' he added.

It sounded very much as if he had said: 'As you are not a realist, my
poor young lady, I can of course hardly expect you to know anything.'

Margaret Donne looked at him quietly and smiled. She was not very
sensitive to other people's opinions; few idealists are, for they
generally think more of their ideas than of themselves. Mr. Lushington
had said that he could not agree with her, that was all, and she was
quite indifferent. She had known that he would not share her opinion,
when the discussion had begun, for he never did, and she was glad of
it. She also knew that her smile irritated him, for he did not resemble
her in the very least. He was slightly aggressive, as shy persons often
are: and yet, like a good many men who profess 'realism,' brutal
frankness and a sweeping disbelief of everything not 'scientifically'
true, Mr. Lushington was almost morbidly sensitive to the opinion of
others. Criticism hurt him; indifference wounded him to the quick;
ridicule made him writhe.

He was a fair man with a healthy skin, and his eyes were blue; but they
had a particularly disagreeable trick of looking at one suddenly for an
instant, with a little pinching of the lids, and a slight glitter,
turning away again in a displeased way, as if he had expected to be
insulted, and was sure that the speaker was slighting him, at the very
least. He often blushed when he said something sharp. He wished he were
dark, because dark men could say biting things without blushing, and
pale, because he felt that it was not interesting to be pink and white.
His hair, too, was smoother and softer than he could have wished it. He
had tried experiments with his beard and moustache, and had finally
made up his mind to let both grow, but he still looked hopelessly neat.
When he pushed his hair back from his forehead with a devastating
gesture it simply became untidy, as if he had forgotten to brush it. At
last he had accepted his fate, and he resigned himself to what he
considered his physical disadvantages, but no one would ever know how
he had studied the photographs of the big men in the front of things,
trying to detect in them some single feature to which his own bore a
faint resemblance. Hitherto he had failed.

Yet he was 'somebody,' and perhaps it means more to be somebody
nowadays, in the howling fight for place and acknowledgment, than it
meant in the latter part of the nineteenth century. How easy life was
in the early eighties, compared with this, how mild were the ways of
nations, how primitive, pure and upright the dealings of financiers in
that day of pristine virtue and pastoral simplicity! It was all very
well to be an idealist then, Mr. Lushington sometimes said to Margaret;
the world was young, then; there was time for everything, then; there
was room for everybody, then; even the seasons were different, then! At
least, all old people say so, and it can hardly be supposed that all
persons over fifty years of age belong to a secret and powerful
association of liars, organised and banded together to deceive the
young.

Mr. Lushington was somebody, even at the beginning of this truthful
little tale, and that was some time ago; and if anything about him
could have really irritated Margaret Donne, it was that she could not
understand the reason of his undeniable importance. The people who
succeed in life, and in the arts and professions, are not always the
pleasantest people, nor even the nicest. Miss Donne had found this out
before she was twenty, and she was two years older now. She had learned
a good many other things more or less connected with human nature, and
more or less useful to a young woman in her position.

She remembered two or three of those comparatively recent discoveries
as she smiled at Mr. Lushington and observed that her smile annoyed
him. Not that Margaret was cruel or fond of giving pain for the sake of
seeing suffering; but she could be both when she was roused to defend
her beliefs, her ideals, or even her tastes. The cool ferocity of some
young women is awful. Judith, Jael, Delilah, and Athaliah were not
mythical. Is there a man who has not wakened from dreams, to find that
the woman he trusted has stolen his strength or is just about to hammer
the great nail home through his temples?

Margaret Donne was not actually cruel to her fellow-creatures. She was
not one of those modern persons who feel sick at the sight of a
half-starved horse dragging a heavy load, but will turn a man's life
into a temporary hell without changing colour. Such as these give women
a bad name among men. Margaret was merely defending herself, for Mr.
Lushington sometimes drove her to extremities; his very shyness was so
aggressive, that she could not pity him, even when she saw him blush
painfully, and noticed the slight dew which an attack of social
timidity brought to his smooth forehead.

She had excellent nerves, and was not at all timid; if anything, she
thought herself a little too self-possessed, and was slightly ashamed
of it, fancying it unwomanly. She had a great fear of ever being that,
and with Mr. Lushington, who seemed to take it for granted that she
ought to think as men do, and was to be blamed for thinking otherwise,
she took especial pains to claim a woman's privileges at every turn.

'I cannot imagine,' he said presently, 'how any intelligent person can
really believe in such arrant mythology.'

'But I make no pretension of "intelligence",' murmured Margaret Donne.

'That is absurd,' retorted Mr. Lushington, with a half-furtive,
half-angry glance. 'You know you are clever.'

Margaret knew it, of course, and she smiled again. The young man did
not need to see her to be sure how she looked at that moment, for he
knew her face well. It had fixed itself in the front of his memories
some time ago, and he had not succeeded in bringing any other image
there to drive it away. Perhaps he had not tried as hard as he
supposed.

It was not such a very striking face either, at first sight. The
features were not perfect, by any means, and they were certainly not
Greek. Anacreon would not have compared Margaret's complexion to roses
mixed with milk, but he might have thought of cream tinged with
peach-bloom, and it would have been called a beautiful skin anywhere.
Margaret had rather light brown eyes, but when she was interested in
anything the pupils widened so much as to make them look very dark.
Then the lids would stay quite motionless for a long time, and the
colour would fade a little from her whole face; but sometimes, just
then, she would bite her lower lip, and that spoiled what some people
would have called the intenseness of her expression. It is true that
her teeth were beyond criticism and her lips were fresh and creamy
red--but Mr. Lushington wished she would not do it. The muses are never
represented 'biting their lips'; and in his moments of enthusiasm he
liked to think that Margaret was his muse. She had thick brown hair
that waved naturally, but made no little curls and baby ringlets, such
as some young women have, or make. The line of her hair along her
forehead and temples, though curved, was rather severe. She had been
fair when a little girl, but had grown darker after she was fifteen.

When she thought of it, she rather liked her own face, for she was not
everlastingly trying to be some one else. It was a satisfactory face,
on the whole, she thought, perfectly natural and frank, and healthy. No
doubt it would have been nice to be as beautiful as a Madame de
Villeneuve, or a Comtesse de Castiglione, but as that was quite
impossible, it was easy to be satisfied with what she had in the way of
looks and not to envy the insolent radiance of the fair beauties, or
the tragic splendour of the dark ones. Besides, great beauty has
disadvantages; it attracts attention at the wrong moment, it makes
travelling troublesome, it is obtrusive and hinders a woman from doing
exactly what she pleases. It is celebrity, and therefore a target for
every photographing tourist and newspaper man.

And then, to lose it, as one must, is a kind of suffering which no male
can quite understand. Every great beauty feels that she is to be
unjustly condemned to death between forty and fifty, and that every day
of her life brings her nearer to ignominious public execution; and
though beauties manage to last longer, yet is their strength but sorrow
and weakness, depending largely on the hairdresser, the dentist, the
dressmaker and other functions of the unknown quantities _x_ and _y_,
as the mathematicians say.

The Emperor Tiberius is reported to have said that if a man does not
know what is good for him when he is forty years old, he must be either
a fool or a physician. Similarly, a woman who does not know her own
good points at twenty is either very foolish, or a raving beauty--or a
saint. Perhaps women can be all three; it is not safe to assert
anything positively about them. Margaret Donne was clever, she was a
good girl but not a saint, and she was a little more than fairly
good-looking. That was all, and she knew her good points. If she was
not perpetually showing them to advantage, she at least realised what
they were and that she might some day have to make the most of them.
They were her complexion, her mouth and her figure; and she was clever,
if cleverness be a 'point' in a human being, which is doubtful. It is
not considered one in a puppy.

Mr. Lushington discouraged the familiarity of men who called him plain
'Lushington.' When they were older than he, he felt that they were
patronising him; if they were younger, he thought them distinctly
cheeky. Occasionally he fell in with a relation, or an old
schoolfellow, who addressed him as 'Ned,' or even as 'Eddie,' This made
him utterly miserable; in the language of Johnson, when Mr. Lushington
was called 'Eddie,' he was convolved with agony--especially if a third
person chanced to be present. Margaret sometimes wondered whether she
should ever be in a position to use that weapon.

There was a possibility of it, depending on her own choice. In fact,
there were two possibilities, for she could marry him if she pleased,
or she could make an intimate friend of him, and they might then call
each other by their Christian names. At the present time she knew him
so well that she avoided using his name altogether, and he called her
'Miss Margaret' when he was pleased, and 'Miss Donne' when he was not.

'It is a pity you think me clever,' she said demurely, after a little
pause.

'Why?' he inquired severely.

'The idea makes you so uncomfortable,' Margaret answered. 'If I were
just a nice dull girl, you would only have to lay down the law, and I
should have to accept it. Or else you would not feel obliged to talk to
me at all, which would be simpler.'

'Much,' said Lushington, with some acerbity.

'So much simpler, that I wonder why you do not follow the line of least
resistance!'

A short silence came after this suggestion, and Margaret turned over
the pages of her book as if making up her mind where to begin reading.
This was not quite a pretence, for Lushington had told her that it was
a book she ought to read, which it was her intellectual duty to read,
and which would develop her reasoning faculties. By way of
encouragement he had added that she would probably not like it. On that
point she agreed with him readily. To people who read much, every new
book has a personality, features and an expression, attractive, dull,
or repulsive, like most human beings one meets for the first time. This
particular book had a particularly priggish expression, like
Lushington's yellow shoes, which were too good and too new, and which
he was examining with apparent earnestness. To tell the truth he did
not see them, for he was wondering whether the blush of annoyance he
felt was unusually visible. The result of thinking about it was that it
deepened to scarlet at once.

'You look hot,' observed Margaret, with an exasperating smile.

'Not at all,' answered Lushington, feeling as if she had rubbed his
cheeks with red pepper. 'I suppose I am sunburnt.'

Tiny beads of perspiration were gathering on his forehead, and he knew
by her smile that she saw them. It would have been delightful to walk
into the pond just then, yellow shoes and all.

He told himself that he was Edmund Lushington, the distinguished critic
and reviewer, before whom authors trembled and were afraid. It was
absurd that he should feel too hot because a mere girl had said
something smart and disagreeable. In fact, what she had said was little
short of an impertinence, in his opinion.

The fool who does not know that he looks a fool is happy. The fool who
is conscious of looking one undergoes real pain. But of all the
miserable victims of shyness, the one most to be pitied is the
sensitive, gifted man who is perfectly aware that he looks silly while
rightly conscious that he is not. Margaret Donne watched Lushington,
and knew that she was amply revenged. He would call her 'Miss Donne'
presently, and say something about the weather, as if they had never
met before. She paid no more attention to him for some time, and began
to read bits of the new book, here and there, where one page looked a
little less dull than the rest.

Meanwhile Lushington smoked thoughtfully, and the unwelcome blush
subsided. He glanced sideways at Margaret's face two or three times, as
if he were going to speak, but said nothing, and sent a small cloud
straight out before him, with a rather vicious blowing, as if he were
trying to make the smoke express his feelings. Margaret knew that trick
of his very well. Lushington was an aggressive smoker, and with every
puff he seemed to say: 'There! Take that! I told you so!'

Margaret did not look up from her book, for she knew that he would
speak before long; and so it happened.

'Miss Donne,' he began, with unnecessary coldness, and then stopped
short.

'Yes?' Margaret answered, with mild interrogation.

'Oh!' ejaculated Mr. Lushington, as if surprised that she should reply
at all. 'I thought you were reading.'

'I was.' She let the new book shut itself, as she lifted her hand from
the open pages.

'I did not mean to interrupt you,' said the young man stiffly.

No answer occurred to Margaret at once, so she waited, gently drumming
on the closed book with her loosely gloved fingers.

'I suppose you think I'm an awful idiot,' observed Mr. Lushington, with
unexpected and quite unnecessary energy.

'Dear me! This is so very sudden! Awful--idiot? Let me see.'

Her absurd gravity was even more exasperating than her smile.
Lushington threw away his cigarette angrily.

'You know what I mean,' he cried, getting red again. 'Don't be horrid!'

'Then don't be silly,' retorted Margaret.

'There! I knew you thought so!'

'Perhaps I do, sometimes,' the girl answered, more seriously. 'But I
don't mind it at all. If you care to know, I think you are often much
more human when you are--well--"silly," than when you are being clever.

'And I suppose you would like me better if I were always silly?'

Margaret shook her head and laughed softly, but said nothing. She was
thinking that it was good to be alive, and that it was the spring, and
that the life was stirring in her, as it stirred amongst the young
leaves overhead and in the shooting grasses and budding flowers, and in
the hearts of the nesting birds in the oaks and elms. Just then it
mattered very little to Margaret whether the man who was talking to her
made himself out to be silly or clever. She felt herself much nearer to
the simple breathing and growing of all nature than to the silliness or
cleverness of any fellow-creature.

Her lips parted a little and she drew in the air again and again,
slowly and quietly, as if she could drink it, and live on its sweet
taste, and never want food or other drink again, though she was not an
ethereal young person, but only a perfectly healthy and natural girl.
She was not tired, yet somehow she felt that she was resting body, soul
and heart, for a little while, after growing up and before beginning
what was to be her life.

Lushington was perfectly healthy, too, but he was not simple, and was
often not quite natural. He had real troubles and artificial ways of
treating them. He had also been in the thick of the big fight for
several years, he had tasted the wine of success and the vinegar of
failure, the sticky honey of flattery and some nasty little pills
prepared with malignant art by brother critics. With his faults and
weaknesses and absurd sensitiveness, he had in him the stuff that wins
battles with glory, or loses them with honour, promising to fight
again. He was complex. He was rarely quite sure what he felt, though he
could express with precision whatever he thought he was feeling at any
moment.

'How complicated you are!' he exclaimed, when Margaret laughed.

'I was just thinking how simple I am compared with you,' she answered
serenely; 'I mean, when you talk,' she added.

'Thank you for the distinction! "Oliver Goldsmith, for shortness called
Noll, Who writes like an angel but talks like poor Poll." That sort of
thing, I suppose?'

'I did not say that you write like an angel,' answered Margaret, in a
tone of reflection.

'You do not talk like one,' observed Mr. Lushington bitterly. 'Are you
going to Paris to-day?' he inquired after a pause; and he looked at his
watch.

'No. I had my lesson yesterday. But I am going in to-morrow.'

Lushington knew that she had only two lessons a week, and wondered why
she was going to Paris on the following day. But he was offended and
would not ask questions; moreover he did not at all approve of her
studying singing as a profession, and she knew that he did not.

His disapproval did not disturb her, though she should have liked him
to admire her voice because he was really a good judge, and praise from
him would be worth having. He often said sharp things that he did not
mean, but on the other hand, when he said that anything was good, he
always meant that it was first-rate. She wondered where he had learned
so much about music.

After all, she knew very little of his life, and as he never said
anything about his family she was inclined to think that he had no
relations and that he came of people anything but aristocratic. He had
worked his way to the front by sheer talent and energy, and she had the
good sense to think better of him for that, and not less well of him
for his reticence.

Mrs. Rushmore knew no more about Lushington's family than Margaret. The
latter was spending the spring in Versailles with the elderly American
widow, and the successful young writer had been asked to stop a week
with them. Mrs. Rushmore did not care a straw about the family
connections of celebrities, and she knew by experience that it was
generally better not to ask questions about them, as the answers might
place one in an awkward position. She had always acted on the principle
that a real lion needs no pedigree, and belongs by right to the higher
animals. Lushington was a real lion, though he was a young one. His
roar was a passport, and his bite was dangerous. Why make unnecessary
inquiries about his parents? They were probably dead, and, socially,
they had never been alive, since Society had never heard of them. It
was quite possible, Mrs. Rushmore said, that his name was not his own,
for she had met two or three celebrities who had deliberately taken
names to which they did not pretend any legal claim, but which sounded
better than their own.

He had been at Versailles to stay a few days during the previous
spring, and Margaret had seen him several times in the interval, and
they had occasionally exchanged letters. She was quite well aware that
he was in love with her, and she liked him enough not to discourage
him. To marry him would be quite another question, though she did not
look upon it as impossible. Before all, she intended to wait until her
own position was clearly defined.

For the present she did not know whether she had inherited a large
fortune, or was practically a penniless orphan living on the charity of
her friend Mrs. Rushmore; and several months might pass before this
vital question was solved. Mrs. Rushmore believed that Margaret would
get the money, or a large part of it; Margaret did not, and in the
meantime she was doing her best to cultivate her voice in order to
support herself by singing.

Her father had been English, a distinguished student and critical
scholar, holding a professorship of which the income, together with
what he received from writing learned articles in the serious reviews,
had sufficed for himself, his wife and his only child. At his death he
had left little except his books, his highly honourable reputation and
a small life insurance.

He had married an American whose father had been rich at the time, but
had subsequently lost all he possessed by an unfortunate investment,
depending upon an invention, which had afterwards become enormously
valuable. Finding himself driven to extremities and on the verge of
failure, he had been glad to make over his whole interest to a distant
relative, who assumed his liabilities as well as his chances of
success. Utterly ruined, save in reputation, he had bravely accepted a
salaried post, had worked himself to death in eighteen months and had
died universally respected by his friends and as poor as Job.

His daughter, Mrs. Donne, had felt her position keenly. She was a
sensitive woman, she had married a poor man for love, expecting to make
him rich; and instead, she was now far poorer than he. He, on his part,
never bestowed a thought on the matter. He was simple and unselfish and
he loved her simply and unselfishly. She died of a fever at forty-two
and her death killed him. Two years later, Margaret Donne was alone in
the world.

Mrs. Rushmore had known Margaret's American grandmother and had been
Mrs. Donne's best friend. She had grave doubts as to the conditions on
which the whole interest in the invention had been ceded to old Alvah
Moon, the Californian millionaire, and, after consulting her own
lawyers in New York, she had insisted upon bringing suit against him,
in Margaret Donne's name, but at her own risk, for the recovery of an
equitable share of the fortune. A tenth part of it would have made the
girl rich, but there were great difficulties in the way of obtaining
evidence as to an implied agreement, and Alvah Moon was as hard as
bedrock.

While the suit was going on, Mrs. Rushmore insisted that Margaret
should live with her, and Margaret was glad to accept her protection
and hospitality, for she felt that the obligation was not all on her
own side. Mrs. Rushmore was childless, a widow and very dependent on
companionship for such enjoyment as she could get out of her existence.
She had few resources as she grew older, for she did not read much and
had no especial tastes. The presence of such a girl as Margaret was a
godsend in many ways, and she looked forward with something like terror
to the not distant time when she should be left alone again, unless she
could induce one of her nieces to live with her. But that would not be
easy; they did not want her money, nor anything she could give them,
and they thought her dull. Her life would be very empty and sad, then.
She had never been vain, and she was well aware that such people as Mr.
Edmund Lushington could not be easily induced to come and spend a
fortnight with her if Margaret were not in the house. Besides, she
loved the girl for her own sake. It was very pleasant to delude herself
with the idea that Margaret was almost her daughter, and she wished she
could adopt her; but Margaret was far too independent to accept such an
arrangement, and Mrs. Rushmore had the common-sense to guess that if
the girl were bound to her in any way a sort of restraint would follow
which would be disagreeable to both in the end. If there could be a
bond, it must be one which Margaret should not feel, nor even guess,
and such a relation as that seemed to be an impossibility. Margaret was
not the sort of girl to accept anything from an unknown giver, and if
the suit failed it would be out of the question to make her believe
that she had inherited property from an unsuspected source. Mrs.
Rushmore, in her generosity, would have liked to practise some such
affectionate deception, and she would try almost anything, however
hopeless, rather than let Margaret be a professional singer.

The American woman was not puritanical; she had lived too much in
Europe for that and had met many clever people, not to say men of much
more than mere talent, who had made big marks on their times. But she
had been brought up in the narrow life of old New York, when old New
York still survived, as a tradition if not as a fact, in a score or two
of families; and one of the prejudices she had inherited early was that
there is a mysterious immorality in the practice of the fine arts,
whereas an equally mysterious morality is inherent in business.
Painters and sculptors, great actors and great singers without end had
sat at her table and she was always interested in their talk and often
attracted by their personalities; yet in her heart she knew that she
connected them all vaguely with undefined wickedness, just as she
associated the idea of virtuous uprightness with all American and
English business men. Next to a clergyman, she unconsciously looked
upon an American banker as the most strictly moral type of man; and
though her hair was grey and she knew a vast deal about this wicked
world, she still felt a painful little shock when her favourite
newspaper informed her that a banker or a clergyman had turned aside
out of the paths of righteousness, as they occasionally do, just like
human beings. She felt a similar disagreeable thrill when she thought
of Margaret singing in public to earn a living. Prejudices are moral
corns; anything that touches one makes it ache more or less, but the
pain is always of the same kind. You cannot get a pleasurable sensation
out of a corn.

Yet Margaret was working at her music, with persevering regularity,
quite convinced that she must soon support herself unhelped and quite
sure that her voice was her only means to that end. Singing was her
only accomplishment, and she therefore supposed that the gift, such as
it was, must be her only talent.

She was modest about it, for the very reason that she believed it was
what she did best, and she was patient because she knew that she must
do it well before she could hope to live by it. Most successful singers
had appeared in public before reaching her age, yet she was only two
and twenty, and a year or two could make no great difference.
Nevertheless, she was more anxious than she would have admitted, and
she had persuaded her teacher to let her sing to Madame Bonanni, the
celebrated lyric soprano, whose opinion would be worth having, and
perhaps final. The great singer had the reputation of being very
good-natured in such cases and was on friendly terms with Margaret's
teacher, the latter being a retired prima donna. Margaret felt sure of
a fair hearing, therefore, and it was for this trial that she was going
to the city on the following morning.

Neither she nor Lushington spoke for a long time after she had given
him the information. She took up her book again, but she read without
paying any attention to the words, for the recollection of what was
coming had brought back all her anxiety about her future life. It would
be a dreadful thing if Madame Bonanni should tell her frankly that she
had no real talent and had better give it up. The great artist would
say what she thought, without wasting time or sympathy; that was why
Margaret was going to her. Women do not flatter women unless they have
something to gain, whereas men often flatter them for the mere pleasure
of seeing them smile, which is an innocent pastime in itself, though
the consequences are sometimes disastrous.

Edmund Lushington had at first been wondering why Margaret was going to
Paris the next day, then he had inwardly framed several ingenious
questions which he might ask her; and then, as he thought of her, he
had forgotten himself at last, and had momentarily escaped from the
terrible and morbid obligation of putting his thoughts into unspoken
words, which is one of the torments that pursue men of letters when
they are tired, or annoyed, or distressed. He had forgotten his
troubles, too, whatever they were, and could listen to the music spring
was making in the trees, without feeling that he might be forced to
describe it.

Just then Margaret raised her eyes from her book and saw his face, and
he did not know that she was looking at him. For the first time since
she had met him she understood a little of his real nature, and guessed
the reason why he could write so well. He was a man of heart. She knew
it now, in spite of his faults, his shyness, his ridiculous
over-sensitiveness, his detestable way of blurting out cutting
speeches, his icy criticism of things he did not like. It was a
revelation. She wondered what he would say if he spoke just then.

But at that moment Mrs. Rushmore appeared on the lawn, an imposing and
rather formal figure in black and violet, against the curtain of
honeysuckle that hung down over the verandah.




CHAPTER II


Margaret went alone to the house of the famous singer, for her teacher
knew by experience that it was better not to be present on such
occasions. Margaret had not even a maid with her, for except in some
queer neighbourhoods Paris is as safe as any city in the world, and it
never occurred to her that she could need protection at her age. If she
should ever have any annoyance she could call a policeman, but she had
a firm and well-founded conviction that if a young woman looked
straight before her and held her head up as if she could take care of
herself, no one would ever molest her, from London to Pekin.

It was not very far from her teacher's rooms in the Boulevard
Malesherbes to the pretty little house Madame Bonanni had built for
herself in the Avenue Hoche; so Margaret walked. It is the pleasantest
way of getting about Paris on a May morning, when one has not to go a
long distance. Paris has changed terribly of late years, but there are
moments when all her old brilliancy comes back, when the air is again
full of the intoxicating effervescence of life, when the
well-remembered conviction comes over one that in Paris the main object
of every man's and every woman's existence is to make love, to amuse
and to be amused. Terrible things have happened, it is true; blood has
run like rain through the streets; and great works are created, great
books are written, and Art has here her workshop and her temple, her
craftsmen and her high priests. The Parisians have a right to take
themselves seriously; but we cannot--we graver, grimmer men of rougher
race. Do what they will, we can never quite believe that genius can
really hew and toil all day and laugh all night; we can never get rid
of the idea that there must be some vast delusion about Paris, some
great stage trick, some hugely clever deception by which a quicksand is
made to seem like bedrock, and a stone pavement like a river of
quicksilver.

The great cities all have faces. If all the people who live in each
city could be photographed exactly one over the other, the result would
be the general expression of that city's face. New York would be
discontented and eager; London would be stolidly glum and healthy, with
a little surliness; Berlin would be supercilious, overbearing; Rome
would be gravely resentful; and so on; but Paris would be gay,
incredulous, frivolous, pretty and impudent. The reality may be gone,
or may have changed, but the look is in her face still when the light
of a May morning shines on it.

What should we get, if we could blend into one picture the English
descriptions of Paris left us by Thackeray, Sala, Du Maurier? Would it
not show us that face as it is still, when we see it in spring? And
drawn by loving hands too, obeying the eyes of genius. An empty square
in Berlin suggests a possible regimental parade, in London a mass
meeting; in Paris it is a playground waiting for the Parisians to come
out and enjoy themselves after their manner, like pretty moths and
dragon-flies in the sun.

But there is another side to it. More than any city in the world, Paris
has a dual nature. Like Janus, she has two faces; like Endymion, half
her life is spent with the gods, half with the powers of darkness. She
has her sweet May mornings, but she has her hideous nights when the
north wind blows and the streets are of glass. She has her life of art
and beauty, and taste and delight, but she has her fevers of blood and
fury, her awful reactions of raw brutality, her hidden sores of strange
crime. Of all cities, Paris is the most refined, the most progressive
in the highest way, the most delicately sensitive; of all cities, too,
when the spasm is on her, she is the most mediaeval in her violence, her
lust for blood, her horrible 'inhumanity to man'--Burns might have
written those unforgettable lines of her.

Margaret was not thinking of these things as she took her way through
the Parc Monceau, not because it was nearer but because she loved the
old trees, and the contrast between the green peace within its gates
and the intense life outside. She was nearer than she had perhaps ever
been to fright, just then, and yet would not for the world have turned
back, nor even slackened her pace. In five minutes she would be ringing
the bell at Madame Bonanni's door.

She had heard the prima donna several times but had never met her. She
knew that she was no longer young, though her great voice was
marvellously fresh and elastic. There were men, of that unpleasant type
that is quite sure of everything, who recalled her first appearance and
said that she could not be less than fifty years old. As a matter of
fact, she was just forty-eight, and made no secret of it. Margaret had
learned this from her own singing teacher, but that was all she knew
about Madame Bonanni, when she stopped at the closed door of the
carriage entrance and rang the bell. She did not know whether she was
to meet a Juliet, an Elsa, a Marguerite or a Tosca. She remembered a
large woman with heavy arms, in various magnificent costumes and a
variety of superb wigs, with a lime-light complexion that was always
the same. The rest was music. That, with a choice selection of absurdly
impossible anecdotes, is as much as most people ever know about a great
singer or a great actress. Margaret had been spared the anecdotes,
because most of them were not fit for her to hear, but she had more
than once heard fastidious ladies speak of Madame Bonanni as 'that
dreadful woman.' No one, however, denied that she was a great artist,
and that was the only consideration in Margaret's present need.

She rang the bell and glanced at the big window over the entrance. It
had a complicated arrangement of folding green blinds, which were half
open, and a grey awning with a red border. She wondered whether it was
the window of the singer's own especial room.

The house was different from those next it, though she could hardly
tell where the difference lay. She thought that if she had not known
the number she should have instinctively picked out this house, amongst
all the others in that part of the Avenue Hoche, as the one in which
the prima donna or an actress must be living; and as she stood waiting,
a very simple and well-bred figure of a young lady, she felt that on
the other side of the door there was a whole world of which she knew
nothing, which was not at all like her own world, which was going to
offend something in her, and which it was nevertheless her duty to
enter. She was in that state of mind in which a nun breathes an
ejaculatory prayer against the wiles of Satan, and a delicately
nurtured girl thinks of her mother. Her heart hardly beat any faster
than usual, though she was sure that one of the great moments of her
life was at hand; but she drew her skirt round her a little closer, and
pursed her lips together a little more tightly, and was very glad to
feel that nobody could mistake her for anything but a lady.




CHAPTER III


The servant who opened the door smiled. He was a man of thirty-five, or
thereabouts, with cheerful blue eyes, a brown moustache and pink
cheeks. He wore a blue cotton apron and had a feather duster in his
hand; and he smiled very pleasantly.

'Madame Bonanni said she would see me this morning,' Margaret
explained.

'What name, if you please?' the man asked, contemplating her with
approval.

'Miss Donne.'

'Very well. But Madame is in her bath,' observed the servant, showing
no inclination to let Margaret pass. 'Mademoiselle would do better to
come another day.'

'But Madame Bonanni has given me an appointment.'

'It is possible,' the man replied, still smiling calmly.

'I have come to sing to her,' Margaret said, with a little impatience.

'Ah--then it is different!' He positively beamed. 'Then Mademoiselle is
a musician? Who would have thought it?'

Margaret was not quite sure who would have thought it, but she thought
the servant decidedly familiar. At that moment he stood aside for her
to pass, shut the front door after her and led the way to the short
flight of steps that gave access to the house from the carriage
entrance.

'This way, Mademoiselle. If Mademoiselle will be good enough to wait, I
will inform Madame.'

'Please don't disturb her! You said she was in her bath.'

'Oh, that has no importance!' the man cried cheerfully, and disappeared
at once.

Margaret looked about her, but if she had been blind she would have
been aware that she was in a place quite unlike any she had ever been
in before. The air had an indescribable odour that was almost a taste;
it smelt of Houbigant, Greek tobacco, Persian carpets, women's clothes,
liqueur and late hours; and it was not good to breathe--except,
perhaps, for people used to the air of the theatre. Margaret at first
saw nothing particular to sit upon, and stood still.

It was a big room, with two very large windows on one side, a massive
chimney-piece at the end opposite the door, and facing the windows the
most enormous divan Margaret had ever seen. Over this a great canopy
was stretched, a sort of silk awning of which the corners were
stretched out and held up by more or less mediaeval lances. The divan
itself was so high that an ordinary person would have to climb upon it,
and it was completely covered by a wild confusion of cushions of all
colours, thrown upon it and piled up, and tumbling off, as if a Homeric
pillow fight had just been fought upon it by several scores of vigorous
school-girls.

The room was plethoric with artistic objects, some good, some bad, some
atrocious, but all recalling the singer's past triumphs, and all
jumbled together, on tables, easels, pedestals, brackets and shelves
with much less taste than an average dealer in antiquities would have
shown in arranging his wares. There was not even light enough to see
them distinctly, for the terrifically heavy and expensive Genoa velvet
curtains produced a sort of dingy twilight. Moreover the Persian carpet
was so extremely thick that Margaret almost turned her ankle as she
made a step upon it.

As she knew that she must probably wait some time she looked for a
seat. There were a few light chairs here and there, but they were
occupied by various objects; on one a framed oil-painting was waiting
till a place could be found for it, on another there was a bandbox, on
a third lay some sort of garment that might be an opera-cloak or a
tea-gown, or a theatrical dress, a little silver tray with the remains
of black coffee and an empty liqueur glass stood upon a fourth chair,
and Margaret's searching eye discovered a fifth, with nothing on it,
pushed away in a corner.

She took hold of it by the back, to bring it forward a little, and the
gilt cross-bar came off in her hand. She stuck the piece on again as
well as she could, and as she did not like to disturb any of the things
she stood still, in the middle of the room, wondering vaguely whether
Madame Bonanni's visitors usually sat down, and if so, on what.

Suddenly her eyes fell upon a piano, standing behind several easels
that almost completely hid it. A piano usually has a stool, and
Margaret made her way between the easels and the little oriental
tables, and the plants, and the general confusion, towards the
keyboard. She was not disappointed; there was a stool, and she sat down
at last.

The air was oppressive and she wished herself out in the Pare Monceau,
in the May morning. The time seemed endless. By sheer force of habit
she slowly turned on the revolving stool and touched the keys; then she
struck a few chords softly, and the sound of the perfect instrument
gave her pleasure. She played something, trying to make as little noise
as possible so long as she remembered where she was, but presently she
forgot herself, her lips parted and she was singing, as people do who
sing naturally.

She sang the waltz song in the first act of Gounod's _Romeo and
Juliet_, and after the first few bars she had altogether forgotten that
she was not at home, with her own piano, or else standing behind her
teacher's shoulder in the Boulevard Malesherbes.

Now there are not many singers living who can sing the waltz song and
accompany themselves without making a terrible mess of the music; but
Margaret did it well, and much more than well, for she was not only a
singer with a beautiful voice but a true musician. There was not a
quaver or hesitation in her singing from beginning to end, nor a false
note in the accompaniment.

When she had finished, her lips closed and she went on playing the
music of the scene that follows. She had not gone on a dozen bars,
however, when a head appeared suddenly round the corner of a picture on
an easel.

'Ah, bah!' exclaimed the head, in an accent of great surprise.

Its thick dark-brown hair was all towzled and standing on end, its
brown eyes were opened very wide in astonishment, and it was showing
magnificently strong teeth, a little discoloured.

Margaret sprang to her feet with an apology for having forgotten
herself, but the head laughed and came forward, bringing with it a
large body wrapped in an enormous gown of white Turkish towelling,
evidently held together by the invisible hands within. Margaret thought
of the statue of Balzac.

[Illustration: "Margaret sprang to her feet with an apology."]

'I thought it was Caravita,' said Madame Bonanni. 'We are great friends
you know. I sometimes find her waiting for me. But who in the world are
you?'

'Margaret Donne.'

'Ah, bah!' exclaimed the great singer again, the two syllables being
apparently her only means of expressing surprise.

'But I told your servant----' Margaret began.

'Why have you not made your _debut_?' cried Madame Bonanni, interrupting
her, and shaking her disordered locks as if in protest. 'You have
millions in your throat! Why do you come here? To ask advice? To let me
hear you sing? Let the public hear you! What are you waiting for?
To-morrow you will be old! And all singers are young. How old do you
think I am? Forty-five, perhaps, because it is printed so! Not a bit of
it! A prima donna is never over thirty, never, never, never! Imagine
Juliet over thirty, or Lucia! Pah! The idea is horrible! Fortunately,
all tenors are fat. A Juliet of thirty may love a fat Romeo, but at
forty it would be disgusting, positively disgusting! I am sick at the
mere thought.'

Margaret stood up, resting one hand on the corner of the piano and
smiling at the torrent of speech. Yet all the time, while Madame
Bonanni was saying things that sounded absurd enough, the young girl
was conscious that the handsome brown eyes were studying her quietly
and perhaps not unwisely.

'I am twenty-two,' she said by way of answer.

'I made my _debut_ when I was twenty,' answered the prima donna. 'But
then,' she added, as if in explanation, 'I was married before I was
seventeen.'

'Indeed!' Margaret exclaimed politely.

'Yes. He died. Let us sing! I always want to sing when I come out of my
bath. Do you know the duo at the beginning of the fourth act? Yes?
Good. I will sing Romeo. Oh yes, I can sing the tenor part--it is very
high for a man. Sit down. Imagine that you admire me and that the lark
is trying to imitate the nightingale so that we need not part. We have
not heard it yet. The man is beginning to turn up the dawn outside the
window behind us, but we do not see it. We are perfectly happy. Now,
begin!'

The chords sounded softly, the two voices blended, rose and fell and
died away. The elder woman's rich lower tones imitated a tenor voice
well enough to give Margaret the little illusion she needed, and her
overflowing happiness did the rest. She sang as she had not sung
before.

'I wish to embrace you!' cried Madame Bonanni, when they had finished.

And forthwith Margaret felt herself enveloped in the Turkish bath-gown,
and entangled in the towzled hair and held by a pair of tremendously
strong white arms; and being thus helpless, she experienced a kindly
but portentous kiss on each cheek; after which she was set at liberty.

'You are a real musician, too!' Madame Bonanni said with genuine
admiration. 'You can play anything, as well as sing. I hope you will
never hear me play. It is awful. I could empty any theatre instantly,
if there were a fire, merely by playing a little!'

She laughed heartily at her little joke, for like many great singers
she was half a child and half a genius, and endowed with the huge
vitality that alone makes an opera singer's life possible.

'I would give my playing to have your voice,' Margaret said.

'You would be cheated in your bargain,' observed Madame Bonanni. 'Let
me look at you. Have you a big chest and a thick throat? What are your
arms like? If you have a voice and talent, strength is everything!
Young girls come and sing to me so prettily, so sweetly! They want to
be singers! Singers, my dear, with chests like paper dolls and throats
like plucked spring chickens! Bah! They are good for nothing, they
catch cold, they give a little croak and they die. Strength is
everything. Let me see your throat! No! You will never croak! You will
never die. And your arms? Look at mine. Yes, yours will be like mine,
some day.'

Margaret hoped not, for Madame Bonanni seemed to be a very big woman,
though she still managed to look human as Juliet. Perhaps that was
because the tenors were all fat.

Again a hand emerged from the thick white folds and grasped Margaret's
arm firmly above the elbow, as a trainer feels an athlete's biceps.

'Good, good! Very good!' cried Madame Bonanni approvingly. 'It is a
pity you are a lady! You are a lady, aren't you?'

Margaret smiled.

'I am a peasant,' the singer answered without the least affectation. 'I
always say that it takes five generations of life in the fields to make
a voice. But you are English, I suppose. Yes? All English live out of
doors. If they had a proper climate they would all sing, but they have
to keep their mouths shut all the time, to keep out the rain, and the
fog, and the smoke of their chimneys. It is incredible, how little they
open their mouths! Come and sit down. We will have a little talk.'

Margaret thought her new friend had managed to talk a good deal
already. Madame Bonanni slipped between the easels and pedestals with
surprising ease and lightness, and made for the divan. Margaret now saw
that a stool was half concealed by a fallen pillow, so that the singer
used it in order to climb up. In a moment she had settled herself
comfortably, supported on all sides by the huge cushions. Margaret
fancied she looked like a big snowball with a human head.

'Why don't you sit down, my dear?' inquired Madame Bonanni blandly.

'Yes, but where?' asked Margaret with a little laugh.

'Here! Climb up beside me on the divan.'

'I'm not used to it!' Margaret laughed. 'It looks awfully hot.'

'Then take a chair. Oh, the things? Throw them on the floor. Somebody
will pick them up. People are always sending me perfectly useless
things. Look at that picture! Did you ever see such a daub? I'll burn
it! No. I'll give it to the missionaries. They take everything one
gives them, for the African babies. Ah!'

Madame Bonanni shrieked suddenly, seized a big cushion and held it up
as a screen before her. She looked towards the door, and Margaret,
looking in the same direction, saw an over-dressed man of thirty-five
standing on the threshold.

'Go away!' screamed Madame Bonanni. 'Logotheti! Go away, I say! Don't
you see that I'm not dressed?'

'I see nothing but cushions,' answered the new-comer, showing very
white teeth and speaking with a thick accent Margaret had never heard.

'Ah! So much the better!' returned Madame Bonanni with sudden calm.
'What do you want?'

'You did me the honour to ask me to breakfast,' said Logotheti, coming
forward a few steps.

'To breakfast! Never! You are dreaming!' She paused an instant. 'Yes, I
believe I did. What difference does it make? Go and get your breakfast
somewhere else!'

'Oh no!' protested the visitor, who had been examining Margaret's face
and figure. 'I can wait any length of time, but I shall keep you to
your bargain, dear lady.'

'You are detestable! Well, then you must go and look out of the window
while I get down.'

'With pleasure,' Logotheti answered, meaning exactly what he said, and
turning his back after a deliberate look at Margaret.

Madame Bonanni worked herself to the edge of the divan, with a curious
sidelong movement, got one of her feet upon the stool and slipped down,
till she stood on the floor. Then she gathered the folds of her
bathing-gown to her and ran to the door with astonishing agility, for
so large a person.

Margaret was not sure what she should do, and began to follow her,
hoping to exchange a few words with her before going away. At the door,
Madame Bonanni suddenly draped herself in the dark velvet curtain,
stuck her head out and looked back.

'Of course you will stay to breakfast, my dear!' she called out,
'Logotheti! I present you to Miss--Miss--oh, the name doesn't matter! I
present you!'

'I'm afraid I cannot----' Margaret began to say, not knowing how long
she might be left alone with Logotheti.

But Madame Bonanni had already unfurled the curtain and fled. Logotheti
bowed gravely to Margaret, cleared the things off one of the chairs and
offered it to her. His manner was as respectful with her as it had been
familiar with the singer, and she felt at once that he understood her
position.

'Thank you,' she said quietly, as she seated herself.

He cleared another chair and sat down at a little distance. She glanced
at him furtively and saw that he was a very dark man of rather long
features; that his eyes were almond-shaped, like those of many
orientals; that he had a heavy jaw and a large mouth with lips that
were broad rather than thick, and hardly at all concealed by a small
black moustache which was trained to lie very flat to his face, and
turned up at the ends; that his short hair was worn brush fashion,
without a parting; that he had olive brown hands with strong fingers,
on one of which he wore an enormous turquoise in a ring; that his
clothes were evidently the result of English workmanship misguided by a
very un-English taste; and finally that he was well-built and looked
strong. She wondered very much what his nationality might be, for his
accent had told her that he was not French.

After a little pause he turned his head quietly and spoke to her.

'Our friend's introduction was a little vague,' he said. 'My name is
Constantine Logotheti. I am a Greek of Constantinople by birth, or what
we call a Fanariote there. I live in Paris and I occupy myself with
what we call "finance" here. In other words, I spend an hour or two
every day at the Bourse. If I had anything to recommend me, I should
say so at once, but I believe there is nothing.'

'Thank you!' Margaret laughed a little at the words. 'You are very
frank. Madame Bonanni could not remember my name, as she has never seen
me before to-day. I am Miss Donne; I am studying to be an opera-singer,
and I came here for advice. I am English. I believe that is all.'

They looked at each other and smiled. Margaret was certainly not
prepossessed in the man's favour at first sight. She detested
over-dressed men, men who wore turquoise rings, and men who had oily
voices; but it was perfectly clear to her that Logotheti was a man of
the world, who knew a lady when he met one, no matter where, and meant
to behave with her precisely as if he had been introduced to her in
Mrs. Rushmore's drawing-room.

'It is my turn to thank you,' he said, acknowledging with a little bow
the favour she had conferred in telling him who she was. 'I fancy you
have not yet seen much of theatrical people, off the stage. Have you?'

No,' answered Margaret. 'Why do you ask?'

'I wonder whether you will like them when you do,' said Logotheti.

'I never thought of it. Is Madame Bonanni a good type of them?'

'No,' Logotheti answered, after a moment's reflection. 'I don't think
she is. None of the great ones are. They all have something original,
personal, dominating, about them. That is the reason why they are
great. I was thinking of the average singer you will have to do with if
you really sing in opera. As for Madame Bonanni, she has a heart of
pure gold. We are old friends, and I know her well.'

'I can quite believe that she is kind-hearted,' Margaret answered. But
don't you think, perhaps, that she is just a little too much so?'

'How do you mean?'

'That she might be too kind to tell a beginner just what she really
thinks?'

'No, indeed.' Logotheti laughed at the idea. 'You would not think so if
you knew how many poor girls she sends away in tears because she tells
them the honest truth, that they have neither voice nor talent, and
will fail miserably if they go on. That is real kindness after all!
Have you sung to her?'

'Yes,' answered Margaret.

'May I ask what she said? I know her so well that I can perhaps be of
use to you. Sometimes, for instance, she says nothing at all. That
means that there may be a chance of success but that she herself is not
sure.'

'She kissed me on both cheeks,' Margaret said with a laugh, 'and she
talked about my _debut_.'

'Then I should advise you to make your _debut_ at once,' Logotheti
answered. 'She means that you will have a very great success.'

'Do you really think so?' asked Margaret, much pleased.

'I know it,' he replied with conviction. 'That woman is utterly
incapable of saying anything she does not think, but she sometimes
gives her opinion with horrible brutality.'

'I rather like that.'

'Do you?'

'Yes. It is good medicine.'

'Then you have only been a spectator, and never the patient!' Logotheti
laughed.

'Perhaps. Tell me all about Madame Bonanni.'

'All about her?' Logotheti smiled oddly. 'Well, she is a great artist,
perhaps the greatest living soprano, though she is getting old. You can
see that. Let me see, what else? She is very frank, I have told you
that. And she is charitable. She gives away a great deal. She has a
great many friends, of whom I call myself one, and we are all sincerely
attached to her. I cannot think of anything else to tell you about
her.'

'She said she was born a peasant,' observed Margaret who wished to hear
more.

'Oh yes!' Logotheti laughed. 'There is no doubt of that! Besides, she
is proud of it.'

'She was married at seventeen, too.'

'They all marry,' answered Logotheti vaguely, 'and their husbands
disappear, by some law of nature we do not understand--absorbed into
the elements, evaporated, drawn up into the clouds like moisture. One
might write an interesting essay on the husbands of prima donnas and
great actresses. What becomes of them? We know whence they come, for
they are often impecunious gentlemen, but where do they go? There must
be a limbo for them, somewhere, a place of departed husbands. Possibly
they are all in lunatic asylums. The greater the singer, or the
actress, the more certain it is that she has been married and that her
husband has disappeared! It is very mysterious.'

'Very!' Margaret was rather amused by his talk.

'Have you lived long in Paris?' he asked, suddenly changing the
subject.

'We live in Versailles. I come in for my lessons.'

Without asking many direct questions Logotheti managed to find out a
good deal about Margaret during the next quarter of an hour. She was
not suspicious of a man who showed no inclination to be familiar or to
make blatant compliments to her, and she told him that her father and
mother were dead and that she lived with Mrs. Rushmore and saw many
interesting people, most of whom he seemed to know. He, on his part,
told her many things about Versailles which she did not know, and she
soon saw that he was a man of varied tastes and wide information. She
wondered why he wore such a big turquoise ring and why he had such a
wonderful waistcoat, such a superlative tie, such an amazing shirt and
such a frightfully expensive pin. But it was not the first time in her
life that she had met an otherwise intelligent man who made the mistake
of over-dressing, and her first prejudice against him began to
disappear. She even admitted to herself that he had a certain charm of
manner which she liked, a mingling of reserve and frankness, or repose
and strength, the qualities which appeal so strongly to most women. If
only his voice had not that disagreeable oiliness! After all, that was
what she liked least. He spoke French with wonderful fluency, but he
abstained from making the tiresome compliments which so many Frenchmen
reel off even at first acquaintance. He had really beautiful
almond-shaped eyes, but he never once turned them to her with that
languishing look which young men with almond eyes seem to think quite
irresistible. Surely, all this was in his favour.

After being gone about half an hour, Madame Bonanni came back, her
Juno-like figure clad in a very pale green tea-gown, very open at the
throat, and her thick hair was smoothed in great curved surfaces which
were certainly supported by cushions underneath them. Her solid arms
were bare to the elbows, and the green sleeves hung almost to her feet.
Her face was rouged and there were artificial shadows under her eyes.
Round her neck she wore a single string of pearls as big as olives, and
her fingers were covered with all sorts of rings.

'Now you may look at me,' she said, with a gay laugh.

'I see a star of the first magnitude,' Logotheti answered gravely.

Margaret bit her lip to keep from laughing, but Madame Bonanni laughed
herself, very good-naturedly, though she understood.

'I detest this man!' she cried, turning to Margaret. 'I don't know why
I ask him to breakfast.'

'Because you cannot live without me, I suppose,' suggested Logotheti.

'I hate Greeks!' screamed the prima donna, still laughing. 'Why are you
a Greek?'

'Doubtless by a mistake of my father's, dear lady; quite unpardonable
since you are displeased! If he had lived, he certainly would have
rectified it to please you, but the Turks killed him when I was a baby
in arms; and that was before you were born.'

'Of course it was,' answered Madame Bonanni, who must have been just
about to be married at that time. 'But that is no reason why we should
stand here starving to death while you chatter.'

Thereupon she put her arm through Margaret's and led her away at a
brisk pace, Logotheti following at a little distance and contemplating
the young girl's moving figure with the satisfaction that only an
Oriental feels in youthful womanly beauty. It was long since he had
seen any sight that pleased him as well, for his artistic sense was
fastidious in the highest degree where the things of daily life were
not concerned. He might indeed wear waistcoats that inspired terror and
jewellery that dazzled the ordinary eye, but there were few men in
Paris who were better judges of a picture, a statue, an intaglio, or a
woman.

In a few moments the three were seated at a carved and polished table
overloaded with silver and cut glass, one on each side of Madame
Bonanni. Three other places were set, but no one appeared to fill them.
The cheerful servant with the moustache was arrayed in a neat frock
coat and a white satin tie, and he smiled perpetually.

'I adore plover's eggs!' cried Madame Bonanni, as he set a plate before
her containing three tiny porcelain bowls, in each of which a little
boiled plover's egg lay buried in jelly.

It was evident that she was speaking the truth, for they disappeared in
an instant, and were followed by a bisque of shrimps of the most creamy
composition.

'It is my passion!' she said.

She took her spoon in her hand, but appeared to hesitate, for she
glanced first at Margaret, then down at her green tea-gown, and then at
Margaret again. At last she seemed to make up her mind, and quickly
unfolding the damask napkin she tied it round her neck in a solid knot.
The stiff points stood out on each side behind her ears. She emitted a
sigh of satisfaction and went to work at the soup. Margaret pretended
to see nothing and made an indifferent remark to Logotheti.

Madame Bonanni made a good deal of noise, finally tipping up her plate
and scraping out the contents to the last drop.

'Ah!' she exclaimed with immense satisfaction. 'That was good!'

'Perfect,' assented Logotheti, who ate delicately and noiselessly, as
Orientals do.

'Delicious!' said Margaret, who was hungry.

'I taught my cook the real way to make it,' Madame Bonanni said. 'I am
a good cook, a very good cook! I always did the cooking at home before
I came to Paris to study, because my mother was not able to stand long.
One of the farm horses had kicked her and broken her leg and she was
always lame after that. Well?' she asked suddenly turning to the
cheerful servant. 'Is that all we are to have to-day? I am dying of
hunger!'

A marvellous salmon trout made its appearance a moment later.

'Oh yes!' exclaimed the prima donna. 'I am fond of eating! You may
laugh at me if you like, Logotheti. I am perfectly indifferent!'

And she was. She did all sorts of things that surprised Margaret, and
when a dish of ortolans with a rich brown sauce was put before her, she
deliberately discarded her knife and fork altogether and ate with her
hands. By way of terminating the operation, she stuck every finger of
each hand into her mouth as far as it would go, licked all ten
thoroughly, and then looked at them critically before drying them on
her napkin. By this time Margaret was past being surprised at anything.

'Logotheti says that in the East they all eat with their fingers,' the
singer observed.

'It is much cleaner,' Logotheti answered imperturbably.

Margaret uttered an involuntary exclamation of surprise.

'Of course it is!' he exclaimed. 'I know who washes my fingers. I don't
know who washes the forks, nor who used them last. If one stopped to
think about it, one would never use a fork or a spoon that was not
one's own or washed by oneself. I am sure that every sort of disease is
caught from other people's forks and spoons.'

'What a horrible idea!' exclaimed Margaret with disgust. 'I shall never
want to eat at a hotel or a restaurant again.'

'You will forget it,' replied Logotheti reassuringly. 'Civilisation
makes us forget a great many little things of the sort, I assure you!'

'But is there no way of protecting oneself?' Margaret asked.

'It is absurd!' cried Madame Bonanni. 'I don't believe in germs and
microbes and such silly things! If they exist we are full of them, and
I have no doubt they do us good.'

'It would be just as easy to boil the forks and spoons for ten minutes
in clean water, after they are washed,' observed Logotheti. 'But after
all, fingers are safer.'

'Things taste better with fingers,' said Madame Bonanni thoughtfully.

'In the East,' Logotheti answered, 'people pour water on their hands
after each course. Why don't you try that?'

'I wash my hands afterwards; it is less trouble.'

Logotheti laughed, but Margaret was disgusted, and did not even smile.
Madame Bonanni's proceedings had made an impression on her which it
would be hard to forget, and she sat silent for a while, not tasting
what followed.

'Logotheti,' said Madame Bonanni later, with her mouth full of
strawberries and cream, 'you must do something for me.'

'An investment, dear lady? I suppose you want some of the bonds of the
new electric road, don't you? They are not to be had, but of course you
shall have them at once. Or else you have decided to give your whole
fortune to an eccentric charity. Is that it?'

'No,' answered the singer, swallowing. 'This charming young lady--what
is your name, my dear? I have forgotten it twenty times this morning!'

'Donne. Margaret Donne.'

'This charming Miss Donne sings, Logotheti.'

'So I gathered while we were talking.'

'No, you didn't! You gathered no such thing! She told you that she took
lessons, perhaps. But I tell you that she sings. It is quite
different.'

Madame Bonanni pushed away her plate, planted her large white elbows on
the table and looked thoughtfully at Margaret. Logotheti looked at the
young girl, too, for he knew very well what his old friend meant by the
simple statement, slightly emphasised.

'Ah!' he ejaculated. 'I understand. I am at your service.'

'What is it?' asked Margaret, blushing a little and turning from one to
the other.

'Logotheti knows everybody,' answered Madame Bonanni. 'He is rich,
immensely rich, fabulously rich, my dear. He is in the "high finance,"
in fact. It is disgusting, how rich he is, but it is sometimes useful.
He wants a theatre, a newspaper; he buys it and does what he likes with
it. It makes no difference to him, for he always sells it again for
more than he gave for it, and besides, it amuses him. You would not
think it, but Logotheti is often dreadfully bored.'

'Very often,' assented the Greek, 'but never when I am with you.'

'Ah, bah! You say that! But why should I care? You always do what I
want.'

'Invariably.'

'And out of pure friendship, too.'

'The purest!' Logotheti uttered the two words with profound conviction.

'I never could induce this creature to make love to me,' cried Madame
Bonanni, turning to Margaret with a laugh. 'It is incredible! And yet I
love him--almost as well as plover's eggs! It is true that if he made
love to me, I should have him turned out of the house. But that makes
no difference. It is one of the disappointments of my life that he
doesn't!'

'What I admire next to your genius, is your logic, dear lady,' said
Logotheti.

'Precisely. Now before you have your coffee you will give me your word
of honour that Miss Donne shall have a triumph and an ovation at her
_debut_, and an engagement to sing next season at the Opera.'

'Really----' Margaret tried to protest.

'You know nothing about business,' interrupted Madame Bonanni. 'You are
nothing but a child! These things are done in this way. Logotheti, give
me your word of honour.'

'Are you sure of the voice?' asked the Greek quietly.

'As sure as I am of my own.'

'Very well. I give you my word. It is done.'

'Good. I hate you, Logotheti, because you are so cautious, but you
always do what you promise. You may have your coffee now! What name are
you going to take, my dear?' she asked, turning to Margaret, who felt
very uncomfortable. 'The name is very important, you know, even when
one has your genius.'

'My genius!' exclaimed the young girl in confusion.

'I know what I am talking about,' answered Madame Bonanni in a
matter-of-fact tone. 'You will get up on the morning of your _debut_ as
little Miss Donne, nobody! You will go to bed as the great new soprano,
famous! That is what you will do. Now don't talk, but let me give you a
name, and we will drink your health to it in a drop of that old white
Chartreuse. You like that old white Chartreuse, Logotheti. You shall
have none till you have found a name for Miss Donne.'

'May I not keep my own?' Margaret asked timidly.

'No. It is an absurd name for the stage, my dear. All the people would
make jokes about it. Of course you must be either Italian, or French,
or German, or Hungarian, or Spanish. There is no great Italian soprano
just now. I advise you to be an Italian. You are Signorina--Signorina
what? Logotheti, do make haste! You know Italian.'

'May I ask where you were born, Miss Donne?' inquired Logotheti.

'In Oxford. But what has that to do with it?'

'Translate into Italian: ox, "bove," ford, "guado." No, that won't do'

'Certainly not!' cried Madame Bonanni. 'Guado--guano! Fancy! Try again.
Think of a pretty Italian name. It must be very easy! Take an
historical name, the name of a great family. Those people never
object.'

'Cordova is a fine name,' observed Logotheti. 'She may just as well be
Spanish, after all. Margarita da Cordova. That sounds rather well.'

'Yes. Do you like it, my dear?' asked Madame Bonanni.

'But I don't know a word of Spanish----'

'What in the world has that to do with it? It is a good name. You may
have your Chartreuse, Logotheti. Margarita da Cordova, the great
Spanish soprano! Your health! You were born in the little town of
Boveguado in Andalusia.'

'Your father was the famous contrabandier Ramon da Cordova, who sang
like an angel and played the guitar better than any one in Spain.'

'Was there ever such a man?'

'No, of course not! And besides, he was stabbed in a love affair when
you were a baby, so that it does not matter. You ought to be able to
make something out of that for the papers, Logotheti. Carmen, don't you
know? Heavens, how romantic!'

Margaret had a vague idea that she was dreaming, that Madame Bonanni
and Logotheti were not real people, and that she was going to waken in
a few minutes. The heavy, middle-aged woman with the good-natured face
and the painted cheeks could not possibly be the tragic Juliet, the
terrible Tosca, the poor, mad, fluttering Lucia, whose marvellous voice
had so often thrilled the young girl to the heart, in Paris and in
London. It was either a dream or a cruel deception. Her own words
sounded far away and unsteady when she was at last allowed to speak.

'I am sure I cannot sing in public in less than a year,' she said. 'You
are very kind, but you are exaggerating my talent. I could never get
through the whole opera well enough.'

Madame Bonanni looked at her curiously for a moment, not at all certain
that she was in earnest; but she saw that Margaret meant what she said.
There was no mistaking the troubled look in the girl's eyes.

'I suppose you are not afraid to come here and sing before an
impresario and three or four musicians, are you?' inquired the singer.

'No!' cried Margaret. 'But that is different.'

'Did you think that any manager would engage you, even for one night,
merely on my word, my child? You will have to show what you can do. But
I can tell you one thing, little Miss Donne!' A great, good-natured
laugh rolled out before Madame Bonanni proceeded to state the one thing
she could tell. 'When you have sung the waltz song in _Romeo and
Juliet_, and the duo in the fifth act, to four or five of the men who
make a living out of us artists, you will be surprised at what happens
afterwards! Those people will not risk their money for your handsome
eyes, my dear! And they know their business, don't they, Logotheti?'

He answered by speaking directly to Margaret.

'I think,' he said quietly, 'that you can have confidence in Madame
Bonanni's opinion.'

'Listen to me,' said the prima donna--suddenly, and for some unknown
reason, rubbing all the rouge off her right cheek with the corner of
her napkin and then inspecting curiously the colour that adhered to the
linen--'listen to me! I sing day after to-morrow, for the last time
before going to London. Come to my dressing-room after the second act.
I will have Schreiermeyer there, and we will make an appointment for
the next day, and settle the matter at once. It's understood, isn't
it?'

Margaret was delighted, for Logotheti's quiet words had reassured her a
little. Madame Bonanni rose suddenly, untying her napkin from her neck
as she got up, and throwing it on the floor behind her. Before she had
reached the door she yawned portentously.

'I always go to sleep when I have eaten,' she said. 'Find a cab for
little Miss Donne, Logotheti--for the famous Senorita da Cordova!' She
laughed sleepily, and waved her hand to Margaret.

'I don't know how to thank you,' the young girl began, but before she
got any further Madame Bonanni had disappeared.

A few moments later Margaret and Logotheti were in the street. The
noonday air was warm and bright and she drew in deep breaths of it, as
she had done in the morning. Logotheti looked at her from under the
brim of his Panama hat.

'We shall find a cab in a minute,' he said, in an indifferent tone.

'Yes.'

They walked a few steps in silence.

'I hope you don't really mean to do what Madame Bonanni asked of you,'
Margaret said, rather awkwardly. 'I mean, about my _debut_, if it
really comes off.'

Logotheti laughed lightly.

'She always talks in that way,' he said. 'She thinks I can do anything,
but as a matter of fact I have no influence to speak of, and money has
nothing to do with an artist's success. I shall certainly be there on
your first night, and you will not object to my splitting my gloves in
applauding you?'

'Oh no!' Margaret laughed, too. 'You are welcome to do that! There is a
cab.'

She held up her parasol to attract the driver's attention, and
Logotheti made a few steps forward and called him.

'Where shall I tell the man to take you?' Logotheti asked, as she got
in.

'To the Saint Lazare station, please. Thank you very much!'

She smiled pleasantly and nodded as she drove away. He stood still a
moment on the pavement, looking after her, and then turned in the
opposite direction, lighting a cigarette as he walked.

He was a Greek, and an educated one, and as he sauntered along on the
shady side of the Avenue Hoche, the cigarette twitched oddly in his
mouth, as if he were talking to himself. From four and twenty centuries
away, in the most modern city of the world, broken lines of an ode of
Anacreon came ringing to his ears, and his lips formed the words
noiselessly:

    'I wish I were the zone that lies
    Warm to thy breast, and feels its sighs ...
    Oh, anything that touches thee!
    Nay, sandals for those fairy feet ...'

That, at least, is the English for it, according to Thomas Moore.




CHAPTER IV


Margaret was not quite sure how she could find her way to Madame
Bonanni's dressing-room at the Opera, but she had no intention of
missing the appointment. The most natural and easy way of managing
matters would be to ask her teacher to go with her, and she could then
spend the night at the latter's house. She accordingly stopped there
before she went to the station.

The elderly artist burst into tears on hearing the result of the
interview with Madame Bonanni, and fell upon Margaret's neck.

'I knew it,' she said. 'I was sure of it, but I did not dare to tell
you so!'

Margaret was very happy, but she was a little nervous about her frock
and wondered whether tears stained, as sea water does. The old singer
was of a very different type from Madame Bonanni, and had never enjoyed
such supremacy as the latter, even for a few months. But she had been
admired for her perfect method, her good acting, and her agreeable
voice, and for having made the most of what nature had given her; and
when she had retired from the stage comparatively young, as the wife of
the excellent Monsieur Durand, she had already acquired a great
reputation as a model for young singers, and she soon consented to give
lessons. Unfortunately, Monsieur Durand had made ducks and drakes of
her earnings in a few years, by carefully mis-investing every penny she
possessed; but as he had then lost no time in destroying himself by the
over-use of antidotes to despair, such as absinthe, his widow had soon
re-established the equilibrium of her finances by hard work and was at
the present time one of the most famous teachers of singers for the
stage. Madame Durand was a Neapolitan by birth and had been known to
modest fame on the stage as Signora De Rosa, that being her real name;
for Italian singers seem to be the only ones who do not care for
high-sounding pseudonyms. She was a voluble little person, over-flowing
with easy feeling which made her momentarily intensely happy,
miserable, or angry, as the case might be. Whichever it might be, she
generally shed abundant tears.

Margaret went back to Versailles feeling very happy, but determined to
say nothing of what had happened except to Mrs. Rushmore, who need only
know that Madame Bonanni had spoken in an encouraging way and wished to
see her at the theatre. For the girl herself found it hard to believe
half of what the prima donna had told her, and was far from believing
that she was on the eve of signing her first engagement.

Madame Bonanni had breakfasted at half-past eleven, but Mrs. Rushmore
lunched at half-past one, and Margaret found her at table with
Lushington and three or four other people who had dropped in. There was
an English officer who had got his Victoria Cross in South Africa and
was on his way to India, with a few days to spare by the way; there was
a middle-aged French portrait-painter who had caressing ways and an
immense reputation; there was a woman of the world whose husband was an
Austrian and was in the diplomatic service; and there was a young
archaeologist just from Crete, who foregathered with Lushington.

They were at the end of luncheon when Margaret came in, they were
sipping fine wine from very thin glasses, they were all saying their
second-best things, because each one was afraid that if he said his
very best before dinner one of the others would steal it; and Mrs.
Rushmore was in her element.

Margaret came in with her hat on and sat down in her place, which was
opposite Mrs. Rushmore. The men subsided again into their chairs and
looked at her. Lushington was next to her, but she smiled at the others
first, nodding quietly and answering their greetings.

'You seem pleased,' Lushington said, when he saw that she would hear
him.

'Do I?' She smiled again.

'That sort of answer always means a secret,' Lushington replied.
'Happiness for one, don't you know?'

'By the way,' asked the English officer on her other side, 'was not
your father the famous army coach?'

'No,' Margaret replied. 'I'm often asked that.'

'What is an army coach?' inquired the French painter, who spoke some
English. 'Is it not an ambulance? But I do not understand.'

Mrs. Rushmore began to explain in an undertone.

'Miss Donne's father was an Oxford don,' observed Lushington, rather
stiffly.

At this quite unintentional pun the French painter laughed so much that
every one turned and looked at him. He had once painted a famous man in
Oxford, and knew what a don was.

'Make the next one in Greek,' said Margaret to Lushington, with a
smile.

'There are some very bad puns in Aristophanes,' observed the
archaeologist thoughtfully. 'Why don't you go to Crete?' he inquired
very suddenly of Mrs. Rushmore.

Mrs. Rushmore, who did not happen to have heard of the recent
discoveries yet, felt a little as if the young man had asked her why
she did not go to Jericho. But she concealed her feelings, being quite
sure that no offence to her dignity was meant.

'It is so far,' she answered with a vague smile.

'It's a beastly hole,' observed the soldier. 'I was there when that row
was going on.'

'The discoveries have all been made since then,' answered the
archaeologist, who could think of nothing else. 'You have no idea what
those paintings are,' he continued, talking to the table. 'I have been
there several weeks and I'm going back next month. Logotheti is going
to take a party of us in his big yacht.'

'Who is Logotheti?' inquired Margaret, with great calm.

'A financier,' put in Lushington.

'A millionaire,' said the artist. 'I have painted his portrait.'

'He seems to be interested in discoveries,' Margaret said to the
archaeologist. 'I suppose you know him very well?'

'Oh yes! He is a most interesting person, a Greek of Constantinople by
birth, but a real Greek at heart, who knows his own literature, and
loves his country, and spends immense sums in helping archaeology. He
really cares for nothing but art! Finance amuses him now and then for a
while, and he has been tremendously lucky. They consider him one of the
important men in the money market, don't they?'

The question was directed to the French artist.

'Certainly they do!' replied the latter, with alacrity. 'I have painted
his portrait.'

'I should like to know him,' said Mrs. Rushmore.

'He is quite delightful,' the woman of the world chimed in. 'Quite the
most amusing man I know!'

'You know him, too?' Mrs. Rushmore asked.

'Everybody knows Logotheti!' answered the other.

'You must really bring him,' said Mrs. Rushmore, in a general way, to
everybody.

'I am sure he will be enchanted!' cried the archaeologist. 'I am dining
with him to-night, and if you will allow me I'll bring him to-morrow
afternoon.'

'You seem very sure that he will come,' Margaret said.

'But why should he not? Every one is glad to come to Mrs. Rushmore's
house.'

This was an unanswerable form of complimentary argument. Margaret
reflected on that strange law by which, when we have just heard for the
first time of a fact or a person, we are sure to come across it, or
him, again, within the next twenty-four hours. She did not believe that
Logotheti could be found at short notice and introduced to new
acquaintances so easily as the young scholar seemed to think; but she
made up her mind, if he came at all, that she would prevent him from
talking about their meeting at Madame Bonanni's, which she wished to
avoid mentioning for the present. That would be easy enough, for a man
of his tact would understand the slightest sign, and behave as if he
had not met her before.

In the afternoon she was alone with Lushington again. He was not at all
in an aggressive mood; indeed, he seemed rather depressed. They walked
slowly under the oaks and elms.

'What is the matter?' Margaret asked gently, after a silence.

'I have been thinking a great deal about you,' he answered.

'The thought seems to make you sad!' Margaret laughed, for she was very
happy.

'Yes. It does,' he answered, with a sigh that certainly was not
affected.

'But why?' she asked, growing grave at once.

'There is no reason why I should not tell you. After all, we know each
other too well to apologise for saying what we think. Don't we?'

'I hope so,' Margaret answered, wondering what he was going to say.

'But then,' said Lushington disconsolately, 'I am perfectly sure that
nothing I can say can have the slightest effect.'

'Who knows?' The young girl's lids drooped a little and then opened
again.

'You know.' He spoke gravely and with regret.

She tried to laugh.

'I wish I did! But what is it? There can be no harm in saying it!'

'You have made up your mind to be an opera-singer,' Lushington
answered. 'You have a beautiful voice, you have talent, you have been
well taught. You will succeed.'

He had never said as much as that about her singing, and she was
pleased. After many months of patient work, the acknowledgment of it
seemed to be all coming in one day.

'You talk as if you were quite sure.'

'Yes. You will succeed. But there is another side to it. Shall you
think me priggish and call me disagreeable if I tell you that it is no
life for a woman brought up like you?'

Margaret had just acquired some insight into the existence of the class
she meant to join, though by no means into the worst phase of it. She
was sure that if she closed her eyes she should see Madame Bonanni
vividly before her, and hear her talking to Logotheti, and smell the
heavy air of the big room. She felt that she could not call Lushington
a prig.

'I think I know what you mean,' she answered. 'But surely, an artist
can lead her own life, especially if she is successful.'

'No,' Lushington answered, 'she cannot. That's just it.'

'How do you know?' Margaret asked, incredulously.

'I do know,' he said with emphasis. 'I assure you that I know. I have
seen a great deal of operatic people. A few, and they are not generally
the great ones, try to lead their own lives, as you put it, but they
either don't succeed at all or else they make themselves so
disagreeable to their fellow artists that life becomes a burden.'

'If they don't succeed, it's because they have no strength of
character,' Margaret answered, 'and if they make themselves
disagreeable, it's because they have no tact!'

'That settles it!' Lushington laughed drily. 'I had better not say
anything more.'

'I did not mean to cut you short. I beg your pardon. Please go on,
please!'

She turned to him as she said the last words, and there was in the word
'please' that one tone of hers which he could never resist. It is said
that even lifeless things, like bridges and towers, are subject by
nature to the vibration of a sympathetic note, and that the greatest
buildings in the world would tremble, and shake, and rock and fall in
ruins if that single musical sound were steadily produced near to them.
We men cannot pretend to be harder of hearing and feeling than stocks
and stones. The woman who loves, whether she herself knows it or not,
has her call, that we answer as the wood-bird answers his mate, her
sympathetic word and note at which we vibrate to our heart's core.

When Margaret said 'please' in a certain way, Lushington's free will
seemed to retire from him suddenly, to contemplate his weakness from a
little distance. When she said 'please go on,' he went on, and not only
said what he had meant to say but a great deal more, too.

'It would bore you to know all about my existence,' he began, 'but as a
critic and otherwise I happen to have been often in contact with
theatrical people, especially opera-singers. I have at least
one--er--one very dear friend amongst them.

'A man?' suggested Margaret.

'No. A woman--of a certain age. As I see her very often, I naturally
see other singers, especially as she is very much liked by them. I only
tell you that to explain why I know so much about them; and if I want
to explain at all, it's only because I like you so much, and because I
suppose that what I like most about you, next to yourself, is just that
something which my dear old friend can never have. Do you understand?'

Lushington was certainly very shy as a rule, and most people would have
said that he was very cold; but Margaret suddenly felt that there was a
true and deep emotion behind his plain speech.

'You have been very fond of her,' she said gently.

He flushed almost before she had finished speaking; but he could not
have been angry, for he smiled.

'Yes, I have always been very fond of her,' he answered, after a
scarcely perceptible pause, 'and I always shall be. But she is old
enough to be my mother.'

'I'm glad if it's really a friendship,' said Margaret; 'and only a
friendship,' she added.

He turned his eyes to her rather slowly.

'I believe you really are glad,' he answered. 'Thank you. I'm very fond
of you. I can't help it. I suppose I love you, and I have no business
to--and sometimes you say things that touch me. That's all.

After this rather inexplicable speech he relapsed into silence. But
there are silences of all sorts, as there is speech of all sorts. There
are silences that set one's teeth on edge--it is always a relief to
break them; and there are silences that are gentler, kinder, sweeter,
more loving, more eloquent than any words, and which it is always a
wrench to interrupt. Of these was the pause that followed now; but
Margaret was asking herself what he meant by saying that he had no
right to love her.

'Do you know what the hardest thing in my life is?' Lushington asked,
suddenly rousing himself. 'It is the certainty that my friend can never
have been and never can be at all like you in everything that appeals
to me most. But it would be still worse--oh, infinitely worse!--to see
you grow like her, by living amongst the same people. You will suffer
if you do, and you will suffer if you cannot. That is why I dread the
idea of your going on the stage.'

'But I really think I shall not change so much as you think, if I do,'
Margaret said.

'You don't know the life,' Lushington answered rather sadly. 'All I can
do is to tell you that it is not fit for you, or that you are not fit
for it, because you are not by nature what most of them are, and please
God you never will be.'

He spoke very earnestly, and another little silence followed, during
which the two walked on.

'Please notice that I have not called you a prig for saying that,' said
Margaret at last. 'And I have not thought you one either,' she added,
before he could answer.

'You're very nice!' Lushington tried to laugh, but it was rather a
failure.

'But of course you've no business to think me nice, have you?'

'None whatever.'

'Why not?'

It was not even curiosity, nor an idle inclination to flirt that made
Margaret ask the question at last. She had never felt so strongly drawn
to him as now.

He looked at her quietly, and answered without the least hesitation or
shyness.

'I've no business to be in love with you, because I'm a fraud,' he
said.

'A fraud! You? What in the world do you mean?'

Margaret was thoroughly surprised. This gifted, shy, youthful man who
had fought his way to the front by his own talent and hard work, was of
all people she knew the one with whom she least connected any idea of
deception. He only nodded and looked at her.

'A fraud!' she exclaimed again. 'I suppose it's some sort of false
modesty that makes you say that! You know that you are a very
successful writer and that you have earned your success. Why do you try
to make out----'

'I'm not trying to make out anything. I tell you the plain truth. I'm a
fraud.'

'Nonsense!' Margaret was almost angry at his persistence.

'I would not tell you, if I did not care for you so much,' he answered.
'But as I do, and as you seem to like me a little, I should be an awful
cad if I kept you in the dark any longer. You won't publish it on the
housetops. I'm not Edmund Lushington at all.'

'You are not Edmund Lushington, the critic?' Margaret's mouth opened in
surprise.

'I'm the critic all right,' he answered, with a faint smile. 'I'm the
man that writes, the man you've heard of. But I'm not Lushington. It's
an assumed name.'

'Oh!' Margaret seemed relieved. 'Is that all? Many people who write
take other names.'

'But they are not generally known by them to their friends,' Lushington
observed. 'That's where the fraud comes in, in my case. A man may sign
his book Judas Iscariot or Peter the Great if he likes, provided he's
known as Mr. Smith at home, if that's his real name.'

'Is your real name Smith?' Margaret asked. 'Is that why you changed
it?'

Lushington could not help smiling.

'No. If I had been called Smith, I would have stuck to it. Smith is a
very good, honest name. Most of the people who originally came by it
made armour and were more or less artists. No! I wish I were a Smith,
indeed I do! The name is frequent, not common, that's all.'

Margaret was puzzled, and looked at his face, as if she were thinking
out the problem.

'No,' she said suddenly, and with decision. 'You are not a Jew. That's
impossible!'

'I'm not a Jew.' He laughed this time. 'But I know several very
interesting Jews, and I don't dislike them at all. I really should not
mind being called Solomon Isaacs! I would not have changed the name
either.'

'You might have been called Isidore Guggenheimer,' Margaret suggested,
smiling.

'Well--that! For purposes of literature, it would not be practical.'

'You forget that you have not told me your real name yet. You see, if I
should ever happen to think of you again, I'd rather not think of you
under a pseudonym, unless it were in connection with your books.'

'That's the only way in which you are likely to think of me,' he
answered. 'But if you really want to know, my first name is Thomas,
diminutive Tom--plain Tom.'

'I like that much better than Edmund,' said Margaret, who had simple
tastes. 'Is the other one as nice?'

'I don't know what you might think of it,' Lushington answered. 'It is
neither common nor uncommon, and not at all striking, but I cannot tell
you what it is. I'm sorry to make a mystery of it, for my father was
nobody in particular, and I was nobody in particular until I was heard
of as Lushington, the critic. And I've been Lushington so long that I'm
used to it. I was called so at school and at Oxford.'

'As long ago as that!' Margaret again seemed relieved.

'Yes. Oh, I've done nothing disgraceful, nor my father either! It's not
that. I cannot possibly explain, but it's the reason why I'm a
fraud--as far as you are concerned.'

'Only as far as I am concerned?'

'Nobody else happens to matter. Mrs. Rushmore receives all sorts of
interesting people, many of whom have played tricks with their names.
Why should she care? Why should anybody care? We have all done the
things we are known for, and we are not in love with Mrs. Rushmore,
though she is a very agreeable woman! She wouldn't care to call me Tom,
would she?'

'I don't know,' Margaret answered with a laugh. 'She might!'

'At all events, it's not necessary to tell her,' said Lushington.

'No. But suppose that I should not care to call you Tom either, and yet
should wish to call you something, don't you know? That might happen.'

Lushington did not answer at once, and Margaret was a little
displeased, for she had said more than she had ever meant to say to
show him what she was beginning to feel. She held her head rather high
as they walked on under the great trees, and her eyes sparkled coldly
now and then.

She had known for a long time that he loved her, and to-day he had told
her so, almost roughly; and for some time, also, she had understood
that she was growing fond of him. But now that she held out her hand,
metaphorically, he would not take it.

'I don't want to know your secret, if it is as important as that,' she
said at last. 'A man who hides his real name so carefully must have
some very good reason for doing it.'

She emphasised the words almost cruelly and looked straight before her,
and her eyes sparkled again. His lips parted to make a quick retort,
but he checked himself, and then spoke quietly.

'I have never done anything I am ashamed of,' he said.

'I don't think it's very nice to do what you are doing now,' Margaret
retorted, coolly. 'It doesn't inspire confidence, you know.'

'Can't we part without quarrelling?'

'Oh, certainly! Do you mean to go away?'

'You leave me no choice. Shall we turn back to the house? It will
soon be over. I can leave before dinner. It will be easy to find an
excuse.'

'Yes! Those proofs you have been talking of lately--your
publishers--anything will do!'

Margaret was thoroughly angry with him and with herself by this time,
and he was deeply hurt, and they turned and walked stiffly, with their
noses in the air, as if they never meant to speak to each other again.

'It's very odd!' Margaret observed at last, as if she had made a
discovery.

'What is very odd?'

'I never liked you as much as I did a quarter of an hour ago, and I
never disliked you as much as I do now! Do you understand that?'

'Yes. You make it very clear. I never heard any thing put more
plainly.'

'I'm glad of that. But it's very funny. I detest you just now, and yet,
if you go away at once, I know I shall be sorry. On the whole, do you
know?--you had better not leave to-night.'

Lushington turned sharply on her.

'Are you playing with me?' he asked, in an angry tone.

'No,' she answered with exasperating coolness, 'I don't think I am.
Only, you are two people, you see. It confuses me. You are Mr.
Lushington, and then, the next minute, you're--Tom. I hate Mr.
Lushington. I believe I always did. I wish I might never see him
again.'

'Oh indeed! How about Tom?'

'Tom is rather bearable than otherwise,' Margaret answered, laughing
again. 'He knows that I think so, too, and it's no reason why he should
be always trying to keep out of the way!'

'He has no right to be in the way.'

'Then he ought never to have come here. But since he has, I would
rather have him stay.'

When she had thus explained herself with perfect frankness and made
known her wishes, Margaret seemed to think that there was nothing more
to be said. But Lushington thought otherwise.

'Why do you hate Mr. Lushington?' he asked.

'Because he is a fraud,' Margaret answered. 'As you have just told me
that he is, you cannot possibly deny it, and you can't quarrel with me
for not liking him. So there!'

All her good-humour had come back, the cold sparkle in her eyes had
turned into afternoon sunshine, and she swung her closed parasol gently
on one finger by its hook as she walked, nodding her head just
perceptibly as if keeping time with it. She expected an answer, a laugh
perhaps, or a retort; but nothing came. She glanced sideways at
Lushington, thinking to meet his eyes, but they were watching the
ground as he walked, a yard before his feet. She turned her head and
looked at his face, and she realised that it was a little drawn, and
had grown suddenly pale, and that there were dark shadows under his
eyes which she had never seen before. The healthy, shy, rather too
youthful mask was gone, and in its place she saw the features of a
mature man who was quietly suffering a great deal. She fancied that he
must often look as he did now, when he was alone.

'Could any one do anything to make it easier for you?' she asked
softly, after a moment.

He looked up quickly in surprise, and then shook his head, without
speaking.

'Because, if I could help you, I would,' she added.

'Thank you. I know you would,' He spoke with real gratitude, and the
colour began to come back to his face. 'You see, it's not a thing that
can be changed, or helped, or bettered. It's a condition from which I
cannot escape, and I've got to live in it. It would have been easier if
I had never met you, my dear Miss Donne!'

He straightened himself and put on something of the formality that had
become a habit with him, as it easily does with shy men who feel much.

'Please don't call me Miss Donne,' Margaret said, very low.

'Margaret----' he paused on the syllables, as he almost whispered them.
'No!' he said, suddenly, as if angry with himself. 'That's silly! Don't
make me do such things, please, or I shall hate myself! Nothing in the
world can ever change what is, and I shall never have the right to put
out my hand and ask you to marry me. The best we can do is to say
good-bye, and I'll try to keep out of your way. Help me to do that, for
it's the only help you can ever give me!'

'I don't believe it,' Margaret answered. 'We can always be friends, if
we cannot be anything else.'

Lushington shook his head incredulously, but said nothing.

'Why not?' Margaret asked, clinging to her idea. 'Why can't we like
each other, be very, very fond of each other, and meet often, and each
help the other in life? I don't want to know your secret. I won't even
call you Tom, as I want to, and you shall be as stiff and formal with
me as you please. What do such things matter, if we really care? If we
really trust one another, and know it? The main thing is to know, to be
absolutely sure. Why do you wish to go away, just when I've found out
how much I want you to stay? It's not right, and it's not kind! Indeed
it's not!'

They had been walking very slowly, and now she stood still and faced
him, waiting for his answer.

He looked steadily into her eyes as he spoke.

'I don't think I can stay,' he said slowly. 'You can't tear love up by
the roots and plant it in a pot and call it friendship. If you try,
something will happen. Excuse me if the simile sounds lyric, but I
don't happen to think of a better one, on the spur of the moment. I'll
behave all right before the others, but I had better go away to-morrow
morning. The thing will only get worse if I keep on seeing you.'

Margaret heard the short, awkward sentences and knew what they cost
him. She looked down and stuck the bright metal tip of her parasol into
the thin dry mud of the macadamised road, grinding it in slowly, half
round and half back, with both hands, and unconsciously wondering what
made the earth so hard just in that place.

'I wish I were a man!' she said all at once, and the parasol bent
dangerously as she gave it a particularly vicious twist, leaning upon
it at the same time.

'It would certainly simplify matters for me, if you were,' said
Lushington coldly.

She looked up with a hurt expression.

'Oh, please don't go back to that way of talking!' she said. 'It's bad
enough, as it is! Don't you see how hard I am trying?'

'I'm sorry,' Lushington said. 'Don't pay any attention to what I say.
I'm all over the place.'

He mumbled the words and turned away from her as he stood. She watched
him, and desisted from digging holes in the ground. Then, as he did not
look at her again she put out one hand rather shyly and touched his
sleeve.

'Look at me,' she said. 'What is this for? What are we making ourselves
miserable about? We care for each other a great deal, much more than I
had any idea of this morning. Why should we say good-bye? I don't
believe it's at all necessary, after all. You have got some silly,
quixotic idea into your head, I'm sure. Tell me what it is, and let me
judge for myself!'

'I can't,' he answered, in evident distress. 'You may find out what it
is some day, but I cannot tell you. It's the one thing I couldn't say
to anybody alive. If I did, I should deserve to be kicked out of decent
society for ever!'

She saw the look of suffering in his face again, and she felt as if she
were going to cry, out of sympathy.

'Of course,' she faltered, 'if it would be--what you call
dishonourable--to tell----'

'Yes. It would be dishonourable to tell.'

There was a little silence.

'All I can hope,' he continued presently, 'is that you won't believe
it's anything I've done myself.'

'Indeed, indeed I don't. I never could!'

She held out her hand and he took it gladly, and kept it in his for a
moment; then he dropped it of his own accord, before she had made the
least motion to take it back.

They walked on without speaking again for a long time, and without
wishing to speak. When they were in sight of Mrs. Rushmore's gate
Margaret broke the silence at last.

'Do you mean to take an early train to-morrow morning?' she asked.

'Nine o'clock, I think,' he answered.

There was another little pause, and again Margaret spoke, but very low,
this time.

'I shall be in the garden at half-past eight--to say good-bye.'

'Yes,' Lushington answered. 'Thank you,' he added after a moment.

They were side by side, very near together as they walked, and her left
hand hung down close to his right. He caught her fingers suddenly, and
they pressed his, and parted from them instantly.




CHAPTER V


Little Madame Durand-De Rosa took Margaret behind the scenes just
before the second act of _Romeo and Juliet_ was over. The famous
teacher of singing was a privileged person at the Opera, and the man
who kept the side door of communication between the house and the stage
bowed low as he opened for her and Margaret. Things are well managed in
the great opera-houses nowadays, and it is not easy to get behind when
anything is going on.

The young girl felt a new sensation of awe and excitement. It was the
first time she had ever found herself on the working side of the vast
machinery of artistic pleasure, and her first impression was that she
had been torn from an artificial paradise and was being dragged through
an artificial inferno. Huge and unfamiliar objects loomed about her in
the deep shadows; men with pale faces, in working clothes, stood
motionless at their posts, listening and watching; others lurked in
corners, dressed in mediaeval costumes that glittered in the dark.
Between the flies, Margaret caught glimpses of the darkened stage, and
the sound of the orchestra reached her as if muffled, while the tenor's
voice sounded very loud, though he was singing softly. On a rough bit
of platform six feet above the stage, stood Madame Bonanni in white
satin, apparently laced to a point between life and death, her hands
holding the two sides of the latticed door that opened upon the
balcony. In a loft on the stage left a man was working a lime-light
moon behind a sheet of blue glass in a frame; the chorus of old
retainers in grey stood huddled together in semi-darkness by a fly,
listening to the tenor and waiting to hear Madame Bonanni's note when
she should come out.

[Illustration: "The young girl felt a new sensation of awe and
excitement."]

Margaret would have waited too, but her teacher hurried her along,
holding her by the hand and checking her when they came to any obstacle
which the girl's unpractised eyes might not have seen in time. To the
older woman it was all as familiar as her own sitting-room, for her
life had been spent in the midst of it; to Margaret it was all strange,
and awe-inspiring, and a little frightening. It was to be her own life,
too, before long. In a few months, or perhaps a few weeks, she, too,
would be standing on a platform, like Madame Bonanni, waiting to go out
into the lime-light, waiting to be heard by two thousand people. She
wondered whether she should be frightened, whether by any possibility
her voice would stick in her throat at the great moment and suddenly
croak out a hideous false note, and end her career then and there. Her
heart beat fast at the thought, even now, and she pressed her teacher's
guiding hand nervously; and yet, as the music reached her ears, she
longed to be standing in Madame Bonanni's place with only a latticed
balcony door between her and the great public. She was not thinking of
Lushington now, though she had thought all day of his face when she had
met him for one moment under the trees, yesterday morning, and had felt
that something was gone from her life which she was to miss for a long
time. That was all forgotten in what she felt at the present moment, in
the wild quivering longing to be in front, the centre of the great
illusion, singing as she knew that she could sing, as she had never
sung before.

Madame De Rosa led her quickly down a dark corridor and a moment later
she found herself in a dazzling blaze of light, in the prima donna's
dressing-room.

The ceiling was low, the walls were white, and innumerable electric
lamps, with no shades, filled the place with a blinding glare. It all
looked bare and uncomfortable, and very untidy. There was a
toilet-table, covered with little pots of grease and paint, and
well-worn pads and hare's-feet, and vast stores of hairpins, besides a
quantity of rings and jewels of great value, all lying together in
bowls in the midst of the confusion. A tall mirror stood on one side,
with wing mirrors on hinges, and bunches of lamps that could be moved
about. On one of the walls half-a-dozen theatrical gowns and cloaks
hung limply from pegs. Two large trunks were open and empty not far
from the door. The air was hot and hard to breathe, and smelt of many
things.

There were three people in the room when the two visitors entered;
there was a very tall maid with an appallingly cadaverous face and
shiny black hair, and there was a short fat maid who grinned and showed
good teeth at Madame De Rosa. Both wore black and had white aprons, and
both were perspiring profusely. The third person was an elderly man in
evening dress, who rose and shook hands with the retired singer, and
bowed to Margaret. He seemed to be a very quiet, unobtrusive man, who
was nevertheless perfectly at his ease, and he somehow conveyed the
impression that he must be always dressed for the evening, in a
perfectly new coat, a brand-new shirt, a white waistcoat never worn
before, and a made tie. Perhaps it was the made tie that introduced a
certain disquieting element in his otherwise highly correct appearance.
He wore his faded fair hair very short, and his greyish yellow beard
was trimmed in a point. His fat hands were incased in tight white
gloves. His pale eyes looked quietly through his glasses and made one
think of the eyes of a big fish in an aquarium when it swims up and
pushes its nose against the plate-glass front of the tank to look at
visitors.

The eyes examined Margaret attentively.

'Monsieur Schreiermeyer, this is Miss Donne, my pupil,' said Madame De
Rosa.

'Enchanted,' mumbled the manager.

He continued to scrutinise the young girl's face, and he looked so much
like a doctor that she felt as if he were going to feel her pulse and
tell her to put out her tongue. At the thought, she smiled pleasantly.

'Hum!' Schreiermeyer grunted softly, almost musically, in fact.

Perhaps this was a good sign, for little Madame De Rosa beamed.
Margaret looked about for an empty chair, but there never seemed to be
any in a room used by Madame Bonanni. There was one indeed, but
Schreiermeyer had appropriated it, and sat down upon it again with
perfect calm.

'Sit down,' he said, as he did so himself.

'Yes,' answered Margaret sweetly, and remained standing.

Suddenly he seemed to realise that she could not, and that the maids
were not inclined to offer her a seat. His face and figure were
transfigured in an instant, one fat, gloved hand shot out with extended
forefinger in a gesture of command and his pale eyes flashed through
his glasses, and glared furiously at the maids.

'Clear two chairs!' he shouted in a voice of thunder.

Margaret started in surprise and protest.

'But the things are all ready----' objected the cadaverous maid.

'Damn the things!' yelled Schreiermeyer. 'Clear two chairs at once!'

He seemed, on the verge of a white apoplexy, though he did not move
from his seat. The cadaverous maid lifted an embroidered bodice from
one of the chairs and laid it in one of the black trunks; she looked
like a female undertaker laying a dead baby in its coffin. The fat maid
showed all her teeth and laughed at Schreiermeyer and cleared the other
chair, and brought up both together for the two ladies.

'Give yourselves the trouble to be seated,' said Schreiermeyer, in a
tone so soft that it would not have disturbed a sleeping child.

As soon as he was obeyed he became quite quiet and unobtrusive again,
the furious glare faded from his eyes, and the white kid hand returned
to rest upon its fellow.

'How good you are!' cried Madame De Rosa gratefully, as she sat down on
the cane chair.

'Hum!' grunted Schreiermeyer, musically, as if he agreed with her.

'Miss Donne has a good soprano,' the teacher ventured to say after a
time.

'Ah?' ejaculated the manager in a tone of very indifferent
interrogation.

There was a little pause.

'Lyric,' observed Madame De Rosa, breaking the silence.

Another pause. Schreiermeyer seemed not to have heard, and neither
moved nor looked at the two.

'Lyric?' he inquired, suddenly, but with extreme softness.

'Lyric,' repeated Madame De Rosa, leaning forward a little, and fanning
herself violently.

Another pause.

'Thank God!' exclaimed Schreiermeyer, without moving, but so very
devoutly that Margaret stared at him in surprise.

Madame De Rosa knew that this also was an excellent sign; she looked at
Margaret and nodded energetically. Whatever Schreiermeyer might mean by
returning devout thanks to his Maker at that moment, the retired singer
was perfectly sure that he knew his business. He was probably in need
of a lyric soprano for the next season, and that might lead to an
immediate engagement for Margaret.

'How hot it is!' the latter complained, in an undertone. 'There is no
air at all here!'

The maids were mopping their faces with their handkerchiefs, and Madame
De Rosa's fan was positively whirring. Schreiermeyer seemed quite
indifferent to the temperature.

He must nevertheless have been reflecting on Margaret's last remark
when he slowly turned to her after a silence of nearly a minute.

'Have you a good action of the heart?' he inquired, precisely as a
doctor might have done.

'I don't know.' Margaret smiled. 'I don't know anything about my
heart.'

'Then it is good,' said the manager. 'It ought to be, for you have a
magnificent skin. Do you eat well and sleep well, always?'

'Perfectly. May I ask if you are a doctor?'

Madame De Rosa made furious signs to Margaret. A very faint smile
flitted over the manager's quiet face.

'Some people call me an executioner,' he answered, 'because I kill the
weak ones.'

'I am not afraid of work.' Margaret laughed.

'No. You will grow fat if you sing. You will grow very fat.' He spoke
thoughtfully. 'After you are forty,' he added, as if by way of
consolation.

'I hope not!' cried the young girl.

'Yes, you will. It is the outward sign of success in the profession.
Singers who grow thin lose their voices.'

'I never grew very fat,' said Madame De Rosa, in a tone of regret.

'Precisely, my darling,' answered Schreiermeyer. 'Therefore you
retired.'

Margaret was a little surprised that he should call her teacher 'my
darling,' and that the good lady should seem to think it quite natural,
but her reflections on obesity and the manners of theatrical people
were interrupted, though not by any means arrested for the night, by
the clattering sound of high-heeled shoes in the corridor. The act was
over, and Madame Bonanni was coming back from the stage. In a moment
she was in the doorway, and as she entered the room she unmasked a
third maid who followed her with a cloak.

She saw Margaret first, as the latter rose to meet her. Margaret felt
as if the world itself were putting huge arms round her and kissing her
on both cheeks. The embrace was of terrific power, and a certain amount
of grease paint came off.

'Little Miss Donne,' cried the prima donna, relaxing her hold on
Margaret's waist but instantly seizing her by the wrist and turning her
round sharply, like a dressmaker's doll on a pivot, 'that is
Schreiermeyer! The great Schreiermeyer! The terrible Schreiermeyer! You
see him before you, my child! Tremble! Every one trembles before
Schreiermeyer!'

The manager had risen, but was perfectly imperturbable and silent. He
did not even grunt. Madame Bonanni dropped Margaret's wrist and
shrugged her Juno-like shoulders.

'Schreiermeyer,' she said, as if she had forgotten all about Margaret,
'if that lime-light man plays the moon in my eyes again I shall come
out on the balcony with blue goggles. You shall hear the public then!
It is perfectly outrageous! I am probably blind for life!'

She winked her big painted eyelids vigorously as if trying whether she
could see at all. Margaret was looking at her, not sure that it was not
all a dream, and wondering how it was possible that such a face and
figure could still produce illusions of youth and grace when seen from
the other side of the footlights. Yet Margaret herself had felt the
illusion only a quarter of an hour ago. The paint on Madame Bonanni's
face was a thick mask of grease, pigments and powder; the wig was the
most evident wig that ever was; the figure seemed of gigantic girth
compared with the woman's height, though that was by no means small;
the eye lids were positively unwieldy with paint and the lashes looked
like very thick black horsehairs stuck in with glue, in rows.

She shook her solid fist at Schreiermeyer and blinked violently again.

'It is outrageous!' she cried again. 'Do you understand?'

'Perfectly.'

'Schreiermeyer!' screamed Madame Bonanni. 'If you take no more notice
of my complaints than that I refuse to finish the opera. I will not
sing the rest of it! Find somebody else to go on. I am going home!
Undress me!' she cried, turning to the three perspiring maids, not one
of whom moved an inch at her summons. 'Oh, you won't? You are afraid of
him? Ah, bah! I am not. Schreiermeyer, I refuse to go on; I absolutely
refuse. Go away! I am going to undress.'

Thereupon she tore off her brown wig with a single movement and threw
it across the room. It struck the wall with a thud and fell upon the
floor, a limp and shapeless mass. The cadaverous maid instantly picked
it up and began smoothing it. Madame Bonanni's own dark hair stood on
end, giving her a decidedly wild look.

Schreiermeyer smiled perceptibly.

'Miss Donne will go on and sing the rest of the opera with pleasure, I
have no doubt,' he said, gently, looking at Margaret.

The girl's heart stood still for an instant at this sudden proposal,
before she realised that the manager was not in earnest.

'Of course she can sing it!' chimed in Madame De Rosa, understanding
perfectly. 'But our dear friend is much too kind to disappoint the
Parisian public,' she added, turning to the prima donna and speaking
soothingly.

'Nothing can move that man!' cried Madame Bonanni, in a helpless tone.

'Nothing but the sound of your marvellous voice, my angel artist,' said
Schreiermeyer. 'That always makes me weep, especially in the last act
of this opera.'

Margaret could not fancy the manager blubbering, though she had more
than once seen people in front with their handkerchiefs to their eyes
during the scene in the tomb.

'Put my wig on,' said Madame Bonanni to the cadaverous maid, and she
sat down in front of the toilet-table. 'We must talk business at once,'
she continued, suddenly speaking with the utmost calm. 'The appointment
is at my house, at ten o'clock to-morrow morning, Schreiermeyer. Miss
Donne will sing for us. Bring a pianist and the Minister of Fine Arts
if you can get him.'

'I have not the Minister of Fine Arts in my pocket, dearest lady,'
observed the manager, 'but I will try. Why do you name such a very
early hour?'

'Because I breakfast at eleven. Tell the Minister that the King is
coming too. That will bring him. All Ministers are snobs.'

'The King?' repeated Margaret in surprise, and somewhat aghast.

'He is in Paris,' explained Madame Bonanni carelessly. 'He's an old
friend of mine, and we dined together last night. I told him about you
and he said he would come if he could but you never can count on those
people.'

Margaret was too timid to ask what king Madame Bonanni was talking of,
but she supposed her teacher would tell her in due time; and, after
all, he might not come. Margaret hoped that he would, however, for she
had never spoken to a royalty in her life and thought it would be very
amusing to see a real, live king in the prima donna's eccentric
surroundings.

'I shall turn you all out when you have heard her sing,' continued
Madame Bonanni. You and I will lunch quite alone, my dear, and talk
things over. There is one good point in Schreiermeyer's character. He
never flatters unless he wants something. If he tells you that you sing
well, it means an engagement next year. If he says you sing divinely,
your _debut_ will be next week, or as soon as you can rehearse with a
company.'

She touched up her cheeks with a hare's-foot while she talked.

'So that is settled,' she said, turning sharp round on the stool, which
creaked loudly. 'Go home and go to bed, my children, unless you want to
hear poor old Bonanni sing the rest of this stupid opera!'

She laughed, at herself perhaps; but suddenly in the tones Margaret
heard a far-off suggestion of sadness that went to her heart very
strangely. The singer turned her back again and seemed to pay no more
attention to her visitors. Margaret came close to her, to say goodbye,
and to thank her for all she was doing. The great artist looked up
quietly into the young girl's eyes for a moment, and laid a hand on
hers very kindly.

'Good-night, little Miss Donne,' she said, so low that the others could
not hear distinctly. 'It is the setting sun that bids you good-night,
child--you, the dawn and the sun of to-morrow!'

Margaret pressed the kind hand, and a moment later her teacher was
hurrying her back through the dark wilderness of the stage to the
brilliant house beyond. Schreiermeyer had already disappeared without
so much as a word.




CHAPTER VI


Mrs. Rushmore had not been at all surprised at Lushington's sudden
departure. She was accustomed to the habits of lions and was well aware
that they must be allowed to come and go exactly as they please if you
wish them to eat out of your hand from time to time; and when the
eminent young critic announced rather suddenly that he must leave early
the next morning the good lady only said that she was sorry, and that
she hoped he would come back soon. Sham lions love to talk about
themselves, and to excite curiosity, but real ones resent questions
about their doings as they would resent a direct insult. Mrs. Rushmore
knew that, too.

She was really sorry to lose him, however, and had counted on his
staying at least a week longer. She liked him herself, and she saw that
Margaret liked him very much; and it was more moral in a nice girl to
like an Englishman than a foreigner, just as it would be still more
moral of her to prefer an American to an Englishman, according to Mrs.
Rushmore's scale of nationalities. Next to what was moral, she was fond
of lions, who are often persons without any morals whatsoever. But
Lushington seemed to fill both requirements. He was a highly moral
lion. She was quite sure that he did not drink, did not gamble, and did
not secretly worship Ashtaroth; and he never told her naughty stories.
Therefore she was very sorry when he was gone.

At the present juncture, however, she was in considerable anxiety about
Margaret. She did not know one note from another, but she had heard all
the greatest singers of the last thirty years, in all the greatest
opera-houses from Bayreuth to New York, and it horrified her to be
obliged to admit that Margaret's singing sounded dreadfully like the
best. The girl meant to sing in opera, and if she could really do it
well it would be quite impossible to hinder her, as she had no means of
support and could not be blamed for refusing to live on charity.
Everything was combining to make an artist of her, for the chances of
winning the suit brought on her behalf were growing as slender as the
seven lean kine.

It was characteristic of Margaret that she had kept to herself most of
what Madame Bonanni had told her, but Mrs. Rushmore knew the girl well,
and guessed from her face that there was much more behind. The
appointment at the theatre confirmed this surmise, and when Margaret
telegraphed the next day that she was going to stay in town until the
afternoon, with Madame De Rosa, there was no longer any room for doubt.

As for poor Lushington, Margaret had told him nothing at all, and her
visit to Madame Bonanni had been a secret between herself and Mrs.
Rushmore. Logotheti had not made his appearance after all, but the
young archaeologist had brought assurances that the financier would be
honoured, charmed and otherwise delighted to be presented to Mrs.
Rushmore within a day or two, if convenient to her. So it happened that
Logotheti made his first visit after Lushington had left Versailles.

The latter went away in a very disconsolate frame of mind, and
disappeared into Paris. It is not always wise to follow a discouraged
man into the retirement of a shabby room in a quiet hotel on the left
bank of the Seine, and it is never amusing. Psychology in fiction seems
to mean the rather fruitless study of what the novelist himself thinks
he might feel if he ever got himself into one of those dreadful scrapes
which it is a part of his art to invent outright, or to steal from the
lives of men and women he has known or heard of. People who can analyse
their own feelings are never feeling enough to hurt them much; a
medical student could not take his scalpel and calmly dissect out his
own nerves. You may try to analyse pain and pleasure when they are
past, but nothing is more strangely and hopelessly undefined than the
memory of a great grief, and no analysis of pleasure can lead to
anything but the desire for more. The only real psychologists have been
the great lyric poets, before they have emerged from the gloom of
youth.

The outward signs of Lushington's condition were few and not such as
would have seemed dramatic to an acquaintance. When he was in his room
at the hotel in the Rue des Saints Peres, he got an old briar pipe out
of his bag, filled it and lit it, and stood for nearly a quarter of an
hour at the window, smoking thoughtfully with his hands in his pockets.
The subtle analyst, observing that the street is narrow and dull and
presents nothing of interest, jumps to the conclusion that Lushington
is thinking while he looks out of the window. Perhaps he is. The next
thing to be done is to unpack his bag and place his dressing things in
order on the toilet-table. They are simple things, but mostly made
expressly for him, of oxidised silver, with his initials in plain block
letters; and each object has a neat sole leather case of its own, so
that they can be thrown pell-mell into a bag and jumbled up together
without being scratched. But Lushington takes them out of their cases
and disposes them on the table with mathematical precision, smoking
vigorously all the time. This done, he unpacks his valise, his
shirt-case and other belongings, in the most systematic way possible,
looks through the things he left in the room when he went to
Versailles, to see that everything is in order, and at last rings for
the servant to take away the clothes and shoes that need cleaning. The
subtle analyst would argue from all this that Lushington was one of
those painfully orderly persons, who are made positively nervous by the
sight of a hair-brush lying askew, or a tie dropped on the floor.

It was at most true that he had acquired a set of artificially precise
habits to which he clung most tenaciously, and which certainly
harmonised with the natural appearance of neatness that had formerly
been his despair. Why he had taken so much trouble to become orderly
was his own business. Possibly he had got tired of that state of life
in which it is impossible to find anything in less than half an hour
when one wants it in half a minute. At all events, he had taken pains
to acquire orderliness, and, for reasons which will appear hereafter,
it is worth while to note the fact.

When everything was arranged to his satisfaction, he sat down in the
most comfortable chair in the room, filled another of the three wooden
pipes that now lay side by side on the writing-table, and continued to
smoke as if his welfare depended on consuming a certain quantity of
tobacco in a given time. He must have had a sound heart and a strong
head, for he did not desist from his occupation for many hours, though
he had not eaten anything particular at breakfast, at Mrs. Rushmore's,
and nothing at all since.

The afternoon was wearing on when he knocked the ashes out of his pipe
very carefully, laid it in its place, rose from his seat and uttered a
single profane ejaculation.

'Damn!'

Having said this, he said no more, for indeed, if taken literally,
there could be nothing more to be said. The malediction, however, was
directed against nothing particular, and certainly against no person
living or dead; it only applied to the aggregate of the awkward
circumstances in which he found himself, and as he was alone he felt
quite sure of not being misunderstood.

He did not even take a servant with him when he travelled, though he
had an excellent Scotchman for a valet, who could do a great variety of
useful things, besides holding his tongue, which is one of the finest
qualities in the world, in man or dog. And he also had a dog in London,
a particularly rough Irish terrier called Tim; but as Tim would have
been quarantined every time he came home it was practically impossible
to bring him to the Continent. It will be seen, therefore, that
Lushington was really quite alone in the quiet hotel in the Rue des
Saints Peres.

He might have had company enough if he had wanted it, for he knew many
men of letters in Paris and was himself known to them, which is another
thing. They liked him, too, in their own peculiar way of liking their
foreign colleagues. Most of them, without affectation and in perfect
good faith, are convinced that there never was, is not, and never can
be any literature equal to the French except that of Edgar Poe; but
they feel that it would be rude and tactless of them to let us know
that they think so. They are the most agreeable men in the world, as a
whole, and considering what they really think of us--rightly or
wrongly, but honestly--the courtesy and consideration they show us are
worthy of true gentlemen. The most modest among ourselves seem a little
arrogant and self-asserting in comparison with them. They praise us,
sometimes, and not faintly either; but their criticism of us compares
us with each other, not with them. The very highest eulogy they can
bestow on anything we do is to say that it is 'truly French,' but they
never quite believe it and they cannot understand why that is perhaps
the very compliment that pleases us least, though we may have the
greatest admiration for their national genius. With all our vanity,
should we ever expect to please a French writer by telling him that his
work was 'truly English'?

Lushington liked a good many of his French colleagues in literature,
and had at least one friend among them, a young man of vast learning
and exquisite taste, who was almost an invalid. For a moment, he
thought of going to see this particular one amongst them all, but he
realised all at once that he did not wish to see any one at all that
day. He went out and wandered towards the Quai Voltaire, and smelt the
Seine and nosed an old book here and there at the stalls. Later he went
and ate something in an eating-house on the outskirts of the Latin
Quarter, and then went back to his hotel, smoked several more pipes by
the open window, and went to bed.

That was the first day, and the second was very like it, so that it is
not necessary to describe it in detail in order to produce an
impression of profound dulness in the reader's mind. Lushington's hair
continued to be as preternaturally smooth as before, his beard was as
glossy and his complexion as blooming and child-like, and yet the look
of pain that Margaret had seen in his face was there most of the time
during those two days.

But in the evening he crossed the river and went to hear _Romeo and
Juliet_, for he knew that it was the last night on which Madame Bonanni
would sing before she left for the London season. He sat in the second
row of the orchestra stalls, and never moved from his seat during the
long performance. No secret intuition told him that Margaret was in the
house, and that if he stood up and looked round after the second act he
might see her and Madame De Rosa going out and coming back again and
sitting at the end of a back row. He did not want to see any one he
knew, and the surest way of avoiding acquaintances was to sit perfectly
still while most people went out between the acts. His face only
betrayed that the music pleased him, by turning a shade paler now and
then; at the places he liked best, he shut his eyes, as if he did not
care to see Madame Bonanni or the fat tenor.

She sang very beautifully that night, especially after the second act,
and Lushington thought he had hardly ever heard so much real feeling in
her marvellous voice. Afterwards he walked home, and he heard it all
the way, and for an hour after he had gone to bed, when he fell asleep
at last, and dreamt that he himself had turned into a very fat tenor
and was singing Romeo, but the Juliet was Margaret Donne instead of
Madame Bonanni, and though she sang like an angel, she was evidently
disgusted by his looks; which was very painful indeed, and made him
sing quite out of tune and perspire terribly.

'You look hot,' said Margaret-Juliet, with cruel distinctness, just as
he was trying to throw the most intense pathos into the words, ''tis
not the lark, it is the nightingale!'

Perhaps dreaming nonsense is also a subject for the inquiries of
psychology. At the moment the poor man's imaginary sufferings were
positively frightful, and he awoke with a gasp. He had always secretly
dreaded growing fat, he had always felt a horror of anything like
singing or speaking in public, and the only thing in the world he
really feared was the possibility of being ridiculous in Margaret's
eyes. Of course the ingenious demon of his dreams found a way of
applying all these three torments at once, and it was like being saved
from sudden death to wake up in the dark and smell the stale smoke of
the pipe he had enjoyed before putting out his light.

Then he fell asleep again and did not awake till morning, being
naturally a very good sleeper. It was raining when he got up, and he
looked out disconsolately upon the dull street. It seemed to him that
if it was going to rain in Paris he might as well go back to London,
where he had plenty to do, and he began to consider which train he
should take, revolving the advantages and disadvantages of reaching
London early in the evening or late at night. He knew the different
time-tables by heart.

But it stopped raining while he was dressing, and the sun came out, and
a bird began to sing somewhere at a window high above the street, and
it was suddenly spring again. It was a great thing to be alone in
spring. If he went back to London he must see people he knew, and dine
with people he hardly knew at all, and be asked out by others whom he
had not even met, because he was the distinguished critic, flattered
and feared and asked to dinner by everybody who had a seventh cousin in
danger of literary judgment. He belonged to the flock of dramatic lions
and must herd with them, eat with them and roar with them, for the
greater glory of London society and his native country generally. Under
ordinary circumstances such an existence was bearable and at times
delightful, but just now he wanted to roar in the wilderness and assert
his leonine right of roaming in desolate places not less than two
geographical degrees east of Pall Mall.

He went out at last and strolled towards the bridge, and across it and
much farther, but not aimlessly, for though he did not always take the
shortest way, he kept mainly in the same direction till he came to the
Avenue Hoche.

At the end of the street he stopped and looked at his watch. It was
five minutes to eleven. Looking along the pavement in front of him his
eye was attracted by the striped awning that distinguished Madame
Bonanni's house from the others on the same side, and he noticed an
extremely smart brougham that stood just before the door. The handsome
black horse stood perfectly motionless in the morning sunshine, the
stony-faced English coachman sat perfectly motionless on the box,
looking straight between the horse's ears; he wore a plain black livery
that fitted to perfection and there was no cockade on his polished hat.
No turnout could have been simpler and yet none could have looked more
overpoweringly smart.

Lushington suddenly turned on his heel and walked off in the opposite
direction, as if he were not pleased, but he had not gone fifty yards
when he heard the brougham behind him, and in a few seconds it passed
him at a sharp pace. He caught sight of the elderly man inside--a
tremendous profile over a huge fair beard that was half grey, one large
and rather watery blue eye behind a single eyeglass with a broad black
ribbon, a gardenia in the button-hole of a smart grey coat, a cloud of
cigarette smoke, one very large and aristocratic hand, with a plain
gold ring, holding the cigarette and resting on the edge of the window.
He smelt the smoke after the brougham had passed, and he recognised the
fact that it was superlatively fragrant.

He turned back again in a few moments and saw that three men were just
coming out of Madame Bonanni's house. One was Schreiermeyer, whom he
knew, and one looked like a poor musician. The third was the Minister
of Fine Arts, whom he did not know but recognised. The Minister and the
pianist walked one on each side of Schreiermeyer, and were talking
excitedly, but the manager looked at neither of them and never turned
his head. They went down the Avenue Hoche away from Lushington, who
walked very slowly and looked at his watch twice before he reached
Madame Bonanni's door. There he stopped, rang and was admitted without
question, as if he were in the habit of coming and going as he pleased.
He apparently took it for granted that the prima donna must be alone
and already at her late breakfast, but he was stopped by the smiling
servant who came out of the dining-room, arrayed as usual in a frock
coat and a white satin tie.

'I will inform Madame,' he said.

'Is there any one there?' asked Lushington, evidently not pleased.

The servant shrugged his shoulders in a deprecatory way, and his smile
became rather compassionate.

'One young person to breakfast,' he said, 'a musician'.

'Oh, very well.' Lushington's brow cleared.

The servant left him and went in again. A screen was so placed as to
mask the interior of the dining-room when the door was open. Within,
Madame Bonanni and Margaret were seated at table. Encouraged by
circumstances the prima donna had on this occasion tied her napkin
round her neck as soon as she had sat down; the inevitable plovers'
eggs had already been demolished, and she was at work on a creamy puree
soup of the most exquisite pale green colour. It was clear that she had
not lost a moment in getting to her meal after the men had left.
Margaret was eating too, but though there was fresh colour in her
cheeks her eyes had a startled look each time she looked up, as if
something very unusual had happened.

The servant whispered something in Madame Bonanni's ear. She seemed to
hesitate a moment, and glanced at Margaret before making up her mind.
Then she nodded to the man without saying a word, and went on eating
her soup.

A few seconds later Lushington entered. Margaret faced the door and
their eyes met. Madame Bonanni dropped her spoon into her plate with a
clang and uttered a scream of delight, as if she had not known
perfectly well that Lushington was coming.

'What luck!' she cried. 'Little Miss Donne, this is my son!'

Margaret's jaw dropped in sheer amazement.

'Your son? Mr. Lushington is your son?'

'Yes. Ah, my child!' she cried, springing up and kissing Lushington on
both cheeks with resounding affection. 'What a joy it is to see you!'

Lushington was rather pale as he laid his hand quietly on Madame
Bonanni's.

'I have the pleasure of knowing Miss Donne already, mother,' he said
steadily, 'but she did not know that I was your son. She is a little
surprised.'

'Yes,' answered Margaret, faintly, 'a little.'

'Ah, you know each other?' Madame Bonanni seemed delighted. 'So much
the better! Miss Donne will keep our little secret, I am sure. Besides
she has another name, too. She is Senorita Margarita da Cordova from
to-day. Sit down, my darling child! You are starving! I know you are
starving! Angelo!' she screamed at the smiling servant, 'why do you
stand there staring like a stuffed codfish? Bring more plovers' eggs!'

Angelo smiled as sweetly as ever and disappeared for an instant. Madame
Bonanni took Lushington by the shoulders, as if he had been a little
boy, made him sit down in the vacant place beside her, unfolded the
napkin herself, spread it upon his knees, patted both his cheeks and
kissed the top of his head, precisely as she had done when he was six
years old. Margaret looked on in dumb surprise, and poor Lushington
turned red to the roots of his hair.

'You have no idea what a dear child he is,' she said to Margaret, as
she sat herself down in her own chair again. 'He has been my passion
ever since he was born! My dear, you never saw such a beautiful baby as
he was! He was all pink and white, like a little sugar angel, and he
had dimples everywhere--everywhere, my dear!' she repeated with
suggestive emphasis.

'I don't doubt it,' said Margaret, biting her lips and looking at her
plate.

By this time the plovers' eggs had come for Lushington and he was glad
of anything to do with his hands.

'My mother can never believe that I am grown up,' he said, with much
more self-possession than Margaret had expected; and suddenly he raised
his eyes and looked steadily and quietly at her across the table.

It must have cost him something of an effort, for his colour came and
went quickly. Margaret knew what he was suffering and her respect for
him increased a hundredfold in those few minutes, because he did not
betray the least irritation in his tone or manner. His mother evidently
worshipped him, but her way of showing it was such as must be horribly
uncomfortable to a man of his retiring character and sensitive taste.
He might easily have been forgiven if he had shown that it hurt him, as
well it might. Whatever reason he and Madame Bonanni might have had for
changing his name, he was brave enough not to be falsely ashamed of
her, in the presence of the woman he loved.

'You see,' Margaret said, looking at him, but speaking to the prima
donna, 'Mr. Lushington has been stopping with us at Versailles for a
good while, but I did not tell him that I had been to see you, and he
never even said that he knew you, though he often spoke of your
singing.'

'Did he?' asked Madame Bonanni with intense anxiety. 'What did he say?
Did he say that I was growing old and ought to give up the stage?'

'Mother!' exclaimed Lushington reproachfully.

'He never said anything of the kind!' cried Margaret, taking his part
with energy.

'Because he always says just what he thinks,' explained Madame Bonanni,
who seemed relieved. 'And the worst part of it is that he knows,' she
added, thoughtfully. 'I do not pretend to understand what he writes,
but I would take his opinion about music rather than anyone's. You
wretched little boy!' she cried, turning on Lushington suddenly. 'How
you frightened me!'

'I frightened you? How?'

'I was sure that you had told everybody that I was growing old! How
could you? My darling child, how could you be so unkind? Oh, you have
no heart!'

'But he never said so!' cried Margaret vehemently and feeling as if she
were in a madhouse. 'He has told me again and again that you are still
the greatest lyric soprano living----'

'Angelo,' said Madame Bonanni, with perfect calm, 'change my plate.'

Margaret glanced at Lushington, who seemed to think it all quite
natural. He was eating little bits of thin toast thoughtfully, and from
time to time he looked at his mother with a gentle expression. But he
did not meet Margaret's glance.

'You never sang better in your life than you did last night, mother,'
he observed.

The prima donna's face glowed with pleasure, and as she turned her big
eyes to his Margaret saw in them a look of such loving tenderness as
she had rarely seen in her life.

'I saw you, my dear,' said Madame Bonanni to her son. 'You were in the
second row of the stalls. I sang for you last night, for I thought you
looked sad and lonely.'

Lushington laid his hand on hers for a moment.

'Thank you,' he said simply.

There was a short silence, which was unusual when the prima donna was
present. Margaret had recovered from her first surprise, and had
understood that Madame Bonanni adored her son and that he felt real
affection for her, though he suffered a good deal from the manner in
which hers showed itself. If Lushington had fancied that he might fall
in Margaret's estimation through her discovery of his birth, he was
much mistaken. His patience and perfect simplicity did more to make her
love him than anything he had done before. She had learned his secret,
or a great part of it, and she understood him now, and the reason why
he had changed his name, and she felt that he had behaved very well to
her in going away, though she wished that he had boldly taken her into
his confidence before leaving Mrs. Rushmore's. But she did not know
all, though she was neither too young nor too innocent to guess a part
of the truth. Few young women of twenty-two years are. Madame Bonanni's
career as an artist had been a long series of triumphs, but her past as
a woman had been variegated, of the sort for which the French have
invented a number of picturesquely descriptive expressions, such as
'leading the life of Punch,' 'throwing one's cap over the windmills,'
and other much less elegant phrases. Margaret saw that Lushington was
not ashamed of his mother, as his mother; but she knew instinctively
that his mother's past was a shame which he felt always and to the
quick.

Madame Bonanni ate a good deal before she spoke again, feeling,
perhaps, that she had lost time.

'Schreiermeyer says she sings divinely,' she said at last, looking at
Lushington and then nodding at Margaret. 'You know what that means.'

'London?' inquired Lushington, who knew the manager.

'London next year, and an appearance this season if any one breaks
down. Meanwhile he signs for her _debut_ in Belgium and a three months'
tour. Twenty-four performances in three operas, fifty thousand francs.'

'I congratulate you,' said Lushington, looking at Margaret and trying
to seem pleased.

'You seem to think it is too little,' observed Madame Bonanni.

'Little?' cried Margaret. 'It's a fortune!'

'You may talk of a fortune when you get three hundred pounds a night,'
said Lushington. 'But it is a good beginning. I wonder that
Schreiermeyer agreed to it so easily.'

'Easily!' Madame Bonanni laughed. 'I wish you had been there, my dear
boy! He kicked and screamed, and we called him bad names. The King told
him he was a dirty little Jew, which he is not, poor man, but it had a
very good effect.'

'Oh!' Lushington did not seem surprised at the royal personage's
reported language. 'Then it was the King who passed me in that smart
brougham? I thought so.'

'Yes,' answered Madame Bonanni rather brusquely, and she became very
busy with some little birds.

'It's funny,' Margaret said to Lushington. 'One always imagines a king
with a crown and a sort of ermine dressing-gown, and a sceptre like the
Lord Mayor's mace! Of course it's perfectly ridiculous, isn't it?'

'I believe His Majesty possesses those things,' answered Lushington, as
if he did not like the subject.

'He looked and talked much more like an old friend than anything else,'
Margaret went on, remembering that Madame Bonanni had used the same
expression before Schreiermeyer.

To her surprise and sudden discomfiture neither of the two paid the
least attention to her remark.

'What train shall you take, mother?' asked Lushington so abruptly upon
Margaret's speech that she understood her mistake.

Though she had guessed something, it had somehow not occurred to her to
connect the royal personage with Madame Bonanni's past; but now she
scarcely dared to glance at Lushington. When she did, he seemed to be
avoiding her eyes again, and she saw the old look of pain in his face,
though he was talking about the timetables and the turbine
channel-boat.

'You must come over to London and see me before your _debut_, my dear,'
Madame Bonanni said, breaking off the discussion of trains and turning
to Margaret. 'That is, if Schreiermeyer will let you,' she added. 'You
will have to do exactly what he tells you, now, and he is always right.
He will be a father to you, now that he is going to make money out of
you.'

'Will he call me his "darling"?' inquired Margaret, with a shade of
anxiety.

'Of course he will! And when you sing well he will kiss you on both
cheeks.'

'Indeed he won't!' cried Margaret, turning red.

Madame Bonanni laughed heartily, but Lushington looked annoyed.

'My dear, why not?' asked the prima donna. 'Everybody kisses us
artists, when we have a triumph, and we kiss everybody! The author, the
manager, the dressmaker and the stage carpenter, besides all our old
friends! What difference can it make? It means nothing.'

'But it's such an unpleasant idea!' Margaret objected.

'Of course,' returned Madame Bonanni, licking her fingers between the
words, 'there are artists who ride the high horse and insist on being
treated like duchesses. The other artists hate them, and real society
laughs at them. It is far better to be simple, and kiss everybody. It
costs so little and it gives them so much pleasure, as Rachel said of
her lovers!'

'It was Sophie Arnould,' said Lushington, correcting her mistake.

'Was it? I don't care. I say it, and that is enough. Besides I hate
children who are always setting their parents right! It's my own fault,
because I was so anxious to have you well educated. If I had brought
you up as I was brought up, you would never have left me! As it
is'--she turned to Margaret with suddenly flashing eyes--'do you know,
my dear? that atrocious little wretch will never take a penny from me,
from me, his own mother! Ah, it is villainous! He is perfectly
heartless! He denies me the only pleasure I wish for. Even when he was
at school, at Eton, my dear, at the great English school, you know, he
worked like a poor boy and won scholarships--money! Is it not
disgusting? And at Oxford he lived on that money and won more! And then
he worked, and worked at those terrible books, and wrote for the
abominable press, and never would let me give him anything. Ah, you
ungrateful little boy!

She seemed perfectly furious with him and shook her fist in his face;
but the next moment she laughed and patted his cheek with her fat hand.

'And to say that I am proud of him!' she said, beaming with motherly
smiles. 'Proud of him, my dear, you don't know! He is beating them all,
as he always did! At the school, at the university, he was always the
best! He used to get what they call firsts and double firsts every
week!'

Margaret could not help laughing, and even Lushington smiled in his
agony.

'It was splendid,' said the young girl, looking at him. 'Did you really
get a double first?'

Lushington nodded.

'One?' screamed Madame Bonanni. 'Twenty, I tell you! A hundred----'

'No, no, mother,' interrupted Lushington. No one can get more than
one.'

'Ah, did I not tell you?' cried the prima donna, triumphantly. 'There is
only one, and he got it! What did I tell you? How can you expect me not
to be proud of him?'

'You ought to be,' answered Margaret, very much in earnest, and for the
first time Lushington saw in her eyes the light of absolutely
unreserved admiration.

It was not for the double first at Oxford that she gave it. There had
been a moment when it had hurt her to think that he probably accepted a
good deal of luxury in his existence out of his mother's abundant
fortune, but it was gone now. Even as a schoolboy he had guessed whence
at least a part of that wealth really came, and had refused to touch a
penny of it. But Lushington felt as if he were being combed with
red-hot needles from head to foot, and the perspiration stood on his
forehead. It would have filled him with shame to mop it with his
handkerchief and yet he felt that in another moment it would run down.
The awful circumstances of his dream came vividly back to him, and he
could positively hear Margaret telling him that he looked hot, so loud
that the whole house could understand what she said. But at this point
something almost worse happened.

Madame Bonanni's motherly but eagle eye detected the tiny beads on his
brow. With a cry of distress she sprang to her feet and began to wipe
them away with the corner of her napkin that was tied round her neck,
talking all the time.

'My darling!' she cried. 'I always forget that you feel hot when I feel
cold! Angelo, open everything--the windows, the doors! Why do you stand
there like a dressed-up doll in a tailor's window? Don't you see that
he is going to have a fit?'

'Mother, mother! Please don't!' protested the unfortunate Lushington,
who was now as red as a beet.

But Madame Bonanni took the lower end of her napkin by the corners, as
if it had been an apron, and fanned him furiously, though he put up his
hands and cried for mercy.

'He is always too hot,' she said, suddenly desisting and sitting down
again. 'He always was, even when he was a baby.' She was now at work on
a very complicated salad. 'But then,' she went on, speaking between
mouthfuls, 'I used to lay him down in the middle of my big bed, with
nothing on but his little shirt, and he would kick and crow until he
was quite cool.'

Again Margaret bit her lip, but this time it was of no use, and after a
conscientious effort to be quiet she broke into irrepressible laughter.
In a moment Lushington laughed too, and presently he felt quite cool
and comfortable again, feeling that after all he had been ridiculous
only when he was a baby.

'We used to call him Tommy,' said Madame Bonanni, putting away her
plate and laying her knife and fork upon it crosswise. 'Poor little
Tommy! How long ago that was! After his father died I changed his name,
you know, and then it seemed as if little Tommy were dead too.'

There was visible moisture in the big dark eyes for an instant.
Margaret felt sorry for the strange, contradictory creature, half
child, half genius, and all mother.

'My husband's name was Goodyear,' continued the prima donna
thoughtfully. 'You will find it in all biographies of me.'

'Goodyear,' Margaret repeated, looking at Lushington. 'What a nice
name! I like it.'

'You understand,' Madame Bonanni went on, explaining. '"Goodyear,"
"buon anno," "bonanno," "Bonanni"; that is how it is made up. It's a
good name for the stage, is it not?'

'Yes. But why did you change it at all for your son?'

Madame Bonanni shrugged her large shoulders, glanced furtively at
Lushington, and then looked at Margaret.

'It was better,' she said. 'Fruit, Angelo!'

'Can I be of any use to you in getting off, mother?' asked Lushington.

Margaret felt that she had made another mistake, and looked at her
plate.

'No, my angel,' said Madame Bonanni, answering her son's question, and
eating hothouse grapes; 'you cannot help me in the least, my sweet. I
know you would if you could, dear child! But you will come and dine
with me quietly at the Carlton on Sunday at half-past eight, just you
and I. I promise you that no one shall be there, not even
Logotheti--though you do not mind him so much.'

'Not in the least,' Lushington answered, with a smile which Margaret
thought a little contemptuous. 'All the same, I would much rather be
alone with you.'

'Do you wonder that I love him?' asked Madame Bonanni, turning to
Margaret.

'No, I don't wonder in the least,' answered the young girl, with such
decision that Lushington looked up suddenly, as if to thank her.

The ordeal was over at last, and the prima donna rose with a yawn of
satisfaction.

'I am going to turn you out,' she said. 'You know I cannot live without
my nap.'

She kissed Margaret first, and then her son, each on both cheeks, but
it was clear that she could hardly keep her eyes open, and she left
Margaret and Lushington standing together, exactly as she had left the
young girl with Logotheti on the first occasion.

Their eyes met for an instant and then Lushington got his hat and stick
and opened the door for Margaret to go out.

'Shall I call a cab for you?' he asked.

'No, thank you. I'll walk a little way first, and then drive to the
station.'

When they were in the street, Lushington stood still.

'You believe that it was an accident, don't you?' he asked. 'I mean my
coming to-day.'

'Of course! Shall we walk on?'

He could not refuse, and he felt that he was not standing by his
resolution; yet the circumstances were changed, since she now knew his
secret, and was warned.

They had gone twenty steps before she spoke.

'You might have trusted me,' she said.

'I should think you would understand why I did not tell you,' he
answered rather bitterly.

She opened her parasol so impatiently that it made an ominous little
noise as if it were cracking.

'I do understand,' she said, almost harshly, as she held it up against
the sun.

'And yet you complain because I did not tell you,' said Lushington in a
puzzled tone.

'It's you who don't understand!' Margaret retorted.

'No. I don't.'

'I'm sorry.'

They went on a little way in silence, walking rather slowly. She was
angry with herself for being irritated by him, just when she admired
him more than ever before, and perhaps loved him better; though love
has nothing to do with admiration except to kindle it sometimes, just
when it is least deserved. Now it takes generous people longer to
recover from a fit of anger against themselves than against their
neighbours, and in a few moments Margaret began to feel very unhappy,
though all her original irritation against Lushington had subsided. She
now wished, in her contrition, that he would say something
disagreeable; but he did not. He merely changed the subject, speaking
quite naturally.

'So it is all decided,' he said, 'and you are to make your _debut_.'

'Yes,' she answered, with a sort of eagerness to be friendly again.
'I'm a professional from to-day, with a stage name, a prey to critics,
reporters and photographers--just like your mother, except that she is
a very great artist and I am a very little one.'

It was not very skilfully done, but Lushington was grateful for what
she meant by it, and for saying 'your mother' instead of 'Madame
Bonanni.'

'I think you will be great, too,' he said, 'and before very long. There
is no young soprano on the stage now, who has half your voice or half
your talent.'

Margaret coloured with pleasure, though she could not quite believe
what he told her. But he glanced at her and felt sure that he was
right. She had voice and talent, he knew, but even with both some
singers fail; she had the splendid vitality, the boundless health and
the look of irresistible success, which only the great ones have. She
was not a classic beauty, but she would be magnificent on the stage.

There was a short silence, before she spoke.

'Two days ago,' she said, 'I did not think we would meet again so
soon.'

'Part again so soon, you ought to say,' he answered. 'It is nothing but
that, after all.'

She bit her lip.

'Must we?' she asked, almost unconsciously.

'Yes. Don't make it harder than it is. Let's get it over. There's a
cab.'

He held up his stick and signalled to the cabman, who touched his horse
and moved towards them. Margaret stood still, with a half-frightened
look, and spoke in a low voice.

'Tom, if you leave me, I won't answer for myself!'

'I will. Good-bye--God bless you!'

The cab stopped beside them, as he held out his hand. She took it
silently and he made her get in. A moment later she was driving away at
a smart pace, sitting bolt upright and looking straight before her, her
lips pressed tight together, while Lushington walked briskly in the
opposite direction. It had all happened in a moment, in a sort of
despairing hurry.




CHAPTER VII


Constantine Logotheti had at least two reasons for not going out to
Versailles as soon as Mrs. Rushmore signified her desire to know him.
In the first place he was 'somebody,' and an important part of being
'somebody' is to keep the fact well before the eyes of other people. He
was altogether too great a personage to be at the beck and call of
every one who wanted to know him. Secondly, he did not wish Margaret to
think that he was running after her, for the very good reason that he
meant to do so with the least possible delay.

Lushington, who was really both sensitive and imaginative, used to tell
Margaret that he was a realist. Logotheti, who was by nature, talent
and education a thorough materialist, loved to believe that he
possessed both a rich imagination and the gift of true sentiment.

Margaret had delighted him at first sight, though he was hard to
please, and though she was not a great beauty. She appealed directly to
that love of life for its own sake which was always the strength, the
genius and the snare of the Greek people, and which is not extinct in
their modern descendants. Logotheti certainly had plenty of it, and his
first impression, when he had met Margaret Donne, was that he had met
his natural mate. There was nothing in the very least psychological
about the sensation, and yet it was not the result of a purely physical
attraction. It brought with it a satisfaction of artistic taste that
was an unmarred pleasure in itself.

True art has gone much further in deifying humanity than in humanising
divinity. The Hermes of Olympia is a man made into a god; no Christian
artist has ever done a tenth as well in presenting the image of God
made Man. When imagination soars towards an invisible world it loses
love of life as it flies higher, till it ends in glorifying death as
the only means of reaching heaven; and in doing that it has often
descended to a gross realism that would have revolted the Greeks--to
the materialism of anatomical preparations that make one think of the
dissecting-room, if one has ever been there.

Love of genuine art is the best sort of love of life, and the really
great artists have always been tremendously vital creatures. So-called
artistic people who are sickly or merely under-vitalised generally go
astray after strange gods; or, at the best, they admire works of art
for the sake of certain pleasing, or sad, or even unhealthy
associations which these call up.

Logotheti came of a race which, through being temporarily isolated from
modern progress, has not grown old with it. For it seems pretty sure
that progress means, with many other things, the survival of the unfit
and the transmission of unfitness to a generation of old babies; but
where men are not disinfected, sterilised, fed on preserved carrion and
treated with hypodermics from the cradle to the grave, the good old law
of nature holds its own and the weak ones die young, while the strong
fight for life and are very much alive while they live.

Such people, when transplanted from what we call a half-barbarous state
to live amongst us, never feel as we do, and when they are roused to
action their deeds are not of the sort which our wives, our
mothers-in-law and the clergy expect us to approve. It does not follow
that they are villains, though they may occasionally kill some one in a
fit of anger, or carry off by force the women they fall in love with;
for such doings probably seem quite natural in their own country, and
after all they cannot be expected to know more about right and wrong
than their papas and mammas taught them when they were little things.

The object of this long-winded digression is not to excite sympathy on
behalf of Logotheti, but to forestall surprise at some of the things he
did when he had convinced himself that of all the women he had ever
met, Margaret Donne was the one that suited him best, and that she must
be his at any cost and at any risk.

The conviction was almost formed at the first meeting, and took full
possession of him when he met her again, and she seemed glad to see
him. By this time she had no reason for concealing from Mrs. Rushmore
that she had seen him at Madame Bonanni's, and she held out her hand
with a frank smile. It was on a Sunday afternoon and there were a
number of lions on the lawn, and half a dozen women of the world.
Logotheti seemed to know more than half the people present, which is
rather unusual in Paris, and most of them treated him with the rather
fawning deference accorded by society to the superior claims of wealth
over good blood.

The Greek smiled pleasantly and reflected that the nobility of the
Fanar, which goes back to the Byzantine Empire, is as good as any in
France, and even less virtuous. He by no means despised his wealth, and
he continually employed his excellent faculties in multiplying it; but
in his semi-barbarous heart he was an aristocrat and was quietly amused
when people whose real names seemed to have been selected from a list
of Rhine wines took titles which emanated from the Vatican, or when
plain Monsieur Dubois turned himself into 'le comte du Bois de
Vincennes'. Yet since few people seemed to know anything about Leo the
Isaurian, under whom his direct ancestor had held office as treasurer
and had eventually had his eyes put out for his pains, Logotheti was
quite willing to be treated with deference for the sake of the more
tangible advantages of present fortune. In Mrs. Rushmore's garden of
celebrities, he at once took his place as a rare bird.

He crossed the lawn beside Margaret, indeed, with the air and assurance
of a magnificent peacock. He was perhaps a shade less over-dressed than
when she had seen him last, but there was an astonishing lustre about
everything he wore, and even his almond-shaped eyes were bright almost
to vulgarity; but though he tired the sight, as a peacock does in the
sun, it was impossible not to watch him.

'What a handsome man Logotheti is!' exclaimed a Roumanian poetess, who
was there.

'What an awful cad!' observed a fastidious young American to the
English officer who was still on his way to India, and was very
comfortable at Mrs. Rushmore's.

The Englishman looked at Logotheti attentively for nearly half a minute
before he answered.

'No,' he said quietly. 'That man is not a cad, he is simply a rich
Oriental, dressed up in European clothes. I've met that sort before,
and they are sometimes nasty customers. That fellow is as strong as a
horse and as quick as a cat.'

Meanwhile the Greek and Margaret reached a seat near the little pond
and sat down. She did not know that he had watched every one of her
movements with as much delight as if Psyche, made whole and alive, had
been walking beside him. He had not seemed to look at her at all, and
he did not begin the conversation by making her compliments.

'I should have left a card on Mrs. Rushmore the day after I met you,'
he began in a rather apologetic tone, 'but I was not quite sure that
she knew about your visit to our friend, and she might have asked who I
was and where you had met me. Besides, as she is an American, she would
have thought I was trying to scrape acquaintance.'

'Hardly that. But you did quite right,' Margaret answered. 'Thank you.'

He was tactful. She leaned back a little in the corner of the seat and
looked at him with an air of curiosity, wondering why everything he had
said and done so far had pleased her so much better than his
appearance. She was always expecting him to say something blatant or to
do something vulgar, mainly because he wore such phenomenal ties and
such gorgeous pins. To-day he displayed a ruby of astonishing size and
startling colour. She was sure that it must be real, because he was so
rich, but she had never known that rubies could be so big except in a
fairy story. The tie was knitted of the palest mauve, shot with green
and gold threads.

'I have seen Schreiermeyer,' he said. 'Is there to be any secret about
your _debut_?'

'None whatever! But I have said nothing about it, and none of the
people here seem to have found it out yet.'

'So much the better. In everything connected with the theatre I believe
it is a mistake to try and excite interest before the event. What is
said beforehand is rarely said afterwards. You can be sure that
Schreiermeyer will say nothing till the time comes, and if Madame
Bonanni talks about you to her friends in London, nobody will believe
she is in earnest.'

'But she is so outspoken,' Margaret objected.

'Yes, but no one could possibly understand that a prima donna just on
the edge of decline could possibly wish to advertise a rising light. It
is hardly human!'

'I think she is the most good-natured woman I ever knew,' said Margaret
with conviction.

'She has a heart of gold. Her only trouble in life is that she has too
much of it! There is enough for everybody. She has always had far too
much for one.'

Logotheti smiled at his own expression.

'Perhaps that is better than having no heart at all,' Margaret
answered, not quite realising how the words might have been
misunderstood.

'The heart is a convenient and elastic organ,' observed Logotheti. 'It
does almost everything. It sinks, it swells, it falls, it leaps, it
stands still, it quivers, it gets into one's throat and it breaks; but
it goes on beating all the time with more or less regularity, just as
the violin clown scrapes his fiddle while he turns somersaults, sticks
out his tongue, sits down with frightful suddenness and tumbles in and
out of his white hat.'

He talked to amuse her and occupy her while he looked at her, studying
her lines, as a yacht expert studies those of a new and beautiful
model; yet he knew so well how to glance and look away, and glance
again, that she was not at all aware of what he was really doing. She
laughed a little at what he said.

'Where did you learn to speak English so well?' she asked.

'Languages do not count nowadays,' he answered carelessly. 'Any
Levantine in Smyrna can speak a dozen, like a native. Have you never
been in the East?'

'No.'

'Should you like to go to Greece?'

'Of course I should.'

'Then come! I am going to take a party in my yacht next month. It will
give me the greatest pleasure if you and Mrs. Rushmore will come with
us.'

Margaret laughed.

'You forget that I am a real artist, with a real engagement!' she
answered.

'Yes, I forgot that. I wanted to! I can make Schreiermeyer forget it,
too, if you will come. I'll hypnotise him. Will you authorise me?'

He smiled pleasantly but his long eyes were quite grave. Margaret
supposed that it would be absurd to suspect anything but chaff in his
proposal, and yet she felt an odd conviction that he meant what he
said. Only vain women are easily mistaken about such things. Margaret
turned the point with another little laugh.

'If you put him to sleep he will hibernate, like a dormouse,' she said.
'It will take a whole year to wake him up!'

'I don't think so, but what if it did?'

'I should be a year older, and I am not too young as it is! I'm
twenty-two.'

'It's only in Constantinople that they are so particular about age,'
laughed the Greek. 'After seventeen the price goes down very fast.'

'Really?' Margaret was amused. 'What do you suppose I should be worth
in Turkey?'

Logotheti looked at her gravely and seemed to be estimating her value.

'If you were seventeen, you would be worth a good thousand pounds,' he
said presently, 'and at least three hundred more for your singing.'

'Is that all, for my voice?' She could not help laughing. 'And at
twenty-two, what should I sell for?'

'I doubt whether any one would give much more than eight hundred for
you,' answered Logotheti with perfect gravity. 'That's a big price, you
know. In Persia they give less. I knew a Persian ambassador, for
instance, who got a very handsome wife for four hundred and fifty.'

'Are you in earnest?' asked Margaret. 'Do you mean to say that you
could just go out and buy yourself a wife in the market in
Constantinople?'

'I could not, because I am a Christian. The market exists in a quiet
place where Europeans never find it. You see all the Circassians in
Turkey live by stealing horses and selling their daughters. They are a
noble race, the Circassians! The girls are brought up with the idea,
and they rarely dislike it at all.'

'I never heard of such things!'

'No. The East is very interesting. Will you come? I'll take you
wherever you like. We will leave the archaeologists in Crete and go on
to Constantinople. It will be the most beautiful season on the
Bosphorus, you know, and after that we will go along the southern shore
of the Black Sea to Samsoun, and Kerasund, and Trebizond, and round by
the Crimea. There are wonderful towns on the shores of the Black Sea
which hardly any European ever sees. I'm sure you would like them, just
as I do.'

'I am sure I should.'

'You love beautiful things, don't you?'

'Yes--though I don't pretend to be a judge.'

'I do. And when I see anything that really pleases me, I always try to
get it; and if I succeed, nothing in the world will induce me to part
with it. I'm a miser about the things I like. I keep them in safe
places, and it gives me pleasure to look at them when I'm alone.'

'That's not very generous. You might give others a little pleasure,
too, now and then.'

'So few people know what is good! Some of us Greeks have the instinct
in our blood still, and we recognise it in a few men and women we
meet--you are one, for instance. As soon as I saw you the first time, I
was quite sure that we should think alike about a great many things. Do
you mind my saying as much as that, at a second meeting?'

'Not if you think it is true,' she answered with a smile. 'Why should
I?'

'It might sound as if I were trying to make out that we have some
natural bond of sympathy,' said Logotheti. 'That's a favourite way of
opening the game, you know. "Do you like carrots? So do I"--a bond, at
once! "Do you go in, when it rains? I always do"--second bond. "We must
be sympathetic to each other! Do you smile when you are pleased? Of
course! We are exactly alike, and our hearts beat in unison!" That's
the sort of thing.'

He amused her; perhaps she was easily amused now, because she had been
feeling rather depressed all the morning. Women are subject to such
harmless self-contradictions.

'I love to be out in the rain, and I don't like carrots!' she answered.
'There are evidently things about which our hearts don't beat in unison
at all!'

'If people agreed about everything, what would become of conversation,
lawyers and standing armies? But I meant to suggest that we might
possibly like each other if we met often.'

'I daresay.'

'I have begun,' said Logotheti lightly, but again his long eyes were
grave.

'Begun what?'

'I have begun by liking you. You don't object, do you?'

'Oh no! I like to be liked--by everybody!' Margaret laughed again, and
watched him.

'It only remains for you to like everybody yourself. Will you kindly
include me?'

'Yes, in a general way, as a neighbour, in the biblical sense, you
know. Are you English enough to understand that expression?'

'I happen to have read the story of the Good Samaritan in Greek,'
Logotheti answered. 'Since you are willing that we should be
neighbours, "in the biblical sense," you cannot blame me for saying
that I love my neighbour as myself.'

Once more her instinct told her that the words were meant less
carelessly than they were spoken, though she could not possibly seem to
take them in earnest. Yet her curiosity was aroused, as he intended
that it should be.

'I remember that the Samaritan loved his neighbour, "in the biblical
sense," at first sight,' he said, with a quick glance.

'But those were biblical times, you know!'

'Men have not changed much since then. We can still love at first
sight, I assure you, even after we have seen a good deal of the world.
It depends on meeting the right woman, and on nothing else. Do you
suppose that if the Naples Psyche, or the Syracuse Venus, or the Venus
of Milo, or the Victory of Samothrace suddenly appeared in Paris or
London, all the men would not lose their heads about her--at first
sight? Of course they would!'

'If you expect to have such neighbours as those--"in the biblical
sense"----'

'I have one,' said Logotheti, 'and that's enough.'

Margaret had received many compliments of a more or less complicated
nature, but she did not remember that any one had yet compared her to
two Venuses, the Psyche and the Samothrace Nike in a single breath.

'That's nonsense!' she exclaimed, blushing a little, and not at all
indignant.

'No,' Logotheti answered, imperturbably. 'Besides, neither the Victory
nor the Venus of Syracuse has a head, so I am at liberty to suppose
yours on their shoulders. Take the Victory. You move exactly as she
seems to be moving, for she is not flying at all, you know, though she
has wings. The wings are only a symbol. The Greeks knew perfectly well
that a winged human being could not fly straight without a feathered
tail two or three yards long!'

'How absurd!'

'That you should move like the Victory? Not at all. The reason why I
love my neighbour as myself is that my neighbour is the most absolutely
satisfactory being, from an artistic point of view. I don't often make
compliments.'

'They are astonishing when you do!'

'Perhaps. But I was going on to say that what satisfies my love of the
beautiful, can only be what satisfies my love of life itself, which is
enormous.'

'In other words,' said Margaret, wondering how he would go on, 'I am
your ideal!'

'Do you know what an "ideal" is?'

'Yes--well--no!' She hesitated. 'Perhaps I could not define it
exactly.'

'A man's ideal is what he wants, and nothing else in the world.'

Margaret was not sure whether she should resent the speech a little, or
let it pass. For an instant they looked at each other in silence. Then
she made up her mind to laugh.

'Do you know that you are going ahead at a frightful pace?' she asked.

'Why should I waste time? My time is my life. It's all I have. Any fool
can make money when he has wasted it and really wants more, but no
power in heaven or earth can give me back an hour thrown away, an hour
of what might have been.'

'I'm sure you must have learnt that in an English Sunday school! It's a
highly moral and practical sentiment! But what becomes of the
imagination?'

'Oh, that's the other side,' Logotheti answered, laughing. 'Never do
to-day what you can put off till to-morrow, for if you do you'll lose
all the pleasure of anticipating it! And the anticipation is much more
delightful than the reality, so you must never realise your dream, if
you mean to be happy--and all that sort of thing! But if reality knocks
at my door while I am asleep and dreaming, and if I don't wake up to
let it in, it may never take the trouble to knock again, you know, and
I shall be left dreaming. I don't know about the Sunday school maxim
being moral in all cases, but it's certainly very practical. I wish you
would follow it and come with me to the East--you and Mrs. Rushmore.'

'You mean that if I don't, you'll never ask me again, I suppose?'

'No. That was not what I meant.' He looked steadily into her eyes till
she turned her head away. 'What I meant was that you might be induced
to give up the idea of the stage.'

'And as an inducement to throw up my engagement and sacrifice a career
that may turn out well--you have told me so!--you offer me a trip to
Constantinople!'

'You shall keep the yacht as a memento of the cruise. She's not a bad
vessel.'

'What should I do with a steam yacht?'

'Oh, you would have to take the owner with her,' Logotheti answered
airily.

'Eh?' Margaret stared at him in amazement.

'Yes. Don't be surprised. I'm quite in earnest. I never lose time, you
know.'

'I should think not! Do you know that this is only our second meeting?'

'Exactly,' replied the Greek coolly. 'Of course, I might have asked you
the first time we met, when we were standing together on the pavement
outside Madame Bonanni's door. I thought of it, but I was afraid it
might strike you as sudden.'

'A little!'

'Yes. But a second meeting is different. You must admit that I have had
plenty of time to think it over and to know my own mind.'

'In two meetings?'

'Yes. Surely you know that in France young people are often engaged to
be married when they have never seen each other at all.'

'That is arranged for them by their parents,' objected Margaret.

'Whereas we can arrange the matter for ourselves,' Logotheti said.
'It's more dignified, and far more independent. Isn't it?'

'I suppose so--I hardly know.'

'Oh yes, it is! You cannot deny it. Besides we have no parents and we
are not children. You may think me hasty, but you cannot possibly be
offended.'

'I'm not, but I think you are quite mad--unless you are joking.'

'Mad, because I love you?' asked Logotheti, lowering his voice and
looking at her.

'But how is it possible? We hardly know each other!' Margaret was
beginning to feel uncomfortable.

'Never mind; it is possible, since it is so. Of course, I cannot expect
you to feel as I do, so soon, but I want to be before any one else.'

Margaret was silent, and her expression changed as she listened to his
low and earnest tones.

'I don't want to believe there is any one else,' he went on. 'I don't
believe it, not even if you tell me there is. But you would not tell
me, I suppose.'

She turned her eyes full upon him and spoke as low as he, but a little
unsteadily.

'There is some one else,' she said slowly.

Logotheti's lips moved, but she could not hear what he said, and almost
as soon as she had spoken he looked down at the grass. There was no
visible change in his face, and though she watched him for a few
seconds, she did not think his hold tightened on his stick or that his
brows contracted. She was somewhat relieved at this, for she was
inclined to conclude that he had not been in earnest at all, and had
idly asked her to marry him just to see whether he could surprise her
into saying anything foolish. Yet this idea did not please her either.
If there is anything a woman resents, it is that a man should pretend
to be in love with her, in order to laugh at her in his sleeve.
Margaret rose during the silence that followed. Logotheti sat still for
a moment, as if he had not noticed her, and then he got up suddenly,
and glanced at her with a careless smile.

'I wish you good luck,' he said lightly.

'Thank you,' she answered. 'One can never have too much of it!'

'Never. Get a talisman, a charm, a "jadoo." You will need something of
the sort in your career. A black opal is the best, but if you choose
that you must get it yourself, you must buy it, find it, or steal it.
Otherwise it will have no effect!'

They moved away from the place where they had sat, and they joined the
others. But after they had separated Margaret looked more than once at
Logotheti, as if her eyes were drawn to him against her will, and she
was annoyed to find that he was watching her.

She had thought of Lushington often that day, and now she wished with
all her heart that he were beside her, standing between her and
something she could not define but which she dreaded just because she
could not imagine what it was, though it was certainly connected with
Logotheti and with what he had said. She changed her mind about the
Greek half-a-dozen times in an hour, but after each change the
conviction grew on her that he had meant not only what he had said, but
much more. His eyes were not like other men's eyes at all, when they
looked at her, though they were so very quiet and steady; they were the
eyes of another race which she did not know, and they saw the world as
her own people did not see it, nor as Frenchmen, nor as Italians, nor
Germans, nor as any people she had met. They had seen sights she could
never see, in countries where the law, if there was any, took it for
granted that men would risk their lives for what they wanted. She, who
was not easily frightened, suddenly felt the fear of the unknown, and
the unknown was somehow embodied in Logotheti.

She did not show what she felt when he strolled up to her to say
good-bye, but through her glove she felt that his hand was stone cold,
and as he said the half-dozen conventional words that were necessary
she was sure that he smiled strangely, even mysteriously, as if such
phrases as 'I hope to see you again before long,' and 'such a heavenly
afternoon,' would cloak the deadly purposes of a diabolical design.

Margaret was alone with Mrs. Rushmore for a few minutes before dinner.

'Well?'

Mrs. Rushmore uttered the single word in an ejaculatory and
interrogative tone, as only a certain number of old-fashioned Americans
can. Spoken in that peculiar way it can mean a good deal, for it can
convey suspicion, or approval or disapproval and any degree of
acquaintance with the circumstances concerned, from almost total
ignorance to the knowledge of everything except the result of the
latest development.

On the present occasion Mrs. Rushmore meant that she had watched
Margaret and Logotheti and had guessed approximately what had
passed--that she thought the matter decidedly interesting, and wished
to know all about it.

But Margaret was not anxious to understand, if indeed her English ear
detected all the hidden meaning of the monosyllable.

'There were a good many people, weren't there?' she observed with a
sort of query, meant to lead the conversation in that direction.

Mrs. Rushmore would not be thrown off the scent.

'My dear,' she said severely, 'he proposed to you on that bench. Don't
deny it.'

'Good gracious!' exclaimed Margaret, taken by surprise.

'Don't deny it,' repeated Mrs. Rushmore.

'I had only met him once before to-day,' said Margaret.

'It's all the same,' retorted Mrs. Rushmore with an approach to
asperity. 'He proposed to you. Don't deny it. I say, don't deny it.'

'I haven't denied it,' answered Margaret. 'I only hoped that you had
not noticed anything. He must be perfectly mad. Why in the world should
he want to marry me?'

'All Greeks,' said Mrs. Rushmore, 'are very designing.'

Margaret smiled at the expression.

'I should have said that Monsieur Logotheti was hasty,' she answered.

'My dear,' said Mrs. Rushmore with conviction, 'this man is an
adventurer. You may say what you like, he is an adventurer. I am sure
that ruby he wears is worth at least twenty thousand dollars. You may
say what you like; I am sure of it.'

'But I don't say anything,' Margaret protested. 'I daresay it is.'

'I know it is,' retorted Mrs. Rushmore with cold emphasis. 'What
business has a man to wear such jewellery? He's an adventurer, and
nothing else.'

'He's one of the richest men in Paris for all that,' observed Margaret.

'There!' exclaimed Mrs. Rushmore. 'Now you're defending him! I told you
so!'

'I don't quite see----'

'Of course not. You're much too young to understand such things. The
wretch has designs on you. I don't care what you say, my dear, he has
designs.'

In Mrs. Rushmore's estimation she could say nothing worse of any human
being than that.

'What sort of "designs"?' inquired Margaret, somewhat amused.

'In the first place, he wants to marry you. You admit that he does.
My dear Margaret, it's bad enough that you should talk in your
cold-blooded way of going on the stage, but that you should ever marry
a Greek! Good heavens, child! What do you think I am made of? And then
you ask me what designs the man has. It's not to be believed!'

'I must be very dull,' said Margaret in a patient tone, 'but I don't
understand.'

'I do,' retorted Mrs. Rushmore with severity, 'and that's enough!
Wasn't I your dear mother's best friend? Haven't I been a good friend
to you?'

'Indeed you have!' cried Margaret very gratefully.

'Well then,' explained Mrs. Rushmore, 'I don't see that there is
anything more to be said. It follows that the man is either an agent of
that wicked old Alvah Moon----'

'Why?' asked Margaret, opening her eyes.

'Or else,' continued Mrs. Rushmore with crushing logic, 'he means to
live on you when you've made your fortune by singing. It must be one or
the other, and if it isn't the one, it's certainly the other. Certainly
it is! You may say what you like. So that's settled, and I've warned
you. You can't afford to despise your old friend's warning,
Margaret--indeed you can't.'

'But I've no idea of marrying the man,' said Margaret helplessly.

'Of course not! But I should like to say, my child, that whatever you
do, I won't leave you to your fate. You may be sure of that. If nothing
else would serve I'd go on the stage myself! I owe it to your mother.'

Margaret wondered in what capacity Mrs. Rushmore would exhibit herself
to the astounded public if she carried out her threat.




CHAPTER VIII


If Mrs. Rushmore's logic was faulty and the language of her argument
vague, her instinct was keen enough and had not altogether misled her.
Logotheti was neither a secret agent of the wicked Alvah Moon who had
robbed Margaret of her fortune, nor had he the remotest idea of making
Margaret support him in luxurious idleness in case she made a success.
But if, when a young and not over-scrupulous Oriental has been refused
by an English girl, he does not abandon the idea of marrying her, but
calmly considers the possibilities of making her marry him against her
will, he may be described as having 'designs' upon her, then Logotheti
was undeniably a very 'designing' person, and Mrs. Rushmore was not
nearly so far wrong as Margaret thought her. Whether it was at all
likely that he might succeed, was another matter, but he possessed both
the qualities and the weapons which sometimes ensure success in the
most unpromising undertakings.

He was tenacious, astute and cool, he was very rich, he was very much
in love and he had no scruples worth mentioning; moreover, if he
failed, he belonged to a country from which it is extremely hard to
obtain the extradition of persons who have elsewhere taken the name of
the law in vain. It is with a feeling of national pride and security
that the true-born Greek takes sanctuary beneath the shadow of the
Acropolis.

He had played his first card boldly, but not recklessly, to find out
how matters stood. He had been the target of too many matrimonial aims
not to know that even such a girl as Margaret Donne might be suddenly
dazzled and tempted by the offer of his hand and fortune, and might
throw over the possibilities of a stage career for the certainties of
an enormously rich marriage. But he had not counted on that at all, and
had really set Margaret much higher in his estimation than to suppose
that she would marry him out of hand for his money; he had reckoned
only on finding out whether he had a rival, and in this he had
succeeded, to an extent which he had not anticipated, and the result
was not very promising. There had been no possibility of mistaking
Margaret's tone and manner when she had confessed that there was 'some
one else.'

On reflection he had to admit that Margaret had not been dazzled by his
offer, though she had seemed surprised. She had either been accustomed
to the idea of unlimited money, because Mrs. Rushmore was rich, or else
she did not know its value. It came to the same thing in the end.
Orientals very generally act on the perfectly simple theory that nine
people out of ten are to be imposed upon by the mere display of what
money can buy, and that if you show them the real thing they will be
tempted by it. It is not pleasant to think how often they are right;
and though Logotheti had made no impression on Margaret with his
magnificent ruby and his casual offer of a yacht as a present, he did
not reproach himself with having made a mistake. He had simply tried
what he considered the usual method of influencing a woman, and as it
had failed he had eliminated it from the arsenal of his weapons. That
was all. He had found out at once that it was of no use, and as he
hated to waste time he was not dissatisfied with the result of his
day's work.

Like most men who have lived much in Paris he cared nothing at all for
the ordinary round of dissipated amusement which carries foreigners and
even young Frenchmen off their feet like a cyclone, depositing them
afterwards in strange places and in a damaged condition. It was long
since he had dined 'in joyous company,' frequented the lobby of the
ballet or found himself at dawn among the survivors of an
indiscriminate orgy. Men who know Paris well may not have improved upon
their original selves as to moral character, but they have almost
always acquired the priceless art of refined enjoyment; and this is
even more true now than in the noisy days of the Second Empire. In
Paris senseless dissipation is mostly the pursuit of the young, who
know no better, or of much older men who have never risen above the
animal state, and who sink with age into half-idiotic bestiality.
Logotheti had never been counted amongst the former, and was in no
danger of ending his days in the ranks of the latter. He was much too
fond of real enjoyment to be dissipated. Most Orientals are.

He spent the evening alone in an inner room to which no mere
acquaintance and very few of his friends had ever been admitted. His
rule was that when he was there he was not to be disturbed on any
account.

'But if the house should take fire?' a new man-servant inquired on
receiving these instructions.

'The fire-engines will put it out,' Logotheti answered. 'It is none of
my business. I will not be disturbed.'

'Very good, sir. But if the house should burn down before they come?'

'Then I should advise you to go away. But be careful not to disturb
me.'

'Very good, sir. And if'--the man's voice took a confidential tone--'if
any lady should ask for you, sir?'

'Tell her that to the best of your knowledge I am dead. If she faints,
call a cab.'

'Very good, sir.'

Thereupon the new man-servant had entered upon his functions, satisfied
that his master was an original character, if not quite mad. But there
was no secret about the room itself, as far as could be seen, and it
was regularly swept and dusted like other rooms. The door was never
locked except when Logotheti was within, and the room contained no
hidden treasures, nor any piece of furniture in which such things might
have been concealed. There was nothing peculiar about the construction
of the place, except that the three windows were high above the ground
like those of a painter's studio, and could be opened or shut, or
shaded, by means of cords and chains. There were also heavy curtains,
such as are never seen in studios, which could be drawn completely
across the windows.

In a less civilised country Logotheti's servants might have supposed
that he retired to this solitude to practise necromancy or study
astrology, or to celebrate the Black Mass. But his matter-of-fact
Frenchmen merely said that he was 'an original'; they even said so with
a certain pride, as if there might be bad copies of him extant
somewhere, which they despised. One man, who had an epileptic aunt,
suggested that Logotheti probably had fits, and disappeared into the
inner room in order to have them alone; but this theory did not find
favour, though it was supported, as the man pointed out, by the fact
that the double doors of the room were heavily padded, and that the
whole place seemed to be sound-proof, as indeed it was. On the other
hand there was nothing about the furniture within that could give
colour to the supposition, which was consequently laughed at in the
servants' hall. Monsieur was simply 'an original'; that was enough to
explain everything, and his order as to being left undisturbed was the
more strictly obeyed because it would apparently be impossible to
disturb him with anything less than artillery.

It is a curious fact that when servants have decided that their masters
are eccentric they soon cease to take any notice of their doings,
except to laugh at them now and then when more eccentric than usual. It
being once established that Logotheti was an original he might have
kept his private room full of Bengal tigers for all the servants hall
would have cared, provided the beasts did not get about the house. It
was a 'good place,' for he was generous, and there were perquisites;
therefore he might do anything he pleased, so long as he paid--as
indeed most of us might in this modern world, if we were able and
willing to pay the price.

On this particular evening Logotheti dined at home alone, chiefly on a
very simple Greek pilaff, Turkish preserved rose leaves and cream
cheese, which might strike a Parisian as strange fare, unless he were a
gourmet of the very highest order. Having sipped a couple of small
glasses of very old Samos wine, Logotheti ordered lights and coffee in
his private room, told the servants not to disturb him, went in and
locked the outer door.

Then he gave a sigh of satisfaction and sat down, as if he had reached
the end of a day's journey. He tasted his coffee, and kicked off first
one of his gleaming patent leather slippers and then the other, and
drew up his feet under him on the broad leather seat, and drank more
coffee, and lit a big cigarette; after which he sat almost motionless
for at least half an hour, looking most of the time at a statue which
occupied the principal place in the middle of the room. Now and then he
half closed his eyes, and then opened them again suddenly, with an
evident sense of pleasure. He had the air of a man completely satisfied
with his surroundings, his sensations and his thoughts. There was
something almost Buddha-like in his attitude, in his perfect calm, in
the expression of his quiet almond eyes; even the European clothes he
wore did not greatly hinder the illusion. Just then he did not look at
all the sort of person to do anything sudden or violent, to pitch order
to the dogs and tear the law to pieces, to kill anything that stood in
his way as coolly as he would kill a mosquito, or to lay violent hands
on what he wanted if he was hindered from taking it peacefully. Neither
does a wild-cat look very dangerous when it is dozing.

On the rare occasions when he allowed any one but his servants to enter
that room, he said that the statue was a copy, which he had caused to
be very carefull

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