Fair Margaret (part 2)

'Yes,' Lushington answered. 'Marriage is the first step to the divorce court. For heaven's sake, don't talk in this way! I've made up my mind that I cannot marry, and that ends it. Let it alone. We each know what the other thinks, and we are each trying to make the best of what can't be undone. Talking about it can do no good. Nothing can. It's the inevitable, and so the least said about it, the better. Sometimes you say that I am ungrateful, mother, but I'm not, you don't mean it seriously. If I've made my own way, it is because you started me right, by making me work instead of bringing me up at your apron-strings, to live on your money. You did it so well, too, that you cannot undo it, now that you would like to make me rich. Why aren't you proud of that, mother? It's the best thing you ever did in your life—God bless you! And yet you say I'm ungrateful!'

At this, there was a convulsion of the white furs; Madame Bonanni suddenly emerged, erect, massive and seething with motherly emotion; throwing her arms round her son she pressed him to her with a strength and vehemence that might have suffocated a weaker man. As it was, Lushington was speechless in her embrace for several seconds, while she uttered more or less incoherent cries of joy.

'My child! My own darling Tommy! Oh, you make me so happy!'

Lushington let her print many heavy kisses on his cheeks, and he gently patted her shoulder with his free hand. He was very patient and affectionate, considering the frightful dilemma with regard to her in which he had lived all his life; for, as his mother, he loved her, but as a woman, he knew that he could never respect her, whatever she might do to retrieve her past. He could find excuses for the life she had led, but they were only palliatives that momentarily soothed the rankling sore in his heart, which nothing could heal. In his own world of literature and work and publicity, he had a name of his own, not without honour, and respected by every one. But to himself, to the few trusted persons who knew his secret, above all to Margaret Donne, he was the son of that 'Bonanni woman,' who had been the spoilt plaything of royalty and semi-royalty from London to St. Petersburg, whose lovers had been legion and her caprices as the sand on the sea-shore. There were times when Lushington could not bear to see her, and kept away from her, or even left the city in which they were together. There were days when the natural bond drew him to her, and when he realised that, with countless faults, she had been to him a far better mother than most men are blessed with.

And now, poor thing, she was grateful to the verge of tears for his one word of blessing that seemed to wipe out all the rest. She wished that when her hour came, she might hear him say again 'God bless you,' and then die.

She let him go, and sat down amongst her furs, with a deep sigh of satisfaction.

'I've made up my mind what to do,' she said, almost as if she were talking to herself. 'I'm tired of it all, Tom, and I'm losing my good looks and my figure. If this goes on, I shall soon be ridiculous. You would not like your mother to be ridiculous, would you?'

'Certainly not!'

'No, my angel! Be good if you can; if you can't be good, be bad; but never be ridiculous! Oh, never, never! I could not bear that. So I shall leave the stage, quietly, without any farewell. I shall cancel my engagements when I have finished singing here. The doctors will swear to anything. What are they for? I was never ill in my life, but they shall say I am ill now. What is it that every one has nowadays—the appendix? I will have the appendix. The doctors shall swear that I have it well. So I shall leave the stage with a good reason, and pay no forfeit for cancelling the contracts. That is business. Then I will be a nun.'

'Eh?' ejaculated Lushington, staring at her.

'Yes, I will be a nun,' continued Madame Bonanni unmoved. 'I will go into religion. When your mother is a nun, my child, I presume that the Church will protect her, and no one will dare to say anything against her. Then you can marry or not, as you please, but you will no longer be ashamed of your mother! I shall be a blue nun with a white bonnet and a black veil, and I shall call myself Sister Juliet, because that has been my great part, and the name will remind me of old times. Don't you think "Sister Juliet" sounds very well? And dark blue is becoming to me—I always said so.'

'Yes—yes,' answered Lushington in an uncertain tone and biting his lip.

'I cannot do more than that for you, my treasure,' said his mother, a touch of real human sadness in her voice. 'You will not take the miserable money—but perhaps you will take the sacrifice, if I shut myself up in a convent and wear a hair shirt, and feed sick babies, and eat cabbage. How could any one say a word against me then? And you will be happy, Tom. That is all I ask.'

'I shall not be happy, if you make yourself miserable, mother,' said Lushington, smiling.

'Miserable? Ah, well, I daresay there will not be cabbage every day,' answered Madame Bonanni thoughtfully. 'And I like fish. Fortunately, I am fond of fish. The simplest, you know. Only a fried sole with a meunière sauce. Bah! When I talk of eating you never believe I am in earnest. Go away, my beloved child! Go and write to little Miss Donne that she may have all my engagements, because I am entering religion. You shall see! She will marry you in a week. Go over to Paris and talk to her. She is crying her eyes out for you, and that is bad for the voice. It relaxes the vocal cords frightfully. I always have to gargle for half-an-hour if I have been crying and am going to sing.'

Through all her rambling talk, half earnest and half absurd, Lushington detected the signs of a coming change. He did not think she would leave the stage so suddenly as she said she would; he assuredly did not believe that she would ever 'enter religion'; but he saw for the first time that she was tired of the life she had led, that she felt herself growing old and longed for rest and quiet. She had lived as very few live, to satisfy every ambition and satiate every passion to the full, and now, with advancing years, she had not the one great bad passion of old age, which is avarice, as an incentive for prolonging her career. In its place, on the contrary, stood her one redeeming virtue, that abundant generosity which had made her welcome Margaret Donne's great talent with honest enthusiasm, and which had been like a providence to hundreds, perhaps to thousands of unknown men, women and children ever since she had gained the means of helping the poor and distressed. But it had been part of her nature to hide that. Logotheti, who managed most of her business, knew more about her charities than her own son, and the world knew next to nothing at all.

CHAPTER XIII

When Lushington had run over to Paris the day before the conversation just recorded, he had entertained a vague notion of going out to Versailles in the afternoon; for he felt that all had not been said between himself and Margaret and that their last parting in the street had not been really final. The fact was that he merely yielded to the tormenting desire to see her again, if for only a few minutes and in the presence of Mrs. Rushmore.

But the meeting in the Boulevard Péreire had chilled him like a stream of cold water poured down his back; than which homely simile there is none more true. He had fancied her very grave and even a little sad, going quietly to her rehearsals with a maid, or even with Mrs. Rushmore, speaking to no one at the theatre and returning at once to Versailles to reflect on the vicissitudes to which human affections are subject.

He had come upon her suddenly and unawares, in a very smart frock and a superlatively becoming hat, smiling gaily, just stepping out of a magnificent white motor car, resting her hand familiarly on that of the most successful young financier in Paris, whose conquests among women of the world were a byword, and chaperoned by a flighty little Neapolitan teacher of singing. Truly, if some one had deliberately rubbed the back of his neck with a large lump of ice on that warm spring day, the chill could not have been more effectual. Morally speaking, Lushington caught a bad cold, which 'struck in,' as old people used to say.

He might have explained to himself that as he had insisted upon parting from Margaret for ever, and against her will, her subsequent doings were none of his business. But he was half an Englishman by birth and altogether one by bringing up, and he therefore could not admit that she should be apparently enjoying herself, while he was gloomily brooding over the misfortunes that put her beyond his reach. The fable of the Dog in the Manger must have been composed to describe us Anglo-Saxons. It is sufficient that we be hindered from getting what we want, even by our own sense of honour; we are forthwith ready to sacrifice life and limb to prevent any other man from getting it. The magnanimity of our renunciation is only to be compared with our tenacity in asserting our claim to what we have renounced. Even our charities usually have strings to them on which our hold never relaxes, in case we should want them back.

Lushington had never trusted Logotheti, but since his instinct and the force of circumstances had told him that the Greek was making love to Margaret and that Margaret liked his society, he hated the man in a most unchristian manner, and few things would have given the usually peaceable man of letters such unmitigated satisfaction as to see the shining white motor car blow up and scatter his rival's arms and legs to the thirty-two points of the compass.

Logotheti, on the other hand, was as yet unaware that Lushington was the 'some one else' of whom Margaret had spoken twice with evident feeling. The consequence was that when the Englishman began to give himself the bitter satisfaction of watching Logotheti, the latter was very far from suspecting such a thing, and took no pains at all to hide his doings; and Lushington established himself in Paris and watched him, in his coming and going, and nursed his jealousy into hatred and his hatred into action.

He would not have stooped to employ any one in such work, for that would have seemed like an insult to Margaret, and a piece of cowardice into the bargain. The time would come when the astute Greek would discover that he was followed, and Lushington had no intention of putting some one else in his shoes when that time came; on the contrary, he looked forward with all a real Englishman's cool self-confidence to the explanation that must take place some day. But he wished to remain undiscovered as long as possible.

He had gone back to his old rooms in the Hôtel des Saints Pères, but in order to disappear more effectually from his acquaintances he took a lodging, and walked to it, after sending on his belongings. On his way he stopped at a quiet barber's shop and had his beard and moustache shaved off. After that it was not likely that any of his acquaintances would recognise him, but he took further steps towards completing his disguise by making radical and painful changes in his dress. He bought ready-made French clothes, he put on a pair of square kid boots with elastic sides and patent leather tips, he wore a soft silk cravat artificially tied in a bow knot with wide and floating ends, and he purchased a French silk hat with a broad and curving brim. Having satisfied himself that the effect was good, he laid in a stock of similar articles, and further adorned his appearance with a pair of tortoise-shell-rimmed spectacles, and a green umbrella. For possibly cool or rainy weather he provided himself with a coffee-coloured overcoat that had a velvet collar and tails reaching almost to the ground.

When he had been younger Lushington had tried in vain to ruffle his naturally excessive neatness, but he now realised that he had only lacked the courage to make a thorough change. In his present costume he ran no risk of being taken for a smart English lounger, nor for a French dandy. The effect of forgetting to shave, too, was frightful, for in forty-eight hours his fair face was covered with shiny bristles that had a positively metallic look. Though he was so unlike his mother in most ways, he must have inherited a little of the theatrical instinct from her, for he wore his disguise as easily as if he had always been used to it.

He also had the advantage of speaking French like a native, though possibly with a very slight southern accent caught from his mother, who originally came from Provence. As for his name, it was useless to assume another, for Paris is full of Parisians of foreign descent, whose names are English, German, Polish and Italian; and in a really great city no one takes the least notice of a man unless he does something to attract attention. Besides, Lushington had no idea of disappearing from his own world, or of cutting himself off from his regular correspondents.

He had not any fixed plan, for he was not sure what he wanted; he only knew that he hated and distrusted Logotheti, and that while he could not forgive Margaret for liking the Greek's society, he meant, in an undetermined way, to save her from destruction. Probably, if he had attempted to put his thoughts into words, he could have got no further than Mrs. Rushmore, who suspected Logotheti of designs, and at the root of his growing suspicion he would have found the fine old Anglo-Saxon prejudice that a woman might as well trust herself to Don Juan, an Italian Count, or Beelzebub, as to the offspring of Cadmus or Danaus.

Englishmen have indolent minds and active bodies, as a rule, but on the other hand, when they are really roused, no people in the world are capable of greater mental concentration and energy. They are therefore not good detectives as a rule, but there are few better when they are deeply and selfishly interested in the result.

Incidentally, Lushington meant to do his utmost to prevent Margaret from going on the stage, and he would have been much surprised to learn that in this respect he was Logotheti's ally, instead of his enemy, against Margaret's fixed determination. If there was to be a struggle, therefore, it was to be a three-cornered one, in which the two men would be pitted against each other, and both together against the resolution of the woman they both loved. Unfortunately for Lushington, he had begun by withdrawing from Margaret's surroundings and had made way for his adversary.

Meanwhile Logotheti made the running. He had offered Margaret his motor car for coming in to her rehearsals, and a chauffeur appeared with it in good time, masked, coated and gloved in the approved fashion. Margaret supposed that Logotheti meant to ask her to luncheon again with Madame De Rosa, and she made up her mind to refuse, for no particular reason except that she did not wish to seem too willing to do whatever he proposed. Mrs. Rushmore thought it bad enough that she should accept the offer of the motor car, but was beginning to understand that the machine had quite irresistible temptations for all persons under fifty. She was even a little shocked that Margaret should go alone to Paris under the sole protection of the chauffeur, though she would have thought it infinitely worse if Logotheti himself had appeared.

The man held the door open for Margaret to get in, when she came out upon the step with Mrs. Rushmore, who seemed anxious to keep an eye on her as long as possible; as if she could project an influence of propriety, a sort of astral chaperonage, that would follow the girl to the city. She detained her at the last minute, holding her by the elbow. The chauffeur stood impassive with his hand on the door, while she delivered herself of her final opinion in English, which of course he could not understand.

'I must say that your sudden intimacy with this suspicious Greek is most extraordinary,' she said.

'Don't you think there is just a little prejudice in your opinion of him?' asked Margaret sweetly.

'No,' answered Mrs. Rushmore with firmness, 'I don't, and I think it very strange that a clever girl like you should be so easily taken in by a foreigner. Much worse than a foreigner, my dear! A Greek is almost as bad as a Turk, and we all know what Turks are! Fancy a decent young woman trusting herself alone with a Turk! I declare, it's not to be believed! Your dear mother's daughter too! You'll end in a harem, Margaret, mark my word.'

'And be sewn up in a sack and thrown into the Bosphorus,' laughed Margaret, trying to get away.

'Such things have happened before now,' said Mrs. Rushmore gloomily.

'Greeks don't have harems,' Margaret objected.

'Don't catch cold,' said Mrs. Rushmore, by way of refuting Margaret's argument. 'It looks as if it might rain.'

The morning was still and soft and overcast, and the air was full of the scent of the flowers and leaves, and fresh-clipped grass. The small birds chirped rather plaintively from the trees on the lawn, or stood about the edge of the little pond apparently expecting something to happen, hopping down to the water occasionally, looking down at the reflections in it and then hopping back again with a dissatisfied air; and they muffled themselves up in their feathers as if they meant to go to sleep, and then suddenly spread their wings out, without flying, and scraped the grass with them. The elms were quite green already, and the oaks were pushing out thousands of bright emerald leaves. There is a day in every spring when the maiden year reaches full girlhood, and pauses on the verge of woman's estate, to wonder at the mysterious longings that disquiet all her being, and at the unknown music that sings through her waking dreams.

Margaret sat in the motor car wrapped in a wide thin cloak and covering her mouth lest the rush of air should affect her voice; but the quick motion was pleasant, and she felt all the illusion of accomplishing something worth doing, merely because she was spinning along at breakneck speed. Somehow, too, the still air and the smell of the flowers had made her restless that morning before starting, and the rapid movement soothed her. If she had been offered her choice just then, she would perhaps have been on horseback for a gallop across country, but the motor car was certainly the next best thing to that.

For some minutes the chauffeur kept his eyes on the road ahead and both hands on the steering-gear. Then one hand moved, the speed of the car slackened suddenly, and the man turned and spoke over the back of his seat.

'I hope you'll forgive me,' he said in English.

Margaret started and sat up straight, for the voice was Logotheti's. The huge goggles, the protecting curtain over half the face, the wide-visored cap and the turned-up coat collar, had disguised him beyond all recognition. Even his usually smooth black moustache was ruffled out of shape, and hid his characteristic mouth.

Margaret uttered an exclamation of surprise, not quite sure whether she ought to smile or frown.

'I thought Mrs. Rushmore would not like it, if I came for you myself,' he continued, looking at her through his goggles.

'I'm sure she wouldn't,' Margaret assented readily.

'In point of fact,' Logotheti continued, with a grin, 'she expressed her opinion of me with extraordinary directness. Suspicious Greek! Worse than a foreigner! As bad as a Turk! The unprincipled owner of a harem! It's really true that eavesdroppers never hear any good of themselves! I never tried it before, and it served me right.'

'You cannot say that I said anything against you,' laughed Margaret. 'I took your defence.'

'Not with enthusiasm.' Logotheti joined in her laugh.

'You thought there might be just a little prejudice in her opinion and you told her that Greeks don't have harems. Yes—yes—I suppose that might be called defending an absent friend.'

The car was moving very slowly now.

'If I had known it was you, I would have called you all sorts of names,' Margaret answered. 'Should you mind taking that thing off your face for a moment? I don't like talking to a mask, and you may be some one else after all.'

'No,' said Logotheti, 'I'm not "some one else".' He emphasised the words that had become familiar to them both. 'I wish I were! But if I take off my glasses and cap, you will be frightened, for my hair is not smooth and I'm sure I look like a Greek pirate!'

'I should like to see one, and I shall not be frightened.'

He pulled off his cap and glasses, and faced her. She stared at him in surprise, for she was not sure that she should have recognised him. His thick black hair stuck up all over his head like a crest, his heavy eyebrows were as bushy as an animal's fur and his rough and bristling moustache lent his large mouth and massive jaws a look approaching to ferocity. The whole effect was rather startling, and Margaret opened her eyes wide in astonishment. Logotheti smiled.

'Now you understand why I smooth my hair and dress like a tailor's manikin,' he said quietly. 'It's enough to cow a mob, isn't it?'

'Do you know, I'm not sure that I don't like you better so. You're more natural!'

'You're evidently not timid,' he answered, amused. 'But you can fancy the effect on Mrs. Rushmore's nerves, if she had seen me.'

'I should not have dared to come with you. As it is——' She hesitated.

'Oh, as it is, you cannot help yourself,' Logotheti said. 'You can't get out and walk.'

'I could get out when you have to stop at the petrol station; and I assure you that I can refuse to come with you again!'

'Of course you can. But you won't.'

'Why not?'

'Because you're much too sensible. Have I offended you, or frightened you? What have I done to displease you?'

'Nothing—but——' She laughed and shook her head as she broke off.

'I haven't even asked you to marry me to-day! I should think that I was taking an unfair advantage, if I did, since I could easily carry you off just now. The car will run sixty miles at a stretch without any trouble at all, and I don't suppose you would risk your neck to jump, merely for the sake of getting away from me, would you?'

'Not if you behaved properly,' Margaret answered.

'And then,' Logotheti continued, 'I could put her at full speed and say, "If you won't swear to marry me, I'll give myself the satisfaction of being killed with you at the very next bridge we come to!" Most women would rather marry a man than be smashed to atoms with him, even if he looks like a pirate.'

'Possibly!'

'But that would be unfair. Besides, an oath taken under compulsion is not binding. I should have to find some other way.'

'Shall we go on?' Margaret asked. 'I shall be late for the rehearsal.'

'Give it up,' suggested Logotheti calmly. 'We'll spend the morning at St. Cloud. Much pleasanter than tiring yourself out in that wretched theatre! I want to talk to you.'

'You can talk to me when I am not singing.'

'No. Singing will distract your attention, and you won't listen to what I tell you. You have no idea what delightful things I can say when I try!'

'I wonder!' Margaret laughed lightly. 'You might begin trying while you take me to Paris. We haven't run a mile in the last ten minutes, and it's getting late.'

'Unless you are always a little late nobody will respect you. I'll go a little faster, just to prove to you that you can do anything you like with me, even against my judgment. Let me put on my glasses first.'

At that moment a man met them on a bicycle, and passed at a leisurely pace. There was not much traffic on the Versailles road at that hour, and Margaret let her eyes rest idly on the man, who merely glanced at her and looked ahead again. Logotheti had taken off his cap in order to adjust his goggles and shield. When the bicycle had gone by he laughed.

'There goes a typical French bookworm, bicycling to get an appetite,' he observed. 'I wonder why a certain type of Frenchman always wears kid boots with square patent leather toes, and a Lavallière tie, and spectacles with tortoise-shell rims!'

'If he could see you as you generally are,' answered Margaret, 'he would probably wonder why a certain type of foreigner plasters his hair down and covers himself with diamonds and rubies! Do go a little faster, it's getting later every moment.'

'It always does.'

'Especially when one doesn't wish it to! Please go on!'

'Say at once that I've bored you to death.' He put the car at half-speed.

'No. You don't bore me at all, but I want to get to the theatre.'

'To please you, I am going there—for no other reason. I'll do anything in the world to give you pleasure. I only wish you would do the smallest thing for me!'

'What, for instance? Perhaps I may do some very little thing. You'll get nothing if you don't ask for it!'

'Some people take without asking. Greek pirates always do, you know! But I can't drive at this rate and talk over my shoulder.'

The way was clear and for several minutes he ran at full speed, keeping his eyes on the road. Margaret turned sideways and kept behind him as much as possible, shielding her face and mouth from the tremendous draught.

She had told the truth when she had said that he did not bore her. The whole thing had a savour of adventure in it, and it amused her to think how shocked Mrs. Rushmore would have been if she had guessed that the chauffeur was Logotheti himself. There was something in the man's coolness that attracted her very much, for though there was no danger on the present occasion, she felt that if there had been any, he would have been just as indifferent to it if it stood in the way of his seeing her alone. Poor Lushington had always been so intensely proper, so morbidly afraid of compromising her, and above all, so deadly in earnest!

She did not quite like to admit that the Greek was altogether in earnest, too, and that she was just a little afraid of him; still less that her unacknowledged fear gave her rather a pleasant sensation. But it was quite true that she had liked him better than before, from the moment when he had pulled off his cap and glasses and shown his face as nature had made it. However he might appear hereafter when she met him, she would always think of him as she had seen him then.

Most women are much more influenced by strength in a man than by anything which can reasonably be called beauty. Actually and metaphorically every woman would rather be roughly carried off her feet by something she cannot resist than be abjectly worshipped and flattered; yet worship and flattery, though second-best, are much better than the terribly superior and instructive affection which the born prig bestows upon his idol with the air of granting a favour on moral grounds.

Men, on the other hand, detest being carried away, almost as much as being led. The woman who lets a man guess that she is trying to influence him is lost, and generally forfeits for ever any real influence she may have had. The only sort of cleverness which is distinctly womanly is that which leads a man to do with energy, enthusiasm and devotion the very thing which he has always assured everybody that he will not think of doing. The old-fashioned way of making a pig go to market is to pull his tail steadily in the opposite direction. If you do that, nothing can save him from his fate; for he will drag you off your feet in his effort to do what he does not want to do at all; and there is more 'psychology' in that plain fact than in volumes of subtle analysis.

CHAPTER XIV

Lushington's first discovery was not calculated to soothe his feelings. It had come about simply enough. He had bicycled in the Boulevard Péreire, keeping an eye on Logotheti's house from a distance, and had seen the motor car waiting before the door, in charge of the chauffeur. A man had come out, dressed precisely like the latter, had got in and had gone off, apparently in no hurry, while the original chauffeur went into the house, presumably to wait. It had been easy enough to keep the machine in sight till it was fairly out on the road to Versailles, after which Lushington had felt tolerably sure that by going slowly he should meet it coming back and probably bringing Margaret. As has been seen, this was what happened, and, as chance favoured him, he passed the motor before Logotheti had covered his face again. He was not likely to forget that face either, and it had done more to reveal to him his adversary's true character than any number of meetings in society. For once he had seen the real Logotheti, as Margaret had. He had ridden on till they were out of sight and had then turned back, in no very amiable frame of mind.

He understood very well that Logotheti had made great progress in a few days; he even took it for granted that Margaret had expected him that morning, and approved of the disguise; for it was nothing else, after all. If the world, and therefore Mrs. Rushmore, had been meant to know that Logotheti was acting as his own chauffeur, Margaret would have been sitting beside him in front. Instead, she was behind him, in the body of the car, and had evidently been talking with him over the back of the seat. The big machine, too, was moving at a snail's pace, clearly in order that they might talk at leisure. In other words, Logotheti had arranged a secret meeting with Margaret, with her consent; and that could only mean one thing. The Greek had gained enough influence over her to make her do almost anything he liked.

It was not a pleasant discovery, but it was an important one, and Lushington thought over the best means of following it up. He almost choked with anger as he reflected that if matters went on at this rate, Margaret would soon be going to Logotheti's house without even the nominal protection afforded by little Madame De Rosa. He rode back by the way he had taken outward and passed the Greek's house. The motor car was not there, which was a relief, on the whole.

He went on as far as the Opéra, for he knew from his mother that Margaret's rehearsals were taking place there, by the kindness of the director, who was on very friendly terms with Schreiermeyer. But the motor was not to be seen. Logotheti, who could hardly have entered disguised as his own chauffeur, and who would not leave the machine unguarded in the street, had possibly left Margaret at the door and gone away. Lushington got off his bicycle and went in under the covered way to the stage door.

In answer to his questions, the keeper told him that Mademoiselle da Cordova was rehearsing, and would probably not come out for at least two hours. Lushington asked the man whether he had seen Logotheti. No, he had not; he knew Monsieur Logotheti very well; he knew all the subscribers, and particularly all those who were members of the 'high finance.' Besides, every one in Paris knew Monsieur Logotheti by sight; every one knew him as well as the column in the Place Vendôme. He had not been seen that morning. The doorkeeper, who had absolutely nothing to do just at that hour, was willing to talk; but he had nothing of importance to say. Monsieur Logotheti came sometimes to rehearsals. A few days ago he and Mademoiselle da Cordova had left the theatre together. The keeper smiled, and ventured to suppose that Mademoiselle da Cordova was 'protected' by the 'financier.' Lushington flushed angrily and went away.

It had come already, then; what the man had said this morning, he would say to-morrow and the next day, to any one who cared to listen, including the second-class reporters who go to underlings for information; Margaret's name was already coupled with that of a millionaire who was supposed to protect her. Ten days ago, she had been unassailable, a 'lady'—Lushington did not particularly like the word—a young English girl of honourable birth, protected by no less a personage than Mrs. Rushmore, and defended from calumny by that very powerful organisation for mutual defence under all circumstances, which calls itself society, which wields most of the capital of the world, rewards its humble friends with its patronage and generally kills or ruins its enemies. That was ten days ago. Now, the 'lady' had become an 'artist,' and was public property. The stage doorkeeper of a theatre could smilingly suggest that she was the property of a financier, and no one had a right to hit him between the eyes for saying so. Lushington had been strongly tempted to do that, but he had instantly foreseen the consequences; he would have been arrested for an unprovoked assault, the man would have told his story, the papers would have repeated it with lively comments, and Margaret's name would have been dragged through the mud of a newspaper scandal. So Lushington put his hands in his pockets and went away, which was by far the wisest thing he could do.

He set himself resolutely to think out a plan of action, but like many men of tolerably fertile imagination he was at a loss for any expedient in the presence of urgent need. He could watch Logotheti and Margaret, and they would not easily recognise him, but he was fain to admit that he had nothing to gain by spying on them. He had seen enough and heard enough already to convince him that Margaret had allowed herself to be led into a situation very dangerous for her good name, to say the least. It did not occur to him that Logotheti wished to marry her, still less that he meant to hinder her from singing in public. He could not help thinking of the very worst motives, and he attributed them all to the Greek.

The mild English man of letters was momentarily turned into an avenging demon, breathing wrath and destruction upon his adversary. The most extravagant and reckless crimes looked comparatively easy just then, and very tempting. He thought of getting into Logotheti's cellar with enough dynamite to blow the house, its owner and himself to atoms, not to speak of half the Boulevard Péreire. He fancied himself pounding Logotheti's face quite out of shape with his fists, riddling him with revolver bullets, running him through in all directions with duelling swords, tearing him in pieces with wild horses and hanging him out of his own front window. These vivacious actions all looked possible and delightful to Lushington as he walked up and down his little sitting-room. Then came the cold shower-bath of returning common-sense. He sat down, filled a pipe and lit it.

'I'm an awful ass,' he said aloud to himself, in a reproachful tone.

He wished that some spirit voice would contradict him, but in the absence of any supernatural intervention the statement remained unrefuted. The worst of it was that he had always thought himself clever, and in his critical writings he had sneered in a superior way at the inventions of contemporary novelists. Just then, he would have given his reputation for the talents of the hero in a common detective story. But his mind refused to work in that way, and he watched with growing discouragement the little clouds of smoke that floated upwards to the whitewashed ceiling without leaving the least shadow of a serviceable idea behind them.

He looked disconsolately at the square patent leather toes of his shoes, very dusty from bicycling, and he sadly passed his hand over his smooth-shaven chin; the curious creases in his ready-made trousers, so conspicuously in the wrong place, depressed him still further, and the sight of his broad-brimmed hat, lying on the table, enhanced the melancholy of his reflections. The disguise was admirable, undoubtedly, but it had only helped him to see with his eyes what he had already seen in imagination, and so far as he could guess, it was not likely to help him one step further. At that very moment Margaret was probably seated at Logotheti's table, without even Madame De Rosa to chaperon her, and Logotheti's men-servants were exchanging opinions about her outside the door. Lushington nearly bit through the mouthpiece of his pipe as he thought of that, knowing that he was powerless to interfere. The same thing might go on for a month, and he could not stop it; then Margaret would make her début, and the case would be more hopeless than ever.

The truth was that after launching himself as a disguised detective, he found himself barred from going any further than merely watching his enemy, simply because he was incapable of stooping to a detective's methods of work. He would as soon have lost his hand as have written an anonymous letter or deliberately inveigled Logotheti into a trap, and while he was so carefully concealing himself he longed in reality for open fight, and felt that he had made himself ridiculous in his own eyes. Yet he hesitated to put on his own English clothes and go about as usual, for he had to pass the porter's window on the stairs every time he went out or came in, and such a sudden change in his appearance would certainly make the porter suspect that he was engaged in some nefarious business. Porters are powerful personages in Parisian lodging-houses, and this one would probably inform the police that he had a suspicious lodger; after which Lushington would be watched in his turn and would very probably have trouble. These reflections made him feel more ridiculous than ever.

Now it very often happens that when a man, even of considerable intelligence, has made up his mind to do something which at first seemed very clever, but which, by degrees, turns out to be quite useless, if not altogether foolish, he perseveres in his course with mule-like obstinacy. He has taken endless trouble to prepare the means, he has thought it all out so nicely, only omitting to reach the conclusion! It would be a pity to go back, it would be useless to desist, since everything has been so well prepared. Something is sure to come of it, if he only sticks to his original plan, and any result must be better than allowing events to go their way.

Therefore, when the clouds that curled up from Lushington's pipe failed to shape themselves into a vision both wise and prophetic, and left absolutely no new idea behind when they vanished, he came to the conclusion that his first scheme was a very good one after all, and that he had better abide by the square-toed, spring-side boots and the rest of his admirable disguise, until something happened. Then he would seize the opportunity and act decisively; he was not at all sure how he should act, but he secretly hoped that the action in question might be of the nature of a fight with something or somebody. There are many quiet and shy men who would really rather fight than do anything else, though they will rarely admit it, even to themselves.

Returning to his plan of watching Logotheti, Lushington argued rightly that the trip in the motor car would be repeated the very next time that Margaret had a rehearsal, and that the car would therefore leave the house in the Boulevard Péreire at about the same time, every two or three days, but never on two days consecutively. When there was no rehearsal, Margaret would not come into town. When that was the case it would be easy to watch the house in Versailles. Lushington was not quite sure what he expected to see, but he would watch it all the same. Perhaps, on those days, Logotheti would appear undisguised and call. But what Lushington was most anxious to find out was whether Margaret had been to the house again. He wished he had waited near the Opéra to see where she went when she came out, or in the Boulevard Péreire, instead of coming back to his lodgings in a bad temper after his interview with the stage doorkeeper.

He looked out of the window and saw that it was raining. That made it sure that Margaret would not go back to Versailles in the motor car, but in the meantime she might very possibly be at Logotheti's, at luncheon.

He glanced at his watch, and a few minutes later he was on his bicycle again, an outlandish figure in his long-tailed, coffee-coloured overcoat and soft student's hat. He hitched up the tails as well as he could and sat on them, to keep them out of the mud, and he pulled the hat well down to keep the rain off his big spectacles and his nose. His own mother would certainly not have recognised him.

He spent a melancholy hour, riding up and down in the wet between the Place Péreire and the Place Wagram, till he wished with all his heart that he might never again set eyes on the statue of Alphonse de Neuville. Half the time, too, he was obliged to look back every moment in order to watch Logotheti's door, lest he should miss what he was waiting so patiently to see. The rain was cold, too, and persistent as it can be in Paris, even in spring. His gloves were pulpy and jellified, his spring-side kid boots felt as if he were taking a foot bath of cold glue, and some insidious drops of cold water were trickling down his back. The broad street was almost deserted, and when he met any one he wished it were altogether so. Yet he wondered why a man as rich as Logotheti should have built his house there.

At last his patience was rewarded. A brougham drove up past him at a smart pace, stopped before the door and waited. He turned back and wheeled round, crossing and re-crossing the street, so as to keep behind the carriage. As it was impossible to continue this singular exercise without attracting the attention of a policeman who came in sight just then, he rode on towards the Batignolles station. Just then, when his back was turned, he heard the door of the brougham sharply shut, and as he quickly turned again he saw the carriage driving off in the opposite direction. It was driving fast, but he overtook it in a couple of minutes and passed close to the window, which was half up, against the rain. He almost looked in as he went by, and suddenly he met Logotheti's almond eyes, looking straight at him, with an air of recognition. He bent his head, swerved away from the brougham and took the first turning out of the wide street. But he had seen that the Greek was alone in his carriage. Margaret had not lunched at the house in the Boulevard Péreire.

During the next few days Lushington did not lead a life of idle repose; in fact, he did not remember that he had ever taken so much exercise since his Oxford days. On an average he must have bicycled twenty or thirty miles between breakfast and dinner, which is not bad work for a literary man accustomed to spend most of his time at his writing-table and the rest in society. Unknown to himself, he was fast becoming one of the sights on the Versailles road, and the men at the octroi station grinned when he went by, and called him the crazy professor.

More than once he met the motor, bringing Margaret to town or taking her back, and though he did not again chance upon it when Logotheti was without his glasses and shield, he felt tolerably sure that he was the chauffeur, and Margaret was always alone in the body of the car. Twice he was quite certain that the two were talking when he saw them in the distance coming towards him, but when they passed him Margaret was leaning back quietly in her place, and the chauffeur merely glanced at him and then kept his eyes on the road. Margaret looked at him and smiled faintly, as if in spite of herself, most probably at his appearance.

He ascertained also that after one more rehearsal at the Opéra, Margaret did not go there again. The newspapers informed him very soon that Schreiermeyer had got his own company together and had borrowed the stage of an obscure theatre in the outskirts of Paris for the purpose of rehearsing. It had been an advantage for the young prima donna to sing two or three times with the great orchestra of the Opéra, but the arrangement could of course not continue. Margaret's début was to take place in July in a Belgian town.

Lushington was certain that Margaret had been at least once again to Logotheti's house with Madame De Rosa, but he did not believe that she had stayed to luncheon, for she had not remained in the house much over half-an-hour.

During all this time he made no attempt to communicate with her, and was uncomfortably aware that Logotheti was having it all his own way. He yielded to a morbid impulse in watching the two, since no good could come of it for himself or Margaret. Almost every time he went out on the Versailles road he knew that he should see them together before he came back, and he knew equally well that he could do nothing to separate them. He wondered what it was that attracted such a woman as Margaret Donne to such a man, and with a humility which his friends and enemies would have been far from suspecting in him he honestly tried to compare himself with Logotheti, and to define the points in which the latter had the advantage of him.

Very naturally, he failed to discover them. In spite of what philosophers tell us, most of us know ourselves pretty well. The conclusive and irrefutable proof of this is that we always know when we are not telling, or showing, the truth about ourselves, as, for instance, when we are boasting or attributing to ourselves some gift, some knowledge, or some power which we really do not possess. We also know perfectly well when our impulses are good and when they are bad, and can guess approximately how much courage we have in reserve for doing the one, and how far our natural cowardice will incline us to do the other. But we know very little indeed about other people, and almost always judge them by ourselves, because we have no other convenient standard. A great many men are influenced in the same general way by the big things in life, but one scarcely ever finds two men who are similarly affected by the little things from which all great results proceed. Mark Antony lost the world for a woman, but it was for a woman that Tallien overthrew Robespierre and saved France.

So Lushington's comparison came to nothing at all, and he was no nearer to a solution of his problem than before.

Then came the unexpected, and it furnished him with a surprisingly simple means of comparing himself with his rival in the eyes of Margaret herself.

There are several roads from Paris to Versailles, as every one knows, leaving the city on opposite sides of the Seine. Hitherto Logotheti had always taken the one that leads to the right bank, along the Avenue de Versailles to the Porte St. Cloud. Another follows the left bank by Bas Meudon, but the most pleasant road goes through the woods Fausses Reposes.

One morning, when he knew that there was to be a rehearsal, Lushington bicycled out by the usual way without meeting the motor car. It naturally occurred to him that Logotheti must have returned by another road. Whether he would bring Margaret out again by the same way or not, was of course uncertain, but Lushington resolved to try the Fausses Reposes on the chance of meeting the car, after waiting in Versailles as long as he thought the rehearsal might last.

He set out again about half-past one. The road is in parts much more lonely than the others, especially in the woods, and is much less straight; there are sharp turns to the right and left in several places. Lushington did not know the road very well and hesitated more than once, going slowly and fast by turns, and at the end of half-an-hour he felt almost sure that he had either lost his way or that Logotheti was coming back by another route.

CHAPTER XV

Margaret knew by this time that Logotheti was really very much in love; she was equally sure that she was not, and that when she encouraged him she was yielding to a rather complicated temptation that presented elements of amusement and of mild danger. In plain English, she was playing with the man, though she guessed that he was not the kind of man who would allow himself to be played with very long.

There are not many young women who could resist such a temptation under the circumstances, and small blame to them. Margaret had done nothing to attract the Greek and was too unsophisticated to understand the nature of her involuntary influence over him. He was still young, he was unlike other men and he was enormously rich; a little familiarity with him had taught her that there was nothing vulgar about him below the surface, and he treated her with all the respect she could exact when she chose to put herself in his power. The consequence was that as she felt nothing herself she sometimes could not resist making little experiments, just to see how far he would run on the chain by which she held him. Besides, she was flattered by his devotion.

It was not a noble game that she was playing with him, but in real life very few young men and women of two-and-twenty are 'noble' all the time. A good many never are at all; and Margaret had at least the excuse that the victim of her charms was no simple sensitive soul with morbid instincts of suicide, like the poor youth who cut his throat for Lady Clara Vere de Vere, but a healthy millionaire of five-and-thirty who enjoyed the reputation of having seen everything and done most things in a not particularly well-spent life.

Besides, she ran a risk, and knew it. The victim might turn at any moment, and perhaps rend her. Sometimes there was a quick glance in the almond-shaped eyes which sent a little thrill of not altogether unpleasant fear through her. She had seen a woman put her head into a wild beast's mouth, and she knew that the woman was never quite sure of getting it out again. That was part of the game, and the woman probably enjoyed the sensation and the doubt, since playing for one's life is much more exciting than playing for one's money. Margaret began to understand the lion-tamer's sensations, and not being timid she almost wished that her lion would show his teeth. She gave herself the luxury of wondering what form his wrath would take when he was tired of being played with.

He was already approaching that point, on the day when Lushington was looking out for him on the road through the Fausses Reposes woods. When they were well away from the city, he slackened his speed as usual and began to talk.

'I wish,' he said, 'that you would sometimes be in earnest. Won't you try?'

'You might not like it,' Margaret answered, carelessly. 'For my part, I sometimes wish that you were not quite so much in earnest yourself!'

'Do I bore you?'

'No. You never bore me, but you make me feel wicked, and that is very disagreeable. It is inconsiderate of you to give me the impression that I am a sort of Lorelei, coolly luring you to your destruction! Besides, you would not be so easily destroyed, after all. You are able to take care of yourself, I fancy.'

'Yes. I think my heart will be the last of me to break.' He laughed and looked at her. 'But that is no reason why you should try to twist my arms and legs off, as boys do to beetles.'

'I wish I could catch a boy doing it!'

'You may catch a woman at it any day. They do to men what boys do to insects. Cruelty to insects or animals? Abominable! Shocking! There is the society, there are fines, there is prison, to punish it! Cruelty to human beings? Bah! They have souls! What does it matter, if they suffer? Suffering purifies the spirit for a better life!'

'Nonsense!'

'That is easily said. But it was on that principle that Philip burned the Jews, and they did not think it was nonsense. The beetles don't think it funny to be pulled to pieces, either. I don't. A large class of us don't, and yet you women have been doing it ever since Eve made a fool and a sinner of the only man who happened to be in the world just then. He was her husband, which was an excuse, but that's of no consequence to the argument.'

'Perhaps not, but the argument, as you call it, doesn't prove anything in particular, except that you are calling me names!' Margaret laughed again. 'After all,' she went on, 'I do the best I can to be—what shall I say?—the contrary of disagreeable! You ask me to let you take me to my rehearsals, and I come day after day, risking something, because you are disguised. I don't risk much, perhaps—Mrs. Rushmore's disapproval. But that is something, for she has been very, very good to me and I wouldn't lose her good opinion for a great deal. And you ask me to lunch with you, and I come—at least, I've been twice to your house, and I've lunched once. Really, if you are not satisfied, you're hard to please! We've hardly known each other a month.'

'During which time I've never had but one idea. Don't raise your beautiful eyebrows as if you didn't understand!' He spoke very gently and smiled, though she could not see that.

'You've no idea how funny that is!' laughed Margaret.

'What?'

'If you could see yourself, and hear yourself at the same time! With those goggles, and your leather cap and all the rest, you look like the Frog Footman in Little Alice—or the dragon in Siegfried! It does very well as long as you are disagreeable, but when you speak softly and throw intense expression into your voice'—she mimicked his tone—'it's really too funny, you know! It's just as if Fafnir were to begin singing "Una furtiva lacrima" in a voice like Caruso's! Siegfried would go into convulsions of laughter, instead of slitting the dragon's throat.'

'I wasn't trying to be picturesque just then,' answered Logotheti, quite unmoved by the chaff. 'I was only expressing my idea. I've known you about a month. The second time we met, I asked you to marry me, and I've asked you several times since. As you can't attribute any interested motive to my determination——'

'Eh?'

'I said, to my determination——'

'Determination? How that sounds!'

'It sounds very like what I mean,' answered Logotheti, in an indifferent tone.

'But really, how can you "determine" to marry me, if I won't agree?'

'I'll make you,' he replied with perfect calm.

'That sounds like a threat,' said Margaret, her voice hardening a little, though she tried to speak lightly.

'A threat implies that the thing to be done to the person threatened is painful or at least disagreeable. Doesn't it? I'm only a Greek, of course, and I don't pretend to know English well! I wish you would sometimes correct my mistakes. It would be so kind of you!'

'You know English quite as well as I do,' Margaret answered. 'Your definition is perfect.'

'Oh! Then would it be painful, or disagreeable to you, to marry me?'

Margaret laughed, but hesitated a moment.

'It's always disagreeable to be made to do anything against one's will,' she answered.

'I'm sorry,' said Logotheti coolly, 'but it can't be helped.'

She was not quite sure how it would be best to meet this uncompromising statement, and she thought it wiser to laugh again, though she felt quite sure that at the moment there was that quick gleam in his eyes, behind the goggles, which had more than once frightened her a little. But he was looking at the road again, and a moment later he had put the car at full speed along a level stretch. That meant that the conversation was at an end for a little while. Then an accident happened.

A straight rush up an easy incline towards a turning ahead, and the deep note of the horn; round the corner to the right, close in; the flash of a bicycle coming down on the wrong side, and swerving desperately; a little brittle smashing of steel; then a man sprawling on his face in the road as the motor car flew on.

Logotheti kept his eyes on the road, one hand went down to the levers and the machine sprang forward at forty miles an hour.

'Stop!' cried Margaret. 'Stop! you've killed him!'

Full speed. Fifty miles an hour now, on another level stretch beyond the turn. No sign of intelligence from Logotheti. Both hands on the wheel.

'Stop, I say!' Margaret's voice rang out clear and furious.

Logotheti's hands did not move. Margaret knew what to do. She had often been in motor cars and had driven a little herself. She was strong and perfectly fearless. Before Logotheti saw what she was going to do, she was beside him, she had thrown herself across him and had got at the brake and levers. He was too much surprised to make any resistance; he probably would not have tried to hinder her in any case, as he could not have done so without using his strength. The car was stopped in a few seconds; he had intuitively steered it until it stood still.

'How ridiculous!' he exclaimed. 'As if one ever stopped for such a thing!'

Margaret's eyes flashed angrily and her answer came short and sharp.

'Turn back at once,' she said, and she sat down beside him on the front seat.

He obeyed, for he could do nothing else. In running away from the accident, he had simply done what most chauffeurs do under the circumstances. His experience told him that the man was not killed, though he had lain motionless in the road for a few moments. Logotheti had seen perfectly well that the car had struck the hind wheel of the bicycle without touching the man's body. Moreover, the man had been on the wrong side of the road, and it was his fault that he had been run into. Logotheti had not meant to give him a chance to make out a case.

But now he turned back, obedient to Margaret's command. Before she had stopped the car it had run nearly a mile from the scene of the accident. When it reached the spot again, coming back at a more moderate pace, nearly five minutes had elapsed. She found the man leaning against the rail fence that followed the outer curve of the turning. It was the man they had so often met on the other road, in his square-toed kid boots and ill-fitting clothes; it was Edmund Lushington, with his soft student's hat off, and his face a good deal scratched by the smashing of his tortoise-shell-rimmed spectacles. They had been tied behind with a black string, and the rims of them, broken in two, hung from his ears. His nose was bleeding profusely, as he leaned against the fence, holding his head down. He was covered with mud, his clothes were torn, and he was as miserable, damaged and undignified a piece of man as ever dreaded being taken at disadvantage by the idol of his affections. He would have made a pact with the powers of evil for a friendly wall or a clump of trees when he saw the car coming back. There was nothing but the fence.

The car stopped close beside him. He held his handkerchief to his nose, covering half his face as he looked up.

'Are you hurt, Monsieur?' Margaret asked anxiously in French.

'On the contrary, Mademoiselle,' Lushington answered through the handkerchief, and it sounded as if he had a bad cold in the head.

'I am afraid——' Margaret began, and then stopped suddenly, staring at him.

'You were on the wrong side of the road, Monsieur,' said Logotheti in an assertive tone.

'Perfectly,' assented Lushington, holding his nose and turning half away.

'Then it was your fault,' observed Logotheti.

'Precisely,' admitted the other. 'Pray don't stop. It's of no consequence!'

But he had betrayed himself unconsciously, in the most natural way. His spectacles were gone, and by covering the lower part of his face with his handkerchief he had entirely concealed the very great change made by shaving his beard and moustache. While he and Logotheti had been speaking, Margaret had scrutinised his features and had made sure of the truth. Then she believed that she would have recognised him by his voice alone. Between the emotion that followed the accident and the extreme anxiety his position caused him, the perspiration stood in beads on his forehead. Margaret smiled maliciously, for she remembered how often they had passed him on the road, and realised in an instant that he had disguised himself to watch her doings. He should pay for that.

'You look hot,' she observed in English, fixing her eyes on him severely.

He blushed to the roots of his hair, though he had been rather pale. Logotheti, whose only preoccupation hitherto had been to get away as soon as possible, now stared at him, too. Margaret's tone and her sudden change to the use of English did the rest. He recognised Lushington, but remembered that he himself was completely disguised in his chauffeur's dress and mask; so he said nothing.

Lushington writhed under Margaret's eyes for a moment; but then his English courage and coolness suddenly returned, the colour subsided from his face and his expression hardened, as far as the necessary handkerchief permitted her to see it.

'Yes,' he said, 'I'm Lushington. I can only repeat that the accident happened by my fault. I'm used to taking the left side in England and I lost my head. Monsieur Logotheti need not have run away, for it would never have occurred to me to make a complaint.'

He looked straight at Logotheti's goggles as he spoke, and Margaret began to feel uncomfortable.

'I supposed that you had recognised me,' observed the Greek coldly. 'That is, no doubt, why you have taken the trouble to disguise yourself and watch me of late.'

'That was the reason,' answered Lushington, facing his adversary, but conscious that the necessity for holding his nose put him at a disadvantage as to his dignity.

'It was very well done,' said the Greek with gravity. 'I should never have known you.'

'Your own disguise is admirable,' answered the Englishman, with cool politeness. 'If I had not seen you without your mask the other day I should not have recognised you.'

'Shall we go on?' inquired Logotheti, turning to Margaret.

'No,' she answered, rather sharply. 'Are you hurt?' she inquired, looking at Lushington again.

He was busy with his nose, which he had neglected for a few moments. He shook his head.

'I won't leave him here in this state,' Margaret said to Logotheti.

The Greek made a gesture of indifference, but said nothing. Meanwhile Lushington got so far as to be able to speak again.

'Please go on,' he said. 'I can take care of myself, thank you. There are no bones broken.'

Logotheti inwardly regretted that his adversary had not broken his neck, but he had tact enough to see that he must take Margaret's side or risk losing favour in her eyes.

'I really don't see how we can leave you here,' he said to Lushington. 'Your bicycle is smashed. I had not realised that. I'll put what's left of it into the car.'

He jumped out as he spoke, and before Lushington could hinder him he had hold of the broken wheel. But Lushington followed quickly, and while he held his nose with his left hand, he grabbed the bicycle with the other. It looked as if the two were going to try which could pull harder.

'Let it alone, please,' said Lushington, speaking with difficulty.

'No, no'! protested Logotheti politely, for he wished to please Margaret. 'You must really let me put it in.'

'Not at all!' retorted Lushington. 'I'll walk it to Chaville.'

'But I assure you, you can't!' retorted the Greek. 'Your hind wheel is broken to bits! It won't go round. You would have to carry it!'

And he gently pulled with both hands.

'Then I'll throw the beastly thing away!' answered Lushington, who did not relinquish his hold. 'It's of no consequence!'

'On the contrary,' objected Logotheti, still pulling, 'I know about those things. It can be made a very good bicycle again for next to nothing.'

'All the better for the beggar who finds it!' cried the Englishman. 'Throw it over the fence!'

'You English are so extravagant,' said the Greek in a tone of polite reproach, but not relinquishing his hold.

'Possibly, but it's my own bicycle, and I prefer to throw it away.'

Margaret had watched the contest in silence. She now stepped out of the car, came up to the two men and laid her hands on the object of contention. Logotheti let go instantly, but Lushington did not.

'This is ridiculous,' said Margaret. 'Give it to me!'

Lushington had no choice, and besides, he needed his right hand for his nose, which was getting the better of him again. He let go, and Margaret lifted the bicycle into the body of the car herself, though Logotheti tried to help her.

'Now, get in,' she said to Lushington. 'We'll take you as far at the Chaville station.'

'Thank you,' he answered. 'I am quite able to walk.'

He presented such a lamentable appearance that he would have hesitated to get into the car with Margaret even if they had been on good terms. He was in that state of mind in which a man wishes that he might vanish into the earth like Korah and his company, or at least take to his heels without ceremony and run away. Logotheti had put up his glasses and shield, over the visor of his cap, and was watching his rival's discomfiture with a polite smile of pity. Lushington mentally compared him to Judas Iscariot.

'Let me point out,' said the Greek, that if you won't accept a seat with us, we, on our part, are much too anxious for your safety to leave you here in the road. You must have been badly shaken, besides being cut. If you insist upon walking, we'll keep beside you in the car. Then if you faint, we can pick you up.'

'Yes,' assented Margaret, with a touch of malice, 'that is very sensible.'

Lushington was almost choking.

'Do let me give you another handkerchief,' said Logotheti, sympathetically. 'I always carry a supply when I'm motoring—they are so useful. Yours is quite spoilt.'

A forcible expression rose to Lushington's lips, but he checked it, and at the same time he wondered whether anybody he knew had ever been caught in such a detestable situation. But Anglo-Saxons generally perform their greatest feats of arms when they are driven into a corner or have launched themselves in some perfectly hopeless undertaking. It takes a Lucknow or a Balaclava to show what they are really made of. Lushington was in a corner now; his temper rose and he turned upon his tormentors. At the same time, perhaps under the influence of his emotion, his nose stopped bleeding. It was scratched and purple from the fall, but he found another handkerchief of his own and did what he could to improve his appearance. His shoulders and his jaw squared themselves as he began to speak and his eyes were rather hard and bright.

'Look here,' he said, facing Logotheti, 'we don't owe each other anything, I think, so this sort of thing had better stop. You've been going about in disguise with Miss Donne, and I have been making myself look like some one else in order to watch you. We've found each other out and I don't fancy that we're likely to be very friendly after this. So the best thing we can do is to part quietly and go in opposite directions. Don't you think so?'

The last question was addressed to Margaret. But instead of answering at once she looked down and pushed some little lumps of dry mud about with the toe of her shoe, as if she were trying to place them in a symmetrical figure. It is a trick some young women have when they are in doubt. Lushington turned to Logotheti again and waited for an answer.

Now Logotheti did not care a straw for Lushington, and cared very little, on the whole, whether the latter watched him or not; but he was extremely anxious to please Margaret and play the part of generosity in her eyes.

'I'm very sorry if anything I've said has offended you,' he said in a smooth tone, answering Lushington. 'The fact is, it's all rather funny, isn't it? Yes, just so! I'm making the best apology I can for having been a little amused. I hope we part good friends, Mr. Lushington? That is, if you still insist on walking.'

Margaret looked up while he was speaking and nodded her approbation of the speech, which was very well conceived and left Lushington no loophole through which to spy offence. But he responded coldly to the advance.

'There is no reason whatever for apologising,' he said. 'It's the instinct of humanity to laugh at a man who tumbles down in the street. The object of our artificial modern civilisation is, however, to cloak that sort of instinct as far as possible. Good morning.'

After delivering this Parthian shot he turned away with the evident intention of going off on foot.

None of the three had noticed the sound of horses' feet and a light carriage approaching from the direction of Versailles. A phaeton came along at a smart pace and drew up beside the motor. Margaret uttered an exclamation of surprise, and the two men stared with something approaching to horror. It was Mrs. Rushmore, who had presumably taken a fancy for an airing as the day had turned out very fine. The coachman and groom had both seen Margaret and supposed that something had happened to the car.

Before the carriage had stopped Mrs. Rushmore had recognised Margaret too, and was leaning out sideways, uttering loud exclamations of anxiety.

'My dear child!' she cried. 'Good heavens! An accident! These dreadful automobiles! I knew it would happen!'

Portly though she was, she was standing beside Margaret in an instant, clasping her in a motherly embrace and panting for breath. It was evidently too late for Logotheti to draw his glasses and shield over his face, or for Lushington to escape. Each stood stock-still, wondering how long it would be before Mrs. Rushmore recognised him, and trying to think what she would say when she did. For one moment, it seemed as if nothing were going to happen, for Mrs. Rushmore was too much preoccupied on Margaret's account to take the slightest notice of either of the others.

'Are you quite sure you're not hurt?' she inquired anxiously, while she scrutinised Margaret's blushing face. 'Get into the carriage with me at once, my dear, and we'll drive home. You must go to bed at once! There's nothing so exhausting as a shock to the nerves! Camomile tea, my dear! Good old-fashioned camomile tea, you know! There's nothing like it! Clotilde makes it to perfection, and she shall rub you thoroughly! Get in, child! Get in!'

Quick to see the advantage of such a sudden escape, Margaret was actually getting into the carriage, when Mrs. Rushmore, who was kindness itself, remembered the two men and turned to Logotheti.

'I will leave you my groom to help,' she said, in her stiff French.

Then her eyes fell on Lushington's blood-stained face, and in the same instant it flashed upon her that the other man was Logotheti. Her jaw dropped in astonishment.

'Why—good gracious—how's this? Why—it's Monsieur Logotheti himself! But you'—she turned to Lushington again 'you can't be Mr. Lushington—good Lord—yes, you are, and in those clothes, too. And—what have you done to your face?'

As her surprise increased she became speechless, while the two men bowed and smiled as pleasantly as they could under the circumstances.

'Yes, I'm Lushington,' said the Englishman. 'I used to wear a beard.'

'My chauffeur was taken ill suddenly,' said the Greek without a blush, 'and as Miss Donne was anxious to get home I thought there would be no great harm if I drove the car out myself. I had hoped to find you in so that I might explain how it had happened, for, of course, Miss Donne was a little—what shall I say?—a little——'

He hesitated, having hoped that Margaret would help him out. After waiting two or three seconds, Mrs. Rushmore turned on her.

'Margaret, what were you?' she asked with severity. 'I insist upon knowing what you were.'

'I'm sure I don't know,' Margaret answered, trying to speak easily, as if it did not matter much. 'It was very kind of Monsieur Logotheti, at all events, and I'm much obliged to him.'

'Oh, and pray, what has happened to Mr. Lushington?' inquired Mrs. Rushmore.

'I was on the wrong side of the road, and the car knocked me off my bicycle,' added Lushington. 'They kindly stopped to pick me up. They thought I was hurt.'

'Well—you are,' said Mrs. Rushmore. 'Why don't you get into the automobile and let Monsieur Logotheti take you home?'

As it was not easy to explain why he preferred walking in his battered condition, Lushington said nothing. Mrs. Rushmore turned to her groom, who was English.

'William,' she said, 'you must have a clothes-brush.'

William had one concealed in some mysterious place under the box.

'Clean Mr. Lushington, William,' said the good lady.

'Oh, thank you—no—thanks very much,' protested Lushington.

But William, having been told to clean him, proceeded to do so, gently and systematically, beginning at his neck and proceeding thence with bold curving strokes of the brush, as if he were grooming a horse.

Instinctively Lushington turned slowly round on his heels, while he submitted to the operation, and the others looked on. They had ample time to note the singular cut of his clothes.

'He used to be always so well dressed!' said Mrs. Rushmore to Margaret in an audible whisper.

Lushington winced visibly, but as he was not supposed to hear the words he said nothing. William had worked down to the knees of his trousers, which he grasped firmly in one hand while he vigorously brushed the cloth with the other.

'That will do, thank you,' said Lushington, trying to draw back one captive leg.

But William was inexorable and there was no escape from his hold. He was an Englishman, and was therefore thorough; he was a servant, and he therefore thoroughly enjoyed the humour of seeing his betters in a pickle.

'And now, my dear,' said Mrs. Rushmore to Margaret, 'get in and I'll take you home. You can explain everything on the way. That's enough, William. Put away your brush.'

Margaret had no choice, since fate had intervened.

'I'm very much obliged to you,' she said, nodding to Logotheti; 'and I hope you'll be none the worse,' she added, smiling at Lushington.

Mrs. Rushmore bent her head with dignified disapproval, first to one and then to the other, and got into the carriage as if she were mounting the steps of a throne. She further manifested her displeasure at the whole affair by looking straight before her at the buttons on the back of the coachman's coat after she had taken her seat. Margaret got in lightly after her and she scarcely glanced at Logotheti as the carriage turned; but her eyes lingered a little with an expression that was almost sad as she met Lushington's. She was conscious of a reaction of feeling; she was sorry that she had helped to make him suffer, that she had been amused by his damaged condition and by his general discomfiture. He had made her respect him in spite of herself, just when she had thought that she could never respect him again; and suddenly the deep sympathy for him welled up, which she had taken for love, and which was as near to love as anything her heart had yet felt for a man.

She knew, too, that it was really her heart, and nothing else, where he was concerned. She was human, she was young, she was more alive than ordinary women, as great singers generally are, and Logotheti's ruthless masculine vitality stirred her and drew her to him in a way she did not quite like. His presence disturbed her oddly and she was a little ashamed of liking the sensation, for she knew quite well that such feelings had nothing to do with what she called her real self. She might have hated him and even despised him, but she could never have been indifferent when he was close to her. Sometimes the mere touch of his hand at meeting or parting thrilled her and made her feel as if she were going to blush. But she was never really in sympathy with him as she was with Lushington.

'And now, Margaret,' said Mrs. Rushmore after a silence that had lasted a full minute, 'I insist on knowing what all this means.'

Margaret inwardly admitted that Mrs. Rushmore had some right to insist, but she was a little doubtful herself about the meaning of what had happened. If it meant anything, it meant that she had been flirting rather rashly and had got into a scrape. She wondered what the two men were saying now that they were alone together, and she turned her head to look over the back of the phaeton, but a turn of the road already hid the motor car from view.

Meanwhile Mrs. Rushmore's face showed that she still insisted, and Margaret had to say something. As she was a truthful person it was not easy to decide what to say, and while she was hesitating Mrs. Rushmore expressed herself again.

'Margaret,' said she, 'I'm surprised at you. It makes no difference what you say. I'm surprised.'

The words were spoken with a slow and melancholy intonation that might have indicated anything but astonishment.

'Yes,' Margaret remarked rather desperately, 'I don't wonder. I suppose I've been flirting outrageously with them both. But I really could not foresee that one would run over the other and that you would appear just at that moment, could I? I'm helpless. I've nothing to say. You must have flirted when you were young. Try to remember what it was like, and make allowance for human weakness!'

She laughed nervously and glanced nervously at her companion, but Mrs. Rushmore's face was like iron.

'Mr. Rushmore,' said the latter, alluding to her departed husband, 'would not have understood such conduct.'

Margaret thought this was very probable, judging from the likenesses of the late Ransom Rushmore which she had seen. There was one in particular, an engraving of him when he had been president of some big company, which had always filled her with a vague uneasiness. In her thoughts she called him the 'commercial missionary,' and was glad for his sake and her own that he was safe in heaven, with no present prospect of getting out.

'I'm sorry,' she said, without much contrition. 'I mean,' she went on, correcting herself, and with more feeling, 'I'm sorry I've done anything that you don't like, for you've been ever so good to me.'

'So have other people,' answered the elder woman with an air of mystery and reproof.

'Oh yes! I know! Everybody has been very kind—especially Madame Bonanni.'

'Should you be surprised to hear that the individual who bought out Mr. Moon and made you independent, did it from purely personal motives?'

Margaret turned to her quickly in great surprise.

'What do you mean? I thought it was a company. You said so.'

'In business, one man can be a company, if he owns all the stock,' said Mrs. Rushmore, sententiously.

'I don't understand those things,' Margaret answered, impatient to know the truth. 'Who was it?'

'I hardly think I ought to tell you, my dear. I promised not to. But I will allow you to guess. That's quite different from telling, and I think you ought to know, because you are under great obligations to him.'

'You don't mean to say——' Margaret stopped, and the blood rose slowly in her face.

'You may ask me if it was one of those two gentlemen we have just left in the road,' said Mrs. Rushmore. 'But mind, I'm not telling you!'

'Monsieur Logotheti!' Margaret leaned back and bit her lip.

'You've made the discovery yourself, Margaret. Remember that I've told you nothing. I promised not to, but I thought you ought to know.'

'It's an outrage!' cried Margaret, breaking out. 'How did you dare to take money from him for me?'

Mrs. Rushmore seemed really surprised now, though she did not say she was.

'My dear!' she exclaimed, 'you would not have had me refuse, would you? Money is money, you know.'

The good lady's inherited respect for the stuff was discernible in her tone.

'Money!' Margaret repeated the word with profound contempt and a good deal of anger.

'Yes, my dear,' retorted Mrs. Rushmore severely. 'Yes, money. It is because your father and mother spoke of it in that silly, contemptuous way that they died so poor. And now that you've got it, take my advice and don't turn up your nose at it.'

'Do you suppose I'll keep it, now that I know where it comes from? I'll give it back to him to-day!'

'No, you won't,' answered Mrs. Rushmore, with the conviction of certainty.

'I tell you I will!' Margaret cried. 'I could not sleep to-night if I knew that I had money in my possession that was given me—given me like a gift—by a man who wants to marry me! Ugh! It's disgusting!'

'Margaret, this is ridiculous. Monsieur Logotheti came to see me and explained the whole matter. He said that he had made a very good bargain and expected to realise a large sum by the transaction. Do you suppose that such a good man of business would think of making any one a present of a hundred thousand pounds? You must be mad! A hundred thousand pounds is a great deal of money, Margaret. Remember that.'

'So much the better for him! I shall give it back to him at once!'

Mrs. Rushmore smiled.

'You can't,' she said. 'You've never even asked me where it is, and while you are out of your mind, I shall certainly not tell you. You seem to forget that when I undertook to bring suit against Alvah Moon you gave me a general power of attorney to manage your affairs. I shall do whatever is best for you.'

'I don't understand business,' Margaret answered, 'but I'm sure you have no power to force Monsieur Logotheti's money upon me. I won't take it.'

'You have taken it and I have given a receipt for it, my dear, so it's of no use to talk nonsense. The best thing you can do is to give up this silly idea of going on the stage, and just live like a lady, on your income.'

'And marry my benefactor, I suppose!' Margaret's eyes flashed. 'That's what he wants—what you all want—to keep me from singing! He thought that if he made me independent, I would give it up, and you encouraged him! I see it now. As for the money itself, until I really have it in my hands it's not mine; but just as soon as it is I'll give it back to him, and I'll tell him so to-day.'

The carriage rolled through the pretty woods of Fausses Reposes, and the sweet spring breeze fanned Margaret's cheeks in the shade. But she felt fever in her blood and her heart beat fast and angrily as if it were a conscious creature imprisoned in a cage. She was angry with herself and with every one else, with Logotheti, with Mrs. Rushmore, with poor Lushington for making such a fool of himself just when she was prepared to like him better than ever. She was sure that she had good cause to hate every one, and she hated accordingly, with a good will. She wished that she might never spend another hour under Mrs. Rushmore's roof, that she might never see Logotheti again, that she were launched in her artistic career, free at last and responsible to no one for her actions, her words or her thoughts.

But Mrs. Rushmore began to think that she had made a mistake in letting her know too soon who had bought out Alvah Moon, and she wondered vaguely why she had betrayed the secret, trying to account for her action on the ground of some reasonably thought-out argument, which was quite impossible, of course. So they both maintained a rather hostile silence during the rest of the homeward drive.

CHAPTER XVI

Until the carriage was out of sight, Logotheti and Lushington stood still where Margaret had left them. Then Lushington looked at his adversary coolly for about four seconds, stuck his hands into his pockets, turned his back and deliberately walked off without a word. Logotheti was so little prepared for such an abrupt closure that he stood looking after the Englishman in surprise till the latter had made a dozen steps.

'I say!' said the Greek, calling after him then and affecting an exceedingly English tone. 'I say, you know! This won't do.'

Lushington stopped, turned on his heel and faced him from a distance.

'What won't do?' he asked coolly.

Seeing that he came no nearer, Logotheti went forward a little.

'You admitted just now that you had been playing the spy,' said the Greek, whose temper was getting beyond his control, now that the women were gone.

'Yes,' said Lushington, 'I've been watching you.'

'I said spying,' answered Logotheti; 'I used the word "spy." Do you understand?'

'Perfectly.'

'You don't seem to. I'm insulting you. I mean to insult you.'

'Oh!' A faint smile crossed the Englishman's face. 'You want me to send you a couple of friends and fight a duel with you? I won't do anything so silly. As I told you before Miss Donne, we don't owe each other anything to speak of, so we may as well part without calling each other bad names.'

'If that is your view of it, you had better keep out of my way in future.' He laid his hand on the car to get in as he spoke.

Lushington's face hardened.

'I shall not take any pains to do that,' he answered. 'On the contrary, if you go on doing what you have been doing of late, you'll find me very much in your way.'

Logotheti turned upon him savagely.

'Do you want to marry Miss Donne yourself?' he asked.

Lushington, who was perfectly cool now that no woman was present, was struck by the words, which contained a fair question, though the tone was angry and aggressive.

'No,' he answered quietly. 'Do you?'

Logotheti stared at him.

'What the devil did you dare to think that I meant?' he asked. 'It would give me the greatest satisfaction to break your bones for asking that!'

Lushington came a step nearer, his hands in his pockets, though his eyes were rather bright.

'You may try if you like,' he said. 'But I've something more to say, and I don't think we need fall to fisticuffs on the highroad like a couple of bargees. I've misunderstood you. If you are going to marry Miss Donne, I shall keep out of your way altogether. I made a mistake, because you haven't the reputation of a saint, and when a man of your fortune runs after a young singer it's not usually with the idea of marrying her. I'm glad I was wrong.'

Logotheti was too good a judge of men to fancy that Lushington was in the least afraid of him, or that he spoke from any motive but a fair and firm conviction; and the Greek himself, with many faults, was too brave not to be generous. He turned again to get into the car.

'I believe you English take it for granted that every foreigner is a born scoundrel,' he said with something like a laugh.

'To tell the truth,' Lushington answered, 'I believe we do. But we are willing to admit that we can be mistaken. Good morning.'

He walked away, and this time Logotheti did not stop him, but got in and started the car in the opposite direction without looking back. He was conscious of wishing that he might kill the cool Englishman, and though his expression betrayed nothing but annoyance a little colour rose and settled on his cheek-bones; and that bodes no good in the faces of dark men when they are naturally pale. He reached home, and it was there still; he changed his clothes, and yet it was not gone; he drank a cup of coffee and smoked a big cigar, and the faint red spots were still there, though he seemed absorbed in the book he was reading.

It was not his short interview with Lushington which had so much moved him, though it had been the first disturbing cause. In men whose nature, physical and moral, harks back to the savage ancestor, to the pirate of northern or southern seas, to the Bedouin of the desert, to the Tartar of Bokhara or the Suliote of Albania, the least bit of a quarrel stirs up all the blood at once, and the mere thought of a fight rouses every masculine passion. The silent Scotchman, the stately Arab, the courtly Turk are far nearer to the fanatic than the quick-tempered Frenchman or the fiery Italian.

For a long time Constantine Logotheti had been playing at civilisation, at civilised living and especially at the more or less gentle diversion of civilised love-making; but he was suddenly tired of it all, because it had never been quite natural to him, and he grew bodily hungry and thirsty for what he wanted. The round flushed spots on his cheeks were the outward signs of something very like a fever which had seized him within the last two hours. Until then he would hardly have believed that his magnificent artificial calm could break down, and that he could wish to get his hands on another man's throat, or take by force the woman he loved, and drag her away to his own lawless East. He wondered now why he had not fallen upon Lushington and tried to kill him in the road. He wondered why, when Margaret had been safe in the motor car, he had not put the machine at full speed for Havre, where his yacht was lying. His artificial civilisation had hindered him of course! It would not check him now, if Lushington were within arm's length, or if Margaret were in his power. It would be very bad for any one to come between him and what he wanted so much, just then, that his throat was dry and he could hear his heart beating as he sat in his chair. He sat there a long time because he was not sure what he might do if he allowed himself the liberty of crossing the room. If he did that, he might write a note, or go to the telephone, or ring for his secretary, or do one of fifty little things whereby the train of the inevitable may be started in the doubtful moments of life.

It did not occur to him that he was not the arbiter of his actions in that moment, free to choose between good and evil, which he, perhaps, called by other names just then. He probably could not have remembered a moment in his whole life at which he had not believed himself the master of his own future, with full power to do this, or that, or to leave it undone. And now he was quite sure that he was choosing the part of wisdom in resisting the strong temptation to do something rash, which made it a physical effort to sit still and keep his eyes on his book. He held the volume firmly with both hands as if he were clinging to something fixed which secured him from being made to move against his will.

One of fate's most amusing tricks is to let us work with might and main to help her on, while she makes us believe that we are straining every nerve and muscle to force her back.

If Logotheti had not insisted on sitting still that afternoon nothing might have happened. If he had gone out, or if he had shut himself up with his statue, beyond the reach of visitors, his destiny might have been changed, and one of the most important events of his life might never have come to pass.

But he sat still with his book, firm as a rock, sure of himself, convinced that he was doing the best thing, proud of his strength of mind and his obstinacy, perfectly pharisaical in his contempt of human weakness, persuaded that no power in earth or heaven could force him to do or say anything against his mature judgment. He sat in his deep chair near a window that was half open, his legs stretched straight out before him, his flashing patent leather feet crossed in a manner which showed off the most fantastically over-embroidered silk socks, tightly drawn over his lean but solid ankles.

From the wall behind him the strange face in the encaustic painting watched him with drooping lids and dewy lips that seemed to quiver; the ancient woman, ever young, looked as if she knew that he was thinking of her and that he would not turn round to see her because she was so like Margaret Donne.

His back was to the picture, but his face was to the door. It opened softly, he looked up from his book and Margaret was before him, coming quickly forward. For an instant he did not move, for he was taken unawares. Behind her, by the door, a man-servant gesticulated apologies—the lady had pushed by him before he had been able to announce her. Then another figure appeared, hurrying after Margaret; it was little Madame De Rosa, out of breath.

Logotheti got up now, and when he was on his feet, Margaret was already close to him. She was pale and her eyes were bright, and when she spoke he felt the warmth of her breath in his face. He held out his hand mechanically, but he hardly noticed that she did not take it.

'I want to speak to you alone,' she said.

Madame De Rosa evidently understood that nothing more was expected of her for the present, and she sat down and made herself comfortable.

'Will you come with me?' Logotheti asked, controlling his voice.

Margaret nodded; he led the way and they left the room together. Just outside the door there was a small lift. He turned up the electric light, and Margaret stepped in; then he followed and worked the lift himself. In the narrow space there was barely room for two; Logotheti felt a throbbing in his temples and the red spots on his cheek-bones grew darker. He could hear and almost feel Margaret's slightest movement as she stood close behind him while he faced the shut door of the machine. He did not know why she had come, he did not guess why she wished to be alone with him, but that was what she had asked, and he was taking her where they would really be alone together; and it was not his fault. Why had she come?

When a terrible accident happens to a man, the memory of all his life may pass before his eyes in the interval of a second or two. I once knew a man who fell from the flying trapeze in a circus in Berlin, struck on one of the ropes to which the safety net was laced and broke most of his bones. He told me that he had never before understood the meaning of eternity, but that ever afterwards, for him, it meant the time that had passed after he had missed his hold and before he struck and was unconscious. He could associate nothing else with the word. Logotheti remembered, as long as he lived, the interminable interval between Margaret's request to see him alone, and the noiseless closing of the sound-proof door when they had entered the upper room, where Aphrodite stood in the midst and the soft light fell from high windows that were half-shaded.

Even then, though her anger was hot and her thoughts were chasing one another furiously, Margaret could not repress an exclamation of surprise when she first saw the statue facing her in its bare beauty, like a living thing.

Logotheti laid one hand very lightly upon her arm, and was going to say something, but she sprang back from his touch as if it burnt her. The colour deepened in his dark cheeks and his eyes seemed brighter and nearer together. When a woman comes to a man's house and asks to be alone with him, she need not play horror because the tips of his fingers rest on her sleeve for a moment. Why did she come?

Margaret spoke first.

'How did you dare to settle money on me?' she asked, standing back from him.

Logotheti understood for the first time that she was angry with him, and that her anger had brought her to his house. The fact did not impress him much, though he wished she were in a better temper. The sound of her voice was sweet to him whatever she said.

'Oh?' he ejaculated with a sort of thoughtful interrogation. 'Has she told you? She had agreed to say nothing about it. How very annoying!'

His sudden calm was exasperating, for Margaret did not know him well enough to see that below the surface his blood was boiling. She tapped the blue tiled floor sharply with the toe of her shoe.

'It's outrageous!' she said with energy.

'I quite agree with you. Won't you sit down?' Logotheti looked at the divan. Margaret half sat upon the arm of a big leathern chair.

'Oh, you agree with me? Will you please explain?'

'I mean, it is outrageous that Mrs. Rushmore should have told you——'

'You're quibbling!' Margaret broke in angrily. 'You know very well what I mean. It's an outrage that a man should put a woman under an enormous obligation in spite of herself, without her even knowing it!'

Logotheti had seated himself where he could watch her; the fashion of dress was close-fitting; his eyes followed the graceful lines of her figure. If she had not come to drive him mad, why did she take an attitude which of all others is becoming to well-made women and fatal to all the rest?

'I'm sorry,' said Logotheti, rather absently and as if her anger did not affect him in the least, if he even noticed it. 'I happened to want the invention for a company in which I am interested. You stood in the way of my having the whole thing, so I was obliged to buy you out. I'm very sorry that it happened to be you, and that Mrs. Rushmore could not keep the fact to herself. I knew you wouldn't be pleased if you ever found it out.'

'I don't believe a word of what you are telling me,' Margaret answered.

'Really not?' Logotheti seemed momentarily interested. 'That's generally the way when one speaks the truth,' he added, more carelessly again. 'Nobody believes it.'

His eyes caressed her as he spoke. He was not thinking much of what he said.

'I've come here to make you take back the money,' Margaret said. 'I won't keep it another day.'

'Have you come all the way from Versailles again to say that?' asked Logotheti, laughing.

Again, as she sat on the arm of the big chair, she tapped the dark blue tiles with the toe of her shoe. The slight movement transmitted itself through her whole figure, and for an instant each beautiful line and curve quivered and was very slightly modified. Logotheti saw and drew his breath sharply between his teeth.

'Yes,' Margaret was saying impatiently. 'When Mrs. Rushmore had told me the truth, I walked to the station and took the first train. I only stopped to get Madame De Rosa.'

'She is not a very powerful ally,' observed Logotheti. 'She is probably asleep in her arm-chair in the drawing-room by this time. Are you still angry with me? Yes, I believe you are. Please forgive me. I had not the least idea of offending you, because I trusted that old—— I mean, because I was so sure that Mrs. Rushmore would never tell.'

'Never mind Mrs. Rushmore,' Margaret said. 'What I will not forgive you is that you made me take your money without my knowing it. I've been flirting with you—yes, I confess it! I'm not perfection, and you're rather amusing sometimes——'

'You are adorable!' Logotheti put in, as a sort of murmuring parenthesis.

'Don't talk nonsense,' Margaret answered. 'I mean that whatever I may have said to you I've never given you the right to make me a present of a hundred thousand pounds. It's the most unparalleled piece of impertinence I ever heard of.'

'But I've not made you a present of anything. I bought what was yours without letting you know, that's all.'

'Then give me back what is mine and take your money again.'

'Hm!' Logotheti smiled. 'That would be very like going into a business partnership with me. Do you wish to do that?'

'What do you mean?'

'You see, I'm the whole company at present. But if you come in with a third of the stock to your credit, we shall be partners, to all intents and purposes. We shall have meetings of the board of directors, just you and I, and we shall decide what to do. It will be rather a queer sort of board, for of course I shall always do exactly what you wish, but it's not impossible that we may make money together. Well—on the whole I have no particular objection to selling you exactly the amount of stock I bought from you the other day. That's the shape the transaction takes. I'll do any thing to please you, but I'm quite willing you should know that I am doing you a favour, as business men would look at it.'

'A favour!' Margaret slipped from the arm of the chair as she spoke and stood upright and made a step towards him. 'Do you think I'm a child to believe such nonsense?'

'In matters of business all women are children. With the possible exception of Mrs. Rushmore,' he added in a tone of reflection. 'Besides, this is not nonsense.'

'It is!' cried Margaret. 'It is absurd to try and make me believe that a mere claim set up on the chance of getting something should have turned out to be worth so much. It has cost Mrs. Rushmore I don't know how much in lawsuits, and no one ever really believed in it. She fought for it out of pure kindness of heart, and even the lawyers said she was very foolish to go on——'

'Will you listen to me?' asked Logotheti, interrupting her. 'I've not much to say, but it's rather convincing. You probably admit that the invention is valuable, and that Alvah Moon has made money by it.'

'I should think he had, the old thief!'

'Very well. I happened to want that invention. I've bought several at different times and have founded companies and sold them. That's a part of finance, which is a form of game. You deal yourself a hand and then play it. I made up my mind to play with this particular invention. I know much more about it than you do; in fact, I understand it thoroughly. I cabled to my agent in America to buy it, if he could, and he succeeded. Now please tell me whether you think Mrs. Rushmore, acting for you, would have withdrawn the suit after the property had changed hands, merely because I've dined in her house.'

'No,' Margaret was forced to admit. 'No, she would have gone on.'

'Precisely. Now I don't want property of that kind, about which there is constant litigation. The credit of such property is injured by the talk there always is about lawsuits. So I went to Mrs. Rushmore and asked her what she thought your claim was worth, and she told me, and I gave her a cheque for the money, and she has given me a full release, as your attorney. If it had been her claim, or Madame De Rosa's or any one else's, I should have done exactly the same thing. Will you tell me how I could have acted otherwise in order to get the property into my hands free of all chance of dispute? Was there any other way?'

Margaret was silent, for she could find no answer.

'There was one other way,' Logotheti continued. 'I could have proposed that you should go into partnership with me, which is what you yourself are proposing now. But in the eyes of the world I confess that might look intimate, to say the least of it. Don't you think so too?'

'You're the most plausible person I ever listened to!' Margaret almost laughed, though her anger had not subsided.

'Will you leave things as they are and forget all about this business? What has been done cannot possibly be undone now. Won't you separate me from it in your thoughts? You can, if you try. You know, I'm two people in one. So are you. I'm Logotheti the financier, and I'm Logotheti the man. You are Margaret Donne, and you are Señorita da Cordova, on the very eve of being famous—and then, I think you are some thing else which I don't quite understand, but which is like my fate, for I cannot escape from you, whether I see you, or only dream of you.'

Margaret was silent, and looked at the Aphrodite while she sat on the arm of the big chair. She might have breathed a little faster if she had known that the two doors through which she had entered, and which had closed so silently and surely after her, were as sound-proof as six feet of earth. She would not have been afraid, for she was fearless and confident, but her heart would have beaten a little more quickly at the thought that she was out of hearing of the world, and in the presence of a man whose eyes looked at her strangely and whose cheeks were darkly flushed, who was a good deal nearer to the primitive human animal than most men are, and in whom the main force of nature was awake and hungry.

'I don't want you to make love to me just now,' she said, swinging her foot a little as she sat. 'You've done something that has hurt me very much, and has made me almost wish that I might never see you again after this time. I wish you could find a way of undoing it—I'm sure there is a way.'

Unconsciously wise, she had checked his pulse for a moment, and she looked at him calmly and shook her head. With a sudden and impatient movement he rose, turned away from her and began to walk up and down at a little distance, his head bent and his hands behind him.

Though the air in the high room was pure, it was still and hot, for the late spring afternoon had turned sultry all at once; the fluid of a near storm was fast condensing to the point of explosion.

The man felt the tension more than the woman just then. It acted on his state, and made it almost unbearable. His hands were locked behind him and his fingers twisted each other till they changed colour. He moved with the short, noiseless steps of a young wild animal measuring its cage, up and down, up and down, without pause.

'It's this,' Margaret continued, much more gently than she had meant to speak, 'I don't quite believe you. I'm almost sure you thought that I would give up the stage if I had enough money to live on without my work.'

'Yes, I did.' He stopped as if in anger and the words came sharply; but he was not angry.

'You see!' Margaret answered triumphantly. 'I knew it! What becomes of your story about the company now?'

She rose also and began to walk. The big leathern arm-chair was between them; he leaned his elbows on the back of it and watched her, and compared her hungrily with the Aphrodite.

'All I have told you is true,' he said. 'The business happened to serve two purposes, that's all. At least, I thought it would, and it was a pleasure to help you without your knowing it. Why should I be sorry? That money might as well come to you through me as through anybody else. You're angry with me. Why? Because I'm too fond of you? It cannot reasonably be about the money any more—the wretched money! If you can't keep the filthy stuff—if it won't prevent you from going on the stage after all—why then, give it away! Throw it away! Lose it, if you can. But don't come to me with it, for it's the price of a thing I bought in the way of business and which I won't give up, nor take as a gift from anybody.'

He spoke in such a harsh tone now that she paused in her short walk and met his eyes, to see what he meant, over and above what he was saying. She stood in front of the chair; he was leaning over the back of it, with his hands together; one hand was slowly kneading the closed fist, and the veins stood out on both. His voice was hoarse but rather low, like that of a man who wants water.

The light in the room had a yellowish tinge now, and the window showed a dull glare where there had been blue sky before. The lurid light got into Logotheti's eyes, and was ready to flash while Margaret looked at him. The marble Aphrodite took a creamy, living tint, and the little shadows that modelled her quivered and deepened.

All at once Margaret knew that there was danger. She could not have told how she knew it, nor just what the danger was, but she raised her fair head suddenly, as the stag does when the scent of the hounds comes down the breeze. Watching her, he saw and understood, and his hands left each other and closed tightly upon the back of the chair.

'Will you take me back to Madame De Rosa, please?' Margaret asked, and her voice did not shake.

Before he could answer, a flash of lightning filled the room, vivid as flame, and almost purple; it flared and danced two or three times before it went out.

If Logotheti spoke at all, his words were drowned in the crash that shook the house and rolled away over the city. His eyes never moved from Margaret's face; she felt that his gaze was fastened on her lips, as if he would have drawn them to meet his own. She was not exactly afraid, but she knew that she must get away from him, for he was stronger than she, and he was like a man going mad. That was what she would have called it. And it seemed to her that one of two things was going to happen. Either she would let his lips reach hers, without resisting, or else she would try to kill him when he came near her. She did not know which she should do. She was in herself two people; the one was a human woman, tempted by the mysterious sympathy of flesh and blood; the other self was a startled maiden caught in a trap and at bay, without escape.

With the great peal of thunder the Aphrodite trembled from head to foot, twice, as the vibration ran down the walls of the house to the very foundations and then came up again and died away, like the second shock of an earthquake. The statue trembled as if it were alive and afraid.

With a glance, Margaret measured the distance which separated her from the door, but it was too far. There were half-a-dozen steps, and Logotheti was much nearer to her than that, even allowing that he must get past the chair to reach her.

Now he moved a little and it was too late to try. He was beside the chair instead of behind it; but then he stopped and came no further yet, while he spoke to her.

'Why did you come?' he asked in a low tone. 'You might have guessed that it wasn't quite safe!'

It was almost as if he were speaking to himself. She kept her eyes on him, and tried to back away towards the door so slowly that he should not notice it. But he smiled and his lids drooped.

'You could not open the door if you reached it,' he said. 'You said that you wanted to speak with me alone. We are alone here—quite alone. No one can hear, even if you scream. No one can get in. Why did you say you wanted to be alone with me, if you were not in earnest? Why do you risk playing with a man who is crazy about you, and has everything in the world except you, and would throw it all away to have you? And now that you are here of your own accord, why should I let you go?'

The speech was rough, but there was a sudden caress in his voice with the last words, and he had scarcely spoken them when another flash of lightning filled the room with a maddening purple light.

Before the peal broke, Logotheti held Margaret by the wrists, and spoke close to her face, very fast.

'I will not let you go. I love you, and I will not let you go.'

The thunder burst, and roared and echoed away, while he drew her nearer, looking for the woman in her eyes, too mad to know that she did not feel what he felt. He touched her now; he could feel her breathings, fast and frightened, and the quiver that ran through her limbs. He held her, but without hurting her in the least—she could turn her wrists loosely in the bonds he made of his fingers. Yet she could not get away from him and he drew her closer.

She threw her head back from his face, and tried to speak.

'Please—please, let me go.'

'No. I love you.'

He drew her till she was pressed against him, and he held her hands in his behind her waist. The air was clearing with a furious rush of rain, and her courage was not all gone yet. She looked up to the high windows, as one about to die might look up from the scaffold, and there was a streak of clear blue sky between the driving clouds. It was as if hope looked through, out of heaven, at the girl driven to bay.

Margaret did not try to use her strength, for she knew it was useless against his. But she held her head back and spoke slowly.

'For your mother's sake,' she said, low and clear, her eyes on his.

For one moment his grasp tightened and his white teeth caught his lower lip; but his look was changing slowly.

'For her sake,' Margaret said, 'as you would have kept harm from her——'

His hold relaxed, and he turned away. There was good in him still; he had loved his mother.

He turned deliberately, till he could see neither Margaret nor the Aphrodite, and he leaned heavily on the table, with bent head, resting the weight of his body on the palms of his hands, and remaining quite motionless for some time.

He heard her go towards the door. Without looking round he slowly shook his head.

'Don't be afraid of me,' he said, in a low voice. 'It's all over, now. I'll let you out in a moment.'

'Yes.'

She waited quietly by the door, which she did not understand how to open. Presently he moved a little, and his head sank lower between his shoulders; then he spoke again, but still without turning towards her.

'I'm sorry,' he said. 'I did not know I could be such a brute. Forgive me, will you?'

As usual, when he was very much in earnest, there was something rudely abrupt about his speech.

'It was my fault,' Margaret answered from the door. 'I should not have come.'

Even after her escape, something about him still pleased her. The maiden that had been brought to bay was scarcely safe, before the human woman began to be drawn to him again by that sympathy of flesh and blood that had nearly cost her more than life.

But Margaret revolted against it now, as soon as she knew what it was that made her speak kindly.

'I'm not afraid of you,' she said, almost coldly, 'but I want you to let me out, please.'

He straightened himself and turned slowly to her. The dark red colour was gone from his cheeks, he was suddenly pale and haggard, and if he had not been really young, he would have looked old; as it was, his face was drawn and pinched as if by sharp physical suffering. He drew two or three quick, deep breaths as he came towards her.

He stood beside her a moment, and then without a word, he unfastened the door. It swung inwards and stood open. Margaret saw that it was thickly padded to prevent any sound from passing, and that there was another padded door beyond it which she had not noticed when she had entered. He understood her look of doubt.

'That one is open now,' he said. 'It locks and unlocks itself as I shut or open the inner door.'

He was willing to let her see how completely she had been cut off from the outer world; and she realised the truth and shuddered.

'Good-bye,' she said, abruptly, as if he were not to go downstairs with her, and she made a step to pass him.

He thrust his arm out across the way, resting his head against the door-post. She started, almost nervously, and then stood still again and looked at him.

'No,' he said, 'I shall not try to keep you, and the door is open. But please don't say good-bye like that, as if we were not going to meet soon.'

'It's not good for us to be alone together,' she said.

The words came by instinct, and acknowledged a weakness in herself. After she had spoken, she was very sorry. His drawn face softened.

'That's why I forgive you,' she said, with sudden frankness, and a blush reddened her cheeks under the fawn-coloured veil she had drawn down again.

He took her hand, against her will and almost violently, but in an instant his own was gentle again.

'Margaret!' His voice had a thrill in it.

'No,' she answered, but not roughly now, and scarcely trying to free herself. 'No. I don't love you in the least. That is why I won't marry you. There's something that draws me to you against my will sometimes—yes, I know that! But I hate it, and I'm afraid of it. It's not what I like in you, it's what I like least. It's something like hypnotism, I'm sure. I'm ashamed of it, because it is what has made me flirt with you. Yes, I have! I've flirted outrageously, except that I've always told you that I never would marry you. I've been truthful in that, at all events.'

'Do you think I reproach you?'

'You might have, this morning. Now we have each something to reproach the other. We will forgive and say good-bye for a while. When we meet again, that something I'm afraid of will be gone—perhaps—then everything will be different. Now, good-bye.'

He had held her hand all the time while she had been speaking. She pressed his now, with an impulse of frank loyalty, and dropped it suddenly.

'Do you mean that I may not even come and see you?' he asked.

'Not till after my début,' answered Margaret in a decided tone, for she felt that she dominated him at last. 'You don't want me to be a singer and I cannot help feeling your opposition. It disturbs me, as the time comes near. Of course I can't hinder you from being there on the first night——'

'No indeed!'

'And when you've heard me, and seen Gilda's head come out of the sack, and when the curtain has gone down on Rigoletto's despair—why, then you may come behind and congratulate me, especially if I've made a failure! Till then I don't want to see you, please!'

'I cannot wait so long. It is nearly three weeks.'

Margaret stood up very straight in the doorway, already past him and free to go out.

'Since I am willing to forgive you for losing your head just now,' she said, 'it's for me to decide whether you may ever see me again, and if so when, and where. I've been very good to you. Now I am going.'

It seemed to him that she had grown all at once in strength and individuality till there was nothing for him to do but to submit. This was an illusion, no doubt; she was just what she had always been, and what he had always judged her, a gifted young woman, rather inclined to flirt and easily guided in any direction, whose exuberant animal vitality might pass for strong character in the eyes of an inexperienced innocent like Lushington, but could not deceive an old hand like Logotheti for a moment. Nevertheless, when she had spoken her last words and was leading the way out of the room, Logotheti felt a little like a small boy who has had his ears boxed for being too cheeky, which is a sensation not at all pleasant or natural to an old hand.

As he took her down in the little lift, he vaguely wondered whether he had ever thought of her till now except as an animated work of art; comparable in beauty with his encaustic painting or his dearly loved Aphrodite; worth more than either of them as a possible possession, as life is worth more than stone, and endowed with a divine voice; but having neither soul, intelligence, nor will to speak of, nor any original power of ruling others, still less of resisting a systematic and prolonged attack.

The change had come quickly. Logotheti thought of beautiful beings of old, disguised as yielding, mortal women, who had visited the men they loved on earth and had by and by revealed themselves as true and puissant goddesses, moving in a sphere of rosy light, and speaking only to command.

Logotheti took her down in the lift and they went back into the big room where they had left Madame De Rosa. They found her looking out of the window. Books did not interest her, nor pictures either, there was no piano in the room and the maraschino was locked up. So there was nothing to do but to look out of the window. As the two came in she turned sharply to them, with her head on one side, as birds do, and her intelligent little eyes sparkled. She was a good little woman herself, and believed in heaven and salvation, but she had no particular belief in man and none at all in woman. On the other hand, she had a very keen scent for the truth in love affairs, and in Logotheti's subdued expression she instantly detected sure signs of discomfiture, which were fully confirmed by Margaret's serene and superior manner. Men sometimes follow women into a room with such an air of submission that one almost looks for the string by which they are led.

Madame De Rosa nodded her approval to Margaret in a rather officious manner, much as if she were congratulating her pupil on having soundly beaten an unruly and dangerous dog.

'Well done,' the nod said. 'Beat him again, the very next time he does it!'

But Margaret either did not understand at all, or did not care for Madame De Rosa's approbation, for she returned no answering glance of intelligence.

'I hope,' she said, 'that I have not kept you too long.'

The former prima donna looked at a tiny watch set in diamonds, the gift of a great tenor whom she had taught.

'Not at all,' she said. 'It's not twenty minutes since we came.'

She put the watch to her ear and listened. Nine women out of ten are generally in doubt as to whether their watches have not just stopped.

'Yes,' she said. 'It is going.'

Logotheti remembered how long the seconds had seemed while he was taking Margaret up in the lift, and it seemed as if hours had passed since then.

'Good-bye,' said Margaret, holding out one hand and passing the other through Madame De Rosa's arm to lead her away.

'Good-bye,' Logotheti answered. 'Of course,' he continued, 'you must please remember that if I can be of any use in making investments for you, you have only to send me your commands. I am at your service for anything connected with the money market.'

'Thank you,' said Margaret, ambiguously, as to the tone in which the words were spoken, but with a quick glance of approval.

He had meant his speech for Madame De Rosa, who had probably been told that Margaret came to see him on a matter of business. But it was quite unnecessary. The little Neapolitan woman could judge of the state of a love affair at any moment with a certainty as unerring as that of a great cook who can tell by a mere glance what stage of development the finest sauce has reached. She supported Logotheti's fiction, however, without a smile.

'Ah, my dear,' she said, 'always consult him, if he will help you! Bonanni owes half her fortune to his judgment, and I could certainly not live as I do if he had not given me his advice and kind assistance.'

'You exaggerate, dear lady,' said Logotheti, opening the door for them, and following them into the hall.

'Not in the least,' laughed Madame De Rosa, 'though I am sure that Cordova is quite able to take care of herself and is much too proud to owe you anything.'

She often called Margaret by her stage name, as artists do among themselves, but it jarred disagreeably on Logotheti's ear.

'You are right in that,' he said, rather coldly, as a footman appeared and opened the outer door. 'Miss Donne'—he emphasised the name a little—'will probably not need any help from me. But if she should, I am her very humble servant.'

'Thank you,' Margaret said, in the same ambiguous tone as before.

Thereupon she and Madame De Rosa nodded to him and left him bowing on his doorstep. They walked away in the direction of the Batignolles station. When they had heard the door of the house shut, Madame De Rosa spoke.

'You are splendid, my dear,' she said with admiration. 'But take care! To play with Logotheti is like balancing a volcano on the tip of your nose while you juggle with the world, the flesh and the devil—you know what I mean—the man who keeps a cannon-ball, an empty bottle and a bit of paper all going at once with one hand. I am afraid Logotheti will do something unexpected, to upset all our plans.'

'He had better not!' answered Margaret, drooping her lids; and her eyes flashed, and her handsome lips pouted a little.

CHAPTER XVII

Margaret, it is sad to relate, was much less concerned about the two men who were in love with her than is considered becoming in a woman of heart. She confessed to herself, without excess of penitence, that she had flirted abominably with them both, she consoled her conscience with the reflection that they were both alive and apparently very well, and she put all her strength, which was great, into preparing for her début.

Men never love so energetically and persuasively as when they are fighting every day for life, honour or fame, and are already on the road to victory; but a woman's passion, though true and lasting, may be momentarily quite overshadowed by the anticipation of a new hat or of a social battle of uncertain issue. How much more, then, by the near approach of such an event as a first appearance on the stage!

Logotheti bribed the doorkeeper at the small theatre where Margaret was rehearsing. Whenever there was a rehearsal he was there before her, quite out of sight in the back of a lower box, and he did not go away until he was quite sure that she had left. He knew women well enough to be certain that if anything could make Margaret wish to see him it would be his own strict observance of her request not to show himself; and in the meantime he enjoyed some moments of keen delight in watching her and listening to her. He felt something of the selfish pleasure which filled that King of Bavaria who had a performance of Lohengrin given for himself alone. But the pleasure was not unmixed, nor was the delight unclouded.

Even Schreiermeyer had given up coming to the rehearsals, for he was now sure of Margaret's success and had passed on to other business. In the dim stalls there appeared only the shabby relations and rather gorgeous friends of the other members of the company. There was the young painter who loved the leading girl of the chorus, there was the wholesale upholsterer who admired the contralto, and a little apart there was the middle-aged great lady who entertained a romantic and expensive passion for the tenor. The tenor was a young Italian, who was something between a third-rate poet and a spoilt child when he was in love and was as cynical as Macchiavelli when he was not, which was the case at present, at least so far as the middle-aged woman of the world was concerned. His friends could always tell the state of his affections by the way he sang in Rigoletto. When he was hopelessly in love himself, he sang 'La donna è mobile' with tears in his voice, as if his heart were breaking; when, on the contrary, he knew that some unhappy female was hopelessly in love with him, he sang it with a sort of laugh that was diabolically irritating. At the present time he seemed to be in an intermediate state, for he sometimes sang it in the one way and sometimes in the other, to the despair of the poor foolish lady in the stalls. The truth was that at irregular intervals he felt that he was in love with Margaret.

Leading singers are very rarely attracted by each other. Perhaps that is because they receive such a vast amount of adulation which pleases them better, and of course there have been famous instances of the contrary, such as Mario and Grisi. As a rule singers do not meet much except at the theatre; it is only during rehearsals that they have a chance of talking, and then, as everybody knows, they show the worst side of themselves and are often in a very bad temper indeed.

Margaret had not reached that stage yet, for she had met with no disappointments and could not complain of her manager, and moreover she was not at all above learning what she could from her fellow-artists. She was therefore popular with them in spite of the fact that she was a lady born. They overlooked that, because she could sing, and the tenor only remembered it when he tried to patronise her a little. He had often sung with Melba, and she did this or that, and he had sung with Bonanni and knew exactly how she sang the difficult passages, and he reeled off the precepts and practice of half-a-dozen other lyric sopranos, giving Margaret to understand that he was willing and able to teach her a good deal. But she only smiled kindly, and did precisely what Madame De Rosa told her to do, seeing that the little Neapolitan had taught most of them what they knew. It was clear that Margaret could not be patronised, and the other members of the company liked her the better for it, because the tenor patronised them all and gave them to understand that they were rather small fry compared with a man who could hold the high C and walk off the stage with it.

From the darkness of his lower box Logotheti looked on and approved of Margaret's behaviour. At the same time he abstracted himself from her life and saw how she lived with respect to other men and women, and a great change began to take place in his feelings, one of those changes which are sometimes salutary because they may hinder an act of folly, but which humiliate a man in his own eyes, in proportion as they are unexpected, and tend to contradict something which he has believed to be beyond all doubt. To many men the loss of a noble illusion feels like a loss of strength in themselves, perhaps because such men can never keep an ideal before them without making an unconscious effort against the material tendency of their natures.

The change in Logotheti during the next three weeks was profound; and it was humiliating because it deprived him all at once of a sort of power over himself which had grown up with his love for Margaret and depended on that for its nourishment and life; a power which had perhaps not been an original force at all, but only a chivalrous willingness to do her will instead of his own. He looked on and did not betray his presence, and she, on her side, began to wonder at his prolonged obedience. More than once she felt a sudden conviction that he must be near, and he saw how she peered into the gloom of the empty house as if looking for some one she expected. It was only natural, and no theory of telepathy was needed to explain it. She had so often seen him there in reality! But he would not show himself now, for he was determined that she should send for him; if she did not, he could wait for her début; and little by little, as he kept to his determination and only saw her from a distance in the frame of the stage, the woman who had dominated him in a moment when he was beside himself with passion, became once more an animated work of art which he unconsciously compared with his Aphrodite and his ancient picture, and which he coveted as a possession.

It did not at first occur to him that Margaret had really changed since he had met her, and not exactly in the way he might have wished. Instead of showing any inclination to give up the stage, as he had hoped that she might, she seemed more and more in love with her future career.

When he had first met her he had made the acquaintance of a strikingly good-looking English girl, born and brought up a lady, full of talent and enthusiasm for her art, but as yet absolutely ignorant of professional artistic life and still in a state of mind in which some sides of it were sure to be disagreeable to her, if not absolutely repulsive.

Hidden in his box, and watching her as well as listening to her, he gradually realised the change, and he remembered many facts which should have prepared him for it. He recollected, for instance, her perfect coolness and self-possession with Madame Bonanni, so absolutely different from the paralysing shyness, the visible fright and the pitiful helplessness at the moment of trial, which he had more than once seen in young girls who came to Madame Bonanni for advice. They had good voices, too, those poor trembling candidates; many of them had talent of a certain order; but it was not the real thing, there was not the real strength behind it, there was not the absolute self-reliance to steady it; above all, there was not the tremendous physical organisation which every great singer possesses.

But Margaret had all that; in other words, she had every gift that makes a first-rate professional on the stage, and as the life became familiar to her, those gifts, suddenly called into play, exerted their influence directly upon her character and manner. She was born to be a professional artist, to face the public and make it applaud her, to believe in her own talent, to help herself, to trust to her nerves and to defend herself with cool courage in moments of danger.

This was assuredly not the girl with whom Logotheti had fallen in love at first sight, whom he, as well as Lushington, had believed far too refined and delicately brought up to be happy in the surroundings of a stage life, and much too sensitive to bear such familiarity as being addressed as 'Cordova,' without any prefix, by an Italian tenor singer whose father had kept a butcher's shop in Turin.

No doubt, the refinement, the sensitiveness, the delicacy of manner were all there still, for such things do not disappear out of a woman in a few days; but they belonged chiefly to one side of a nature that had two very distinct sides. There was the 'lady' side, and there was the 'actress' side; and unfortunately, thought Logotheti, there was now no longer the slightest doubt as to which was the stronger. Margaret Donne was already a memory; the reality was 'Cordova,' who was going to have a fabulous success and would soon be one of the most successful lyric sopranos of her time.

'Cordova' was a splendid creature, she was a good girl, she had a hundred fine qualities not always found together in a great prima donna; but no power in the world could ever make her Margaret Donne again.

Logotheti watched her and once or twice he sighed; for he knew that he no longer wished to marry her. It is not in the nature of Orientals to let their wives exhibit themselves to the public, and in most ways the prejudices of a well-born Greek of Constantinople are just as strong as those of a Mohammedan Turk.

As an artistic possession, 'Cordova' was as desirable as ever in Logotheti's eyes; but she was no longer at all desirable as a wife. The Greek, in spite of the lawless strain in him, was an aristocrat to the marrow of his very solid bones. An aristocrat, doubtless, in the Eastern sense, proud of his own long descent, but perfectly indifferent to any such matter as a noble pedigree in the choice of a wife; quite capable, if he had not chanced to be born a Christian, of taking to himself, even by purchase, the jealously-guarded daughter of a Circassian horse-thief, or of a Georgian cut-throat, a girl brought up in seclusion for sale, like a valuable thoroughbred; but a man who revolted at the thought of marrying a woman who could show herself upon the stage, and for money, who could sing for money, and for the applause of a couple of thousand people, nine-tenths of whom he would never have allowed to enter his house. He was jealous of what he really loved. To him, it would have been a real and keen suffering to see his marble Aphrodite set up in a hall of the Louvre, to be admired in her naked perfection by every passing tourist, criticised and compared with famous living models by loose-talking art students, and furtively examined by prurient and disapproving old maids from distant countries. He prized her, and he had risked his life, not to mention the just anger of a government, to get possession of her. If he could feel so much for a piece of marble, it was not likely that he should feel less keenly where the woman he loved was concerned; and circumstance for circumstance, point for point, it was much worse that Margaret Donne should stand and sing behind the footlights, for money, and disguise herself as a man in the last act of Rigoletto, than that the Aphrodite should go to the Louvre and take her place with the Borghese Gladiator, the Venus of Milo and the Victory of Samothrace. It was true that he would have given much to possess one of those other treasures, too, but even then it would not have been like possessing the Aphrodite. The other statues had been public property and had faced the public gaze for many years; but he had found his treasure for himself, buried safe in the earth since ages ago, and he had brought her thence directly to that upper room where few eyes but his own had ever seen her. Perhaps he was a little mad on this point, for strong natures that hark back to primitive types often seem a little mad to us. But at the root of his madness there was that which no man need be ashamed of, for it has been the very foundation of human society—the right of every husband to keep the mother of his children from the world in his own home. For human society existed before the Ten Commandments, and a large part of it seems tolerably able to survive without them even now; but no nation has ever come to any good or greatness, since the world began, unless its men have kept their wives from other men. Yet nature is not mocked, and woman is a match for man; she first drove him to invent divorce for his self-defence, and see, it is a two-edged sword in her own hands and is turned against him! No strong nation, beginning its life and history, ever questioned the husband's right to kill the unfaithful wife; no old and corrupt race has ever failed to make it easy for a wife to have many husbands—including those of her friends.

Logotheti belonged to the primitives. As he had once laughingly explained to Margaret, his people had dropped out of civilisation during a good many centuries; they had absorbed a good deal of wild blood in that time, and, scientifically speaking, had reverted to their type; and now that he had chosen to mingle in the throng of the moderns, whose fathers had lost no time in the race, while his own had remained stationary, he found himself different from other people, stronger than they, bolder and much more lawless, but also infinitely more responsive to the creations of art and the facts of life, as well as to the finer fictions of his imagination and the simple cravings of his very masculine being.

Men who are especially gifted almost always seem exaggerated to average society, either because, like Logotheti, they feel more, want more and get more than other men, by sheer all-round exuberance of life and energy, or else because, as in many great poets, some one faculty is almost missing, which would have balanced the rest, so that in its absence the others work at incredible speed and tension, wear themselves out in half a lifetime and leave immortal records of their brief activity.

There had been a time when Margaret had appealed only to Logotheti's artistic perceptions; at their second meeting he had asked her to marry him because he felt sure that until he could make her his permanent possession, he could never again know what it was to be satisfied.

There had been a moment when she had risen in his estimation from an artistic treasure to the dignity of an ideal, and had dominated him, even when the human animal in him was most furiously roused.

Again, and lastly, the time had come when, by watching her unseen, instead of spending hours with her every day, by abstracting himself from her life instead of trying to take part in it, he had lost his hold upon his ideal for ever, and had been cruelly robbed of what for a few short days he had held most dear.

Moreover, after the ideal had withered and fallen, there remained something of which the man felt ashamed, though it was what had seemed most natural before the higher thought had sprung up full-grown in a day, and had blossomed, and perished. It was simply this. Margaret was as much as ever the artistic treasure he coveted, and he was tormented by the fear lest some one else should get possession of her before him.

He remembered the sleepless nights he had spent while his marble Aphrodite had lain above ground, before he was ready to carry her off, the unspeakable anxiety lest she should be found and taken from him, the terror of losing her which had driven him to make the attempt in the teeth of weather which his craft had not been fit to face; and he remembered, too, that the short time while she had lain at the bottom of the bay had not passed without real dread lest by a miracle another should find her and steal her.

He felt that same sensation now, as he watched Margaret from a distance; some one would find her, some one would marry her, some one would take her away and own her, body and soul, and cheat him of what had been within his grasp and all but his; and yet he was ashamed, because he no longer wanted her for his wife, but only as a possession—as Achilles wanted Briseis and was wroth when she was taken from him. He felt shame at the thought, because he had already honoured her in his imagination as his wife, and because to dream of her as anything as near, yet less in honour, was a sort of dishonour to himself. Let the subtle analyst make what he can of that; it is the truth. But possibly the truth about a man very unlike his fellow-men is not worth analysing, since it cannot lead to any useful generality; and if analysis is not to be useful, of what use can it possibly be? It would be more to the purpose to analyse the character of Margaret, for instance, who represents a certain class of artists, or of Madame Bonanni who is an arch-type, or of poor Edmund Lushington, a literary Englishman, who was just then very unhappy and very sorry for himself. Margaret and Lushington, and the elderly prima donna, and even Mrs. Rushmore, are all much more like you and me than Constantine Logotheti, the Greek financier of artistic tastes, watching the woman he covets, from the depths of his lower box during rehearsal.

He watched, and he coveted; and presently he fell to thinking of the wonderful things which money can do, when it is skilfully used; and he fell to scheming and plotting, and laying deep plans; and moreover he recalled the days when Margaret had first appeared to him as an animated work of art, and he remembered why he had persuaded Schreiermeyer to change the opera from Faust to Rigoletto. He had regretted the change later, when she had risen to the higher place in his heart, because it required her to wear a man's disguise in the last act; but now that she was again in his eyes what she had been at first, he was glad he had made the suggestion, and that the manager had taken his advice, for there was something in that last act which should serve him when the time came.

CHAPTER XVIII

After the adventure on the Versailles road, Lushington eschewed disguises, changed his lodgings again and appeared in clothes that fitted him. It was a great relief to look like a human being and a gentleman, even at the cost of calling himself an ass for having tried to look like something else. There was but one difficulty in the way of resuming his former appearance, and that lay in the loss of his beard, which would take some time to grow again, while its growth would involve retirement from civilisation during several weeks. But he reflected that it was fashionable to be clean-shaven, and that, in point of appearance, all that is fashionable is right, though Plato would have declared it to be removed in the third degree from truth.

A week after the accident he went out to Versailles in the morning. Mrs. Rushmore had a headache and Margaret received him. She smiled as she took his hand, and she looked hard at his face, as if to be sure that it was he, after all. The absence of the gleaming fair beard made a great difference.

'I think I like you better without it,' she said, at last. 'Your face has more character!'

'It's the inevitable,' answered Lushington, 'so I'm glad you are pleased.'

'Come out,' she said, turning to the door. 'It always seems more natural to talk to you on the lawn, and the bench is still there.'

He felt like an exile come home. Nothing was changed, except that Margaret was gentler and seemed more glad to see him than formerly. He wondered how that could be, seeing that he had made himself so very ridiculous; for he was not experienced enough to know that a woman's sense of humour is very different from that of a man she likes, when she herself has been concerned in the circumstances that have made him an object of ridicule to others. Then her face grows grave, her eyes harden, and her head goes up. 'I cannot see that there is anything to laugh at,' she says very coldly, to the disagreeable people who are poking fun at the poor man. At these signs, the disagreeable people generally desist and retire to whisper in a corner.

Lushington followed Margaret out. As they passed through the hall, she took an old garden hat from the table and fastened it upon her head with the pin that had been left stuck in it. It was done almost with a single motion and without even glancing at the mirror which hung above the hall table. Lushington watched her, but not as Logotheti would have done, in artistic admiration of the graceful movement and perfect balance. The Englishman, who called himself a realist, was admiring the ideal qualities with which he had long ago invested the real woman. As he watched her, his imagination clothed her handsome reality with a semi-divine mantle of glory; for him she could never be anything but Margaret Donne, let her call herself Cordova or anything else, let her sing in Rigoletto or in any other opera.

'It was nice of you to come,' she said, as they reached the bench near the pond. 'I wanted to see you.'

'And I wanted you to see me,' Lushington laughed a little, remembering how she had seen him the last time, after his fall, in very bad clothes and much damaged, particularly as to his nose.

'You certainly look more civilised,' Margaret said.

'Did Logotheti tell you anything about what happened after you left us?' asked Lushington, suddenly.

Margaret's face lost its expression for a moment. It was exactly as if, while sitting in the full sunshine, a little cloud had blown across the sun, taking the golden light out of her face.

'I have not seen Monsieur Logotheti since that day,' she said.

It was not necessary to tell Lushington that she had seen the Greek once again on the same afternoon. Her companion seemed surprised.

'That's strange,' he said. 'I supposed you saw him—no, I beg your pardon, I've no right to suppose anything about you. Please forgive me.'

'What did you suppose?' asked Margaret in a rather imperative tone.

'We are likely to meet so seldom that I may as well tell you what happened,' answered Lushington, with more decision than he had formerly been wont to show. 'I'd just as soon have you know, if you don't mind.'

Margaret leaned back in her seat, and pulled the garden hat over her eyes. It was warm, and she could see the gnats in the strong light reflected from the pond.

'He asked me if I wanted to marry you,' Lushington continued. 'I said that such a thing was impossible. Then he gave me to understand that he did.'

He paused, but as if he had more to say.

'What did you answer?' asked Margaret.

'I said I would keep out of the way, since he was in earnest.'

'Oh!'

Margaret uttered the ejaculation in a tone that might have meant anything, and she watched the gnats darting hither and thither in the sunshine.

'I did right, didn't I?' asked Lushington after a long pause.

'You meant to,' said Margaret almost roughly. 'I suppose it's the same thing. You're always so terribly honourable!'

Her humour changed suddenly, and there was a shade of contempt in her voice. She had been very glad to see him a few moments earlier, but now she wished he would go. She was perhaps just then in the temper to be won, though she did not know it, and she unconsciously wished that Lushington would take hold of her and almost hurt her, as Logotheti had done, instead of being so dreadfully anxious to be told that he had done right a week ago.

'You don't care a straw for Logotheti,' he said, so suddenly that she started a little. 'I don't know why you should,' he added, as she said nothing, 'but I had got the impression that you did.'

'There are days—I mean,' she corrected herself, 'there have been days, when I have liked him very much—more, it seems to me, than I ever liked you, though in quite a different way.'

'There will be more such days,' Lushington answered.

'I hope not.'

Margaret spoke almost as if to herself and very low, turning her head away. Lushington heard the words, however, and was surprised.

'Has anything happened?' he asked quickly, and quite without reflection.

Again she answered in a low tone, unfamiliar to him.

'Yes. Something has happened.'

Then neither spoke for some time. When Margaret broke the silence at last, there was a little defiance in her voice, a touch of recklessness in her manner, as new to Lushington as her low, absent-minded tone had been when she had last spoken.

'It was only natural, I suppose,' she laughed, a little sharply. 'I'm too good for one and not good enough for the other! It would be really interesting to know just how good one ought to be—when one is an artist!'

'What do you mean?' asked Lushington, not understanding at all.

'My dear child!' She laughed again, and both the words and the laugh jarred on Lushington, as being a little unlike her—she had never addressed him in that way before. 'You don't really suppose that I am going to explain, do you? You made up your mind that I was much too fine a lady to marry the son of a singer—much too good for you, in fact—though I would have married you just then!'

'Just then!' Lushington repeated the words sadly.

'Certainly not now,' answered Margaret viciously. 'You would come to your senses in a week with a start, to find your idol in a very shaky and moth-eaten state. I'm horribly human, after all! I admit it!'

'What is the matter with you?' asked Lushington, rather sharply. 'What has become of you?' he asked, as she gave him no answer. 'Where are you, the real you? I saw you when I came, and you brought me out on the lawn, and it was going to be so nice, just as it used to be; and now, on a sudden, you are gone, and there is some one I don't know in your place.'

Margaret laughed, leaned back in her chair and looked at the pond.

'Some one you don't know?' she repeated, with a question.

'Yes.'

'I wonder!' She laughed again. 'It must be that,' she said presently. 'It cannot be anything else.'

'What?'

'It must be "Cordova." Don't you think so? I know just what you mean—I feel it, I hear it in my voice when I speak, I see it in the glass when I look at myself. But not always. It comes and it goes, it has its hours. Sometimes I'm it when I wake up suddenly in the night, and sometimes I'm Margaret Donne, whom you used to like. And I'm sure of something else. Shall I tell you? One of these days Margaret Donne will go away and never come back, and there will be only Cordova left, and then I suppose I shall go to the bad. They all do, you know.'

Lushington did know, and made an odd movement and bent himself, as if something sharp had run into him unawares, and he turned his face away, to hide the look of pain which he could not control. Margaret had hardly spoken the cruel words when she realised what she had done.

'Oh, I'm so sorry!' she cried, in dreadful distress, and the voice came from her heart and was quite her own again.

In her genuine pain for him, she took his hand in both her own, and drew it to her and looked into his eyes.

'It's all right,' he answered. 'You did not mean it. Don't distress yourself.'

There were tears in her eyes now, but they were not going to overflow. She dropped his hands.

'How splendidly good and generous you are!' Margaret cried. 'There's nobody like you, after all!'

Lushington forgot his pain in the pleasure he felt at this outburst.

'But why?' he asked, not very clear as to her reasons for praising him.

'It was the same thing the other day,' she said, 'when we upset you on the Versailles road. You were in a bad way; I don't think I remember ever seeing a man in a worse plight! I couldn't help laughing a little.'

'No,' said Lushington, 'I suppose you couldn't.'

'You had your revenge afterwards, though you did not know it,' Margaret answered.

'What sort of revenge?'

'Monsieur Logotheti was detestable. It would have given me the greatest satisfaction to have stuck hat-pins into him, ever so many of them, as thick as the quills on a porcupine!'

Lushington laughed, in a colourless way.

'As you say, I was revenged,' he answered.

'Oh, that wasn't it!' she laughed, too. 'Not at all! Besides, you knew that! You were perfectly well aware that you had the heroic part, all through.'

'Indeed, I wasn't aware of it at all! I felt most awfully small, I assure you.'

'That's because you're not a woman,' observed Margaret thoughtfully. 'No,' she went on, after a short pause, during which Lushington found nothing to say, 'the revenge you had was much more complete. I don't think I'll tell you what it was. You might think——'

She broke off abruptly, and drew the big garden hat even further over her eyes. Lushington watched her mouth, as he could see so little of the rest of her face, but the lips were shut and motionless, with rather a set look, as if she meant to keep a secret.

'If you don't tell me, I suppose I'm free to think what I please,' Lushington answered. 'I might even think that you were seized with remorse for being so extremely horrid and that you went home and drenched a number of pillows with your tears.'

He laughed lightly. Margaret was silent for a moment, but she slowly nodded and drummed a five-fingered exercise on her knee with her right hand.

'I cried like a baby,' she said suddenly, with a little snort of dissatisfaction.

'Not really?' Lushington was profoundly surprised, before he was flattered.

'Yes. I hope you're satisfied? Was I not right in saying that you were revenged?'

'You have more heart than you like to show,' he answered. 'Thank you for caring so much! It was nice of you.'

'I don't believe it was what you mean by "heart" at all,' said Margaret. 'I don't pretend to have much, and what there is of it is not a bit of the "faithful squaw" kind. I cried that night about you, exactly as I might have cried over a poor lame horse, if somebody had kicked it uphill and I had been brute enough to laugh at its pain!'

'Hm!' ejaculated Lushington. 'Pity, I suppose?'

'Not a bit of it. How rude you are! I should have pitied you at the time, then. But I didn't, not the least bit. I laughed at you. Afterwards I cried because I had been such a beast as to laugh, and I wished that somebody would come and beat me! I assure you, it was entirely out of disgust with myself that I cried, and not in the least out of pity for you!'

'I'm delighted to hear it,' said Lushington. 'In the first place, I should be sorry to have been the direct means of bringing you to tears; secondly, I hate to be pitied; and thirdly, it's a much more difficult thing to make a woman disgusted with herself than it is to excite her compassion by playing lame horse or sick puppy!'

Margaret looked at him from under the brim of her hat, throwing her head far back so as to do so. Then they both laughed a little, and Lushington felt happy for a moment; but Margaret did not know what she felt, if indeed she felt anything at all, beyond a momentary satisfaction in the society of a man she really liked very much, whom she had once believed she loved, and whom she might still have been willing to marry if she had not been at the point of beginning her public career, and if he had asked her, and if—but there were altogether too many conditions, and for the moment matrimony was out of sight.

'I like you very much,' she said, suddenly thoughtful. 'I've seen you act like a hero, and you always act like a gentleman. One cannot say that of many men. If I were not such a wicked flirt, I suppose I should be in love with you, as I was that day when you left here. I'm glad I'm not! Do you know that it's frightfully humiliating to want to marry a man, and to have him object, no matter why?'

Lushington said something, but he felt that again the real Margaret had slipped away out of sight for a while, leaving somebody else in her place.

Whenever it happened, he felt a little painful sensation of choking, like a man who is suddenly deprived of air; until he looked at her and saw that she was outwardly herself. Then he adjusted the halo of ideality upon the artist again, and continued to love Margaret Donne with all his heart.

CHAPTER XIX

There is a certain kind, or perhaps it is only a certain degree, of theatrical reputation, which makes its coming felt in all sorts of ways, like a change in the weather. The rise of literary men to fame is almost always a surprise to themselves, their families, and their former instructors. Especially the latter, who know much more than the young novelist does, but have never been able to do anything with their knowledge, hold up their shrivelled, or podgy, or gouty old hands in sorrow, declaring that the success of a boy who was such a dolt, such a good-for-nothing, such a conceited jackanapes at school, only shows what the judgment of the public is worth, and how very low its standard has fallen. But the great public does not think much of decayed schoolmasters at best, and is never surprised that a young man should succeed, for the very simple reason that if he did not, some other young man certainly would; and to those who do not know the colour of the author's hair and eyes, the difference between Mr. Brown, Mr. Jones, and Mr. Robinson, in private life, must be purely a matter of imagination.

But theatrical reputation is a different matter, and its rise affects the professional barometer beforehand. The people who train great singers and great actors know what they are about and foresee the result, as no publisher can foresee it with regard to a new writer. There is a right way and a wrong way of singing, one must sing in tune unless one sings out of tune, there are standards of comparison in the persons of the great singers who are still at their best. It is not easy to be mistaken, where so much is a matter of certainty and so little depends on chance, and the facts become known very easily. The first-rate second-rate artists, climbing laboriously in the wake of the real first-rates, and wishing that these would die and get out of the way, feel a hopeless sinking at the heart as they hear behind them the rush of another coming genius. The tired critics sleep less soundly in the front row of the stalls, the fine and frivolous ladies who come to the opera to talk the whole evening are told that for once they will have to be silent, the reporters put on little playful airs of mystery to say that they have been allowed to assist at a marvellous rehearsal or have been admitted to see the future diva putting on her cloak after a final interview with Schreiermeyer, whose attitude before her is described as being that of the donor of the picture in an old Italian altar-piece.

And all this is not mere advertisement; much of it is, in fact, nothing of the sort, and is not even suggested by Schreiermeyer, for he knows perfectly well that one performance will place his new star very nearly at her true value before the public, who will flock to hear her and take infinite pains to find out where and when she is going to sing the next time. It is just the outward, healthy stir that goes before certain kinds of theatrical success, and which is quite impossible where most other arts are concerned; perhaps—I suggest it with apologies to all living prima donnas and first tenors—the higher the art, the less can success be predicted. Was ever a great painter, a great sculptor or a great poet 'announced'? On the other hand, was there ever a great singer who was not appreciated till after death?

The public probably did not hear the name of Margaret Donne till much later, and then, with considerable indifference, but long before Margarita da Cordova made her début, her name was repeated, with more or less mistakes and eccentricities of pronunciation, from mouth to mouth, in London and Paris, and was even mentioned in St. Petersburg, Berlin and New York. Every one connected with the musical world, even if only as a regular spectator, felt that something extraordinary was coming.

Madame Bonanni wrote to Margaret that she wished to see her, and would come over to Paris expressly, if Margaret would only telegraph. She would come out to Versailles, she would make the acquaintance of that charming Mrs. Rushmore. Margaret wondered what would happen if the two women met, and what mutual effect they would produce upon each other, but her knowledge of Mrs. Rushmore made her doubt whether such a meeting were desirable. Instead of telegraphing to Madame Bonanni, she wrote her answer, proposing to go to the prima donna's house. But Madame Bonanni was impatient, and as no telegram came when she expected one, she did not wait for a possible letter. To Margaret's dismay and stupefaction, she appeared at Versailles about luncheon time, arrayed with less good taste than the lilies of the field, but yet in a manner to outdo Solomon in all his glory, and she was conveyed in a perfectly new motor car. When Margaret, looking on from beyond the pond, saw her descend from the machine, she could not help thinking of a dreadful fresco she had once seen on the ceiling of an Italian villa, representing a very florid, double-chinned, powerful eighteenth-century Juno apparently in the act of getting down into the room from her car, to the great inconvenience of every one below.

The English servant who opened the door was in distress of mind when he saw her, for since he had served in Mrs. Rushmore's very proper household he had never seen anything like Madame Bonanni as she stood there asking for Miss Donne, and evidently not in a mood to be patient. He was very much inclined to tell her that she had mistaken the house, and to shut the door in her face. There were people coming to luncheon, and it was just possible that she might be one of them; but if she was not, and if the others came and found such a person there, how truly awful it would be! Thus the footman reflected as he stood in the doorway, listening to Madame Bonanni's voluble French speech.

As she paused for a moment, he heard some one on the stairs. It was Mrs. Rushmore herself. He recognised her step and turned sharp round on his heels, still filling the door but exposing his broad back to the visitor.

'Very odd person asking to see Miss Donne, ma'am,' he said in low and hurried tones. 'Shall I say "not at home," ma'am?'

'By all means "not at home," James,' said Mrs. Rushmore.

James had not miscalculated his breadth, as to the door, but his height as compared with that of the odd person outside. She put her head over his shoulder and looked in at Mrs. Rushmore.

'May I please come in?' she asked in comprehensible English. 'I am Bonanni, the singer, and I want to see Miss Donne. I've come from London to—please? Yes?'

'Goodness gracious!' cried Mrs. Rushmore. 'Let the lady in at once, James!'

James disappeared, somehow, and the artist came into the darkened hall, and met Mrs. Rushmore.

The latter did not often meet a woman much bigger than herself, and actually felt small when she held out her hand. Madame Bonanni seemed to fill the little hall of the French cottage, and Mrs. Rushmore felt as if she were in danger of being turned out of it to make room.

'Margaret is in the garden,' she said. 'I am so pleased to meet you, Madame Bonanni! I hope you'll stay to lunch. Do come in, and I'll send for her. James!'

All this was said while the two large hands were mildly shaking one another; Mrs. Rushmore was not easily startled by the sudden appearance of lions—or lionesses—and was conscious of being tolerably consecutive in her speech. It was not Madame Bonanni's greatness that had taken her by surprise, but her size and momentum. The prima donna answered in French.

'You understand? Of course! Thank you! Then I will speak in my own language. I will go out to Miss Donne, if you permit. Luncheon? Ah, if I could! But I have just eaten. I am sure you have so many good things! Little Miss Donne—ah! here she is!'

At this point Margaret came in, pulling off the old garden hat she had worn when Lushington had come to see her. She was surprised that the prima donna did not throw her arms round her and kiss her, but the artist had judged Mrs. Rushmore in a flash and behaved with almost English gravity as she took Margaret's hand.

'I have come to Paris expressly to see you,' she said.

'Let me introduce you to Mrs. Rushmore,' said Margaret.

'It is done,' said Madame Bonanni, making a little stage courtesy at the elder woman. 'I broke into the house like a burglar, and found a charming hostess waiting to arrest me with the kindest invitation to luncheon!'

'What a delightful way of putting it!' cried Mrs. Rushmore, much pleased.

Margaret felt that Madame Bonanni was showing a side of her nature which she had not yet seen. It had never occurred to the girl that the singer could make pretty society speeches. But Madame Bonanni had seen many things in her time.

Margaret carried her off to her own room, after a few words more, for it was clear that her visitor had something private to say, and had come all the way from London to say it, apparently out of pure friendship. Her manner changed again when they were alone. By force of habit the big woman sat down on the piano-stool and turned over the music that was open on the instrument, and she seemed to pay no heed to what Margaret said. Margaret was thanking her for her visit, arranging the blinds, asking her if there was enough air, for the day was hot, inquiring about the weather in London, moving about the room with each little speech, and with the evident desire to start the conversation so as to find out why Madame Bonanni had come. But the singer turned over the pages obstinately, looked up rather coldly at Margaret now and then, and once or twice whistled a few bars of Rigoletto in a way that would have been decidedly rude, had it not been perfectly clear that she did not know what she was doing, and was really trying to make up her mind how to begin. Margaret understood, and presently let her alone, and just sat down on a chair at the corner of the piano with a bit of work, and waited to see what would happen.

'I thought it might help you a little if I ran through the opera with you,' said Madame Bonanni, after a long time. 'I have sung it very often.'

But as she spoke she shut the score on the piano rather sharply, as if she had changed her mind. Margaret looked up quickly in surprise and dropped her work in her lap.

'You did not come all the way from London for that?' she asked, in a voice full of gratitude and wonder.

There was a moment's pause, during which the singer looked uneasy.

'No,' she said, 'I didn't. I never could lie very well—I can't at all to-day! But I would have come, only for that, if I had thought you needed it. That is the truth.'

'How good you are!' Margaret cried.

'Good!'

The singer's hand covered her big eyes for a moment and her elbow rested on the edge of the piano desk. There was a very sad note in the single word she had spoken, a note of despair not far off; but Margaret did not understand.

'What is the matter?' she asked, leaning forward, and laying one hand gently on Madame Bonanni's wrist. 'Why do you speak like that?'

'Do you think you would have been any better, in my place?'

The question came in a harsh tone, suddenly, as if it broke through some opposing medium, the hand dropped from the brow, and the big dark eyes gazed into Margaret's almost fiercely. Still the girl did not understand.

'Better? I? In what way? Tell me what it is, if something is distressing you. Let me help you, if I can. You know I will, with all my heart.'

'Yes, I know.' Madame Bonanni's voice sank again. 'But how can you? The trouble is older than you are. There is one thing—yes—there is one thing, if you could say it truly! It would help me a little if you could say it—and yet—no—I'm not sure—if you did, it would only show that you have more heart than he has.'

'Who?' Margaret vaguely guessed the truth.

'Who? Tom—my son! "Edmund Lushington," who feels that he cannot ask a respectable girl to marry him because his mother has been a wicked woman.'

The big woman shook from head to foot as she spoke.

Margaret was pained and her fingers tightened nervously on the other's wrist.

'Oh, please don't!' she cried. 'Please don't!'

'He's right,' answered Madame Bonanni, hanging her large head and shaking it despairingly. 'Of course, he's right, and it's true! But, oh!—she looked up again, suddenly—'oh, how much more right it must be for a man to forgive his mother, no matter what she has done!'

Margaret's fingers glided from the wrist they held, to the large hand, and pressed it sympathetically, but she could not find anything to say which would do. The friendly pressure, however, evidently meant enough to the distressed woman.

'Thank you, dear,' she said gratefully. 'You're very good to me. I know you mean it, too. Only, you're not placed as he is. If you were my daughter, you would think as he thinks—you would not live under my roof! Perhaps you would not even see me when we met in the street! You would look the other way!'

Margaret could not have told, for her life, what she would have done, but she was far too kind-hearted not to protest.

'Indeed I wouldn't!' she cried, with so much energy that Madame Bonanni believed her.

'No matter what I had done?' asked she pathetically eager for the assurance.

'You'd have been my mother just the same,' answered Margaret softly.

As the girl spoke, she felt a little sharp revolt in her heart against what she had said, at the mere thought of associating the word 'mother' with Madame Bonanni.

There was nothing at all psychological in that, and it would hardly bear analysing even by a professional dissector of character. It was just the natural feeling, in a natural girl, whose mother had been honest and good. But Madame Bonanni only heard the kind words.

'Yes,' she answered, 'I should have been your mother, just the same. But I couldn't have been a better mother to you than I've been to Tom. I couldn't, indeed!'

'No,' Margaret said, in the same gentle tone as before, 'you've been very good to him.'

'Yes! I have! He knows it, and he does not deny it!' Madame Bonanni suddenly sat up quite straight and squeezed Margaret's hands by way of emphasis. 'But he does not care,' she went on, her anger rising a little. 'Not he! He would rather that I should have been any sort of miserable little proper middle-class woman, if I could only have been technically "virtuous"! If I had been that, I might have beaten him to an omelette every day when he was a boy, and tormented him like a gadfly when he was a man! He would have preferred it—oh, by far! That is the logic of men, my dear, their irrefutable logic that they are always talking about and facing us down with! The miserable little animal! I will give up loving him, I will hate him, as he deserves, I will tell him to go to Peru, where he will never see his wicked old mother again! Then he will be sorry, he will wish he were dead, but I shall not go to him, never, never, never!'

She spoke the last words with tremendous energy, and a low echo of her voice came back out of the open piano from the strings. She clenched her fist and shook it at an imaginary Lushington in space, and for a moment her face wore a look of Medean menace.

Margaret might have smiled, if she had not felt that the strange creature was really and truly suffering, in her own way, to the borders of distraction. Then, suddenly, the great frame was convulsed again and quivered from head to foot.

'I'm going to cry,' she announced, in rather shaky tones.

And she cried. She slipped from the piano-stool to the floor, upon her knees, and her heavy arms fell upon the keys with a crashing discord, and her face buried itself in the large depths of one bent elbow, quite regardless of damage to Paquin's masterpiece of a summer sleeve; and with huge sobs the tears welled up and overflowed, taking everything they found in their way, including paint, and washing all down between the ivory keys of Margaret's piano.

Margaret saw that there was nothing to be done. At first she tried to soothe her as best she could, standing over her, and laying a hand gently on her shoulder; but Madame Bonanni shook it off with a sort of convulsive shudder, as a big carthorse gets rid of a fly that has settled on a part of his back inaccessible to his tail. Then Margaret desisted, knowing that the fit must go on to its natural end, and that it was hopeless to try and stop it sooner. Women are very practical with each other in crying matters, but it is bad for us men if we treat them in the same sensible way under the identical circumstances. Margaret sat down again in her chair, and instead of taking up her work, she leaned forward towards the weeping woman, to be ready with a word of sympathy as soon as it could be of any use. She watched the heavy head, the strong and coarse dark hair, the large animal construction of the neck and shoulders, the massive hands, discoloured now with straining upon themselves; nothing escaped her, as she quietly waited for the sobbing to cease; and though she felt the peasant nature there, close to her, in all its rugged strength, yet she felt, too, that with certain differences of outward refinement, it was not unlike her own. Her own hair, for instance, was much finer; but then, fair hair is generally finer than dark. Her own hands were smaller than Madame Bonanni's; but then, they had never been used to manual labour when she had been a girl. And as for the rest of her, she knew that Madame Bonanni had been reckoned a beauty in her day, such a beauty that very great and even royal personages indeed had done extremely foolish things to please her; and that very beauty had been in part the cause of those very tears the poor woman was shedding now. Margaret was quite sensible enough to admit that she herself, after a quarter of a century of stage life, might turn into very much the same type of woman. While waiting to be sympathetic at the right moment, therefore, she studied Madame Bonanni's appearance with profound and melancholy interest. She had never had such a good chance.

The convulsive sobbing grew regular, then more slow, then merely intermittent, and then it stopped altogether. But before she lifted her face from the hollow of her elbow, Madame Bonanni felt about for something with her other hand; and Margaret, being a woman, knew that she wanted her handkerchief before showing her face, and picked it up and gave it to her. A man would probably have taken the groping fingers and pressed them, or kissed them, probably supposing that to be what was wanted, and thereby much retarding the progress of events.

Madame Bonanni pushed up the handkerchief between her face and her elbow and moved it about, with a vague idea of equalising her colour in one general tint, then blew her nose, and then sprang to her feet at once, with that wonderful elasticity which was always so surprising in her sudden movements. Moreover, she got up turning her face away from Margaret, and made for the nearest mirror.

'Lord!' she exclaimed, laconically, as she looked at herself and realised the full extent of the damage done.

'Wouldn't you like to wash your face?' asked Margaret, following her at a discreet distance.

'My dear,' answered Madame Bonanni, in a perfectly matter-of-fact tone, 'it's awful, of course, but there's nothing else to be done!'

'Come into my dressing-room.'

'If I were at home, I should take a bath and dress over a—a—a——' One last most unexpected sob half choked her and then made her cough, till she stamped her foot with anger.

'Bah!' she cried with contempt when she got her breath. 'If I had often made myself look like such a monster, I should have been a perfectly good woman! The men would have run from me like mice from a barn on fire! Have you got any of that Vienna liquid soap, my dear!'

Margaret had the liquid soap, as it chanced, and in a few moments she was busily occupied in helping Madame Bonanni to restore her appearance. Though long, the process was only partially successful, from the latter's own point of view. Having washed away all that had been, she produced a gold box from the bag she wore at her side. The box was divided into three compartments containing respectively rouge, white powder and a miniature puff for applying both, which she proceeded to do abundantly, sitting at Margaret's toilet-table and talking while she worked. She had made more confusion in the small dressing-room in five minutes than Margaret could have made in dressing twice over. Paint-stained towels strewed the floor, chairs were upset, soap and water was splashed everywhere. Now she started afresh, by rubbing plentiful daubs of rouge into her dark cheeks.

'But why do you put on so much?' Margaret asked in wonder.

'My dear, I'm an actress,' said Madame Bonanni. 'I'm not ashamed of my profession! If I didn't paint, people would say I was trying to pass myself off for a lady! Besides, now that I have cried, nothing but powder will hide it. Look at my nose, my dear—just look at my nose! Little Miss Donne'—she turned upon Margaret with sudden, tragic energy—'don't ever let that wretched boy know that I cried about him! Eh? Never! Promise you won't!'

'No, indeed! You may trust me. Why should I tell?'

'But it doesn't matter. Tell him if you like. I don't care. My life is over now, and there is no reason why I should care about anything, is there?'

'What do you mean by saying that your life is over?' Margaret asked.

Madame Bonanni's head fell upon the edge of the table and she looked at herself in the glass for some moments before she answered.

'I have left the stage,' she said, very quietly.

'Left the stage? For good?' Margaret was amazed.

'Yes. I was not going to have any farewells or last appearances. Those things are only done to make money. Schreiermeyer was very nice about it. He agreed to cancel the rest of my engagements in a friendly way.'

'But why? Why have you done it?' asked Margaret, still bewildered by the news.

Madame Bonanni had done one cheek and half the other. She leaned back in the comfortable chair before the glass and looked at herself again, not at all at the effect of her work, but at her eyes, as if she were searching for something.

'There is not room for you and me,' she said, presently.

'I don't understand,' Margaret answered. 'Not room? Where?'

'On the stage. I have been the great lyric soprano a long time. Next month you will be the great lyric soprano—there is not room——'

'Nonsense!' Margaret broke in. 'I shall never be what you are——'

'Not what I was, perhaps, because this is another age. Taste and teaching and the art itself—all have changed. But you are young, fresh, untouched, unheard—all, you have it all, as I had once. You are not the artist I am, but you will be one day, and meanwhile you have all I have no more. If I had stayed on the stage, we should have been rivals next season. They would have said: "Cordova has a better voice, but Bonanni is still the greater artist." Do you see?'

'Yes. And why should you not be pleased at that?' asked Margaret. 'Or why should not I be quite satisfied, and more than satisfied?'

'I wasn't thinking of us,' said Madame Bonanni, looking up to Margaret's face with an expression that was almost beautiful, in spite of the daubs of paint and the disarranged hair. 'I was thinking of him.'

Margaret began to guess, and her lip quivered a moment, for she was touched.

'Yes,' she said. 'I think I see.'

'He loves you,' said Madame Bonanni, still looking at her. 'I have guessed it. It is very hard for me to get him to like me a little, and he would not forgive me if the really good critics said I was a better artist than you. That would be one thing more against me, my dear, and he has so many things against me already! So I have given it up. Why should I go on singing, now? He does not care any more. When he has once heard you he will never want to come again and sit in the middle of the theatre all alone in the audience just to hear me, as he often did. Then I sang my best. I never sang as I have sung for him, when I have caught sight of his face in the audience. No, not for kings. I used to go and look through the curtain before it went up, if I thought he was there. And it was just to hear me that he came, just for the artistic pleasure! He never came to my dressing-room, for that destroyed the illusion. But now he will go and hear you, and it would make him very bitter against me if any one said I sang better. Do you understand?'

'Yes. I understand.'

Margaret bent her head a little and looked down, wondering and puzzled, yet believing.

'At least I can do that for him.' Madame Bonanni sighed, looking into the glass again. 'I cannot undo my life, but I need not seem to him to be a hindrance in yours.'

It was impossible to receive such a confidence without being deeply touched, and Margaret's own voice shook a little as she answered.

'There have not been many mothers like you since the world began,' she said.

'I will tell you!' The singer turned half round in her chair with one of her sudden movements. 'If I had known that I was going to be so fond of him—and oh, my dear, if I could have guessed that he would care so much!—I would have led a different life! I would have left the stage if I could not. Oh, don't think it is so easy to be good! But it's possible! One can—one could, if one only knew—for the sake of some one whom one loves very dearly!'

'Of course it is!' answered Margaret, with all the heavenly self-confidence of untried virtue.

Madame Bonanni looked at her with a peculiar expression. There was a little pity in the look, and great doubt, a shade of amusement, perhaps, and a great longing envy through it all.

'Of course?' she repeated, in a thoughtful way. 'Did you mean "of course it is possible—and easy," my dear? The tone of your voice made me think that was what you meant. Yes—you meant that, and you have a right to mean it, but you don't know. That's the great difference—you don't know! You haven't begun as I did. You're a lady, a real lady, brought up amongst ladies from your childhood. But that's not what will keep you good! It's not your refinement, nor your good manners, nor your white hands that never milked a cow, or swept a stable, or hoed the weeds out from between the vines in summer. That was my work till I was seventeen. And my mother was a good woman, my dear, just as good as yours, though she was only a peasant of Provence. How do I know it? If she had not been good, my father would have killed her, of course. That was our custom. And he was good, in his way, too, and kind. He always told me that if I went wrong he would shoot me—and when the English artist came and lodged in our house for the summer and made love to me, my father explained everything to him also. So poor Goodyear saw that he must marry me, and we were married, before I was eighteen. He took me away to Paris, and tried to make a lady of me, and he had me taught to sing, because he loved my voice. Do you see? That was how it all happened—and still I was good, as good as you are! Yes—"of course," as you say! It was easy enough!'

'He died young, didn't he?' Margaret asked quietly.

She had seated herself on the corner of the toilet-table to listen, while Madame Bonanni leaned back in the low chair and looked at herself, sometimes absently, sometimes with pity.

'Yes,' she answered. 'He died very soon and left me nothing but Tommy and my voice. Poor Goodyear! He painted very badly, he never sold anything, and his father starved him because he had married me. It was far better that he should die of pneumonia than of hunger, for that would certainly have been the end of it.

'And you went on the stage at once?' Margaret asked, wishing to hear more.

Madame Bonanni shrugged her shoulders and leaned forward to the looking-glass.

'I had a fortune in my throat,' she said, daubing rouge on the cheek that was only half done. 'I had been well taught in those years, and there were plenty of managers only too anxious to offer me their protection—managers and other people, too. What could I do?'

She shrugged her shoulders again, and laughed a little harshly as she gave a half-shy glance at Margaret. The latter was not a child, but a grown woman of two-and-twenty. She answered gravely.

'With your voice and talent, I don't see why you needed any protection, as you call it.'

Madame Bonanni laughed again.

'No? You don't see? All the better, little Miss Donne, all the better for you that you have never been made to see, and perhaps you never will now. I hope not. But I tell you that in Paris, or in London, or Berlin, or Petersburg you may have the voice and talent of Malibran, Grisi and Patti all in one, but if you are not "protected" you will never get any further than leading chorus-girl, and perhaps not so far!'

'No one has protected me,' said Margaret, 'and I've got a good engagement.'

The prima donna stared at her for a moment in surprise, and then went on making up her face. The girl had talent, genius, perhaps, but she must be oddly simple if she did not realise that she owed her engagement altogether to the woman who was talking to her. Was Margaret going to take that position from the first? Madame Bonanni wondered. Was she going to deliberately ignore that she had been taken up bodily, as it were, and carried through the short cut to celebrity? Or was it just the simple, stupid, innocent vanity that so often goes with great gifts, making their possessors quite sure that they can never owe the least part of their success to any help received from any one else? Whatever it might be, Madame Bonanni was not the woman to remind Margaret of what had happened. She only smiled a little and put on more powder.

'I'm not defending my life, my dear,' she said, quietly, after a little pause. 'Of what use would that be, now that the best part of it is over—or the worst part? I'm not even asking for your sympathy, am I?' Her voice was suddenly bitter. 'I only care for one human being in the world—I think I never cared for any other, since he was born! Does that make my life worse? It does, doesn't it? In the name of heaven, child,' she broke out fiercely and angrily, without the least warning, 'was no woman ever flattered into playing at love? Not even by a King? Am I the only living woman that has been carried off her feet by royalty? It wasn't only the King, of course—I don't pretend it was—there were others. But that's what Tom will never forgive me—the money and the jewels! What could I do? Throw them in his face, scream outraged virtue and cry that he was offending me, when he had nothing more to ask, and I was half drunk with pride and vanity and amusement, because he was really in love? Tell some great lady, your duchess, your princess, to do that sort of thing—if you think she will! Don't ask it of a Provence girl who has milked the cows and hoed the vines, and then suddenly has half Europe at her feet, and a King into the bargain! There was only one thing in the world that could have saved me then—it would have been to know that Tom would never forgive me. And he was only a little boy—how could I guess?'

She looked up almost wildly into Margaret's eyes, and then bent down, resting her forehead upon her hands, on the edge of the table.

'Don't be afraid,' she said, 'I'm not going to cry again—never again, I think! It's over and finished, with the other things!'

She remained in the same position nearly a minute, and then sat up quite straight before the glass, as if nothing had happened, and powdered her cheeks again.

Margaret sat still on the corner of the table, not at all sure of what she had better say or do. She only hoped that Madame Bonanni would not ask her whether she cared for Lushington and would marry him, supposing that his scruples could be overcome, and she had a strong suspicion that it was to ask this that Madame Bonanni had come to see her. It would be rather hard to answer, Margaret knew, and she turned over words and expressions in her mind.

She might have spared herself the trouble, for nothing could have been further from her companion's thoughts just then. The dramatic moment had passed and Margaret had scarcely noticed it, beyond being very much surprised at the news it had brought her of the great singer's retiring from the stage. Perhaps, too, Margaret was a little inclined to doubt whether Madame Bonanni would abide by her resolution in the future, though she was perfectly in earnest at present.

'I shall be at your first night,' said the prima donna, finishing her operations at last, and carefully shutting her little gold box. 'If you have a dress rehearsal, I'll be at that, too.'

'Thank you,' Margaret answered. 'Yes—there is to be a dress rehearsal on Sunday. Schreiermeyer insists on it for me. He's afraid I shall have stage fright because I'm so cool now, I suppose.'

She laughed, contentedly and perfectly sure of herself.

'The only thing I don't like is being brought on in the sack to sing that last scene.'

'Eh?' Madame Bonanni stared in surprise.

'The sack,' Margaret repeated. 'The last scene. Don't you know?'

'I know—but it's always left out. Nobody has sung that for years. It's a chorus-girl who is brought on in the bag, and when Rigoletto sees her face he screams and the curtain goes down. You don't mean to say that Schreiermeyer wants you to do the whole scene?

'Yes. We've rehearsed it ever so often. I thought it was strange, too. He says that if it does not please people at the dress rehearsal, we can leave it out on the real night.'

'I never heard of anything so ridiculous in my life!' Madame Bonanni was evidently displeased.

She had once done the 'sack' scene herself to satisfy the caprice of a foreign sovereign who wished to see the effect of it, and she had a vivid and disagreeable recollection of being half dragged, half carried, inside a brown canvas bag, and then put down rather roughly; and then, of not knowing at what part of the stage she was, while she listened to Rigoletto's voice; and of the strong, dusty smell of the canvas, that choked her, so that she wanted to cough and sneeze when Rigoletto tore open the bag and let her head out; and then, of having to sing in a very uncomfortable position; and, altogether, of a most disagreeable quarter of an hour just at the very time when she should have been getting her wig and paint off in her dressing-room. Moreover, the scene was a failure, as it always has been wherever it has been tried. She told Margaret this.

'At all events,' she concluded, 'you won't have to do it on the real night.'

They were in the larger room again. But for the decided damage done to her sleeve by her tears, Madame Bonanni had restored her outward appearance tolerably well. She stood at the corner of the piano, resting one hand upon it.

'I'm sorry for you, my dear,' she said cheerfully, 'because I've given you so much trouble, but I'm glad I cried as much as I wanted to. It's horribly bad for the voice and complexion, but nothing really refreshes one so much. I felt as if my heart were going to break when I got here.'

'And now?' Margaret smiled, standing beside the elderly woman and idly turning over the music on the desk of the instrument.

'I suppose it has broken,' Madame Bonanni answered. 'At all events, I don't feel it any more. No—really—I don't! He may go to Peru, if he likes—I hope he will, the ungrateful little beast! I'll never think of him again! When you have made your début, I'm going to live in the country. There's plenty to do there! Bonanni shall milk cows again and hoe the furrows between the vines this summer! Bonanni shall go back to Provence and be an old peasant woman, where she was once a peasant girl, and married the English painter. Do you think I've forgotten the language, or the songs?'

One instant's pause, and the singer's great voice broke out in the small room with a volume of sound so tremendous that it seemed as if it would rend the walls and the ceiling. It was an ancient Provençal song that she sang, in long-drawn cadences with strange falls and wild intervals, the natural music of an ancient, gifted people. It was very short, for she only sang one stanza of it, and in less than a minute it was finished and she was silent again. But her big dark eyes, still swollen and bloodshot, were looking out to a distance far beyond the green trees she saw through the open window.

Margaret, who had listened, repeated the wild melody very softly, and sounded each note of it without the words, as if she wished to remember it always; and a nearer sight came back to the elder woman's eyes as she listened to the true notes that never faltered, and were as pure as sounding silver, and as smooth as velvet and as rich as gold. It was a little thing, but one of those little things that only a born great singer could have done faultlessly at the first attempt; and Madame Bonanni listened with rare delight. Then she laughed, as happily as if she had no heartaches in the world.

'Little Miss Donne, little Miss Donne!' she cried, shaking a fat finger, 'you will turn many heads before long! You shall come to my cottage in the autumn, when we have the vintage, and there you will find old Bonanni looking after the work in a ragged straw hat, with no paint on her cheeks. And in the evening we will sit upon the door-step together, and you shall tell me how the heads turned round and round, and I will teach you all the old songs of Provence. Will you come?'

'Indeed, I will,' Margaret answered, smiling. 'I would cross Europe to see you—you have been so good to me. Do you know? I want you to forgive me for what I said in the dressing-room about my engagement. I remember how you looked when I said it, and now I know that you did not understand. Of course I owe it all to you—but that isn't what you meant by—"protection"?'

The prima donna's expression changed again, and grew hard and almost sullen.

'Never mind that,' she said, roughly. 'I wasn't thinking of that. I didn't notice what you said.'

She turned her back to Margaret, walked to the window and stood there looking out while she put on her gloves. But Margaret was humble, in spite of the rudeness.

'I'm sorry,' she said, following a little way. 'I'm very sorry—I——'

Madame Bonanni did not even turn her head to listen. Margaret did not try to say anything more, but broke off and waited patiently. Then the elder woman turned quickly and fiercely, buttoning the last button of her glove.

'If my own son has done much worse to me, why should I care what any one else can do?' she asked.

But Margaret was obstinate in her humility and would not be put off. She took one of Madame Bonanni's hands and made her look at her.

'I would not say or do anything that could hurt you for all the world,' said Margaret, very earnestly. 'I won't let you go away thinking that I could, and angry with me. Don't you believe me?'

There was no resisting the tone and the look, and Madame Bonanni was not able to be angry long. Her large mouth widened slowly in a bright smile, and the next moment she threw her arms round Margaret and kissed her on both cheeks.

'Bah!' she cried, 'I didn't think I could still be so fond of anybody, since that wretched boy of mine broke my heart! It's ridiculous, but I really believe there's nothing I wouldn't do for you, child!'

She was heartily in earnest, though she little guessed what she was going to do for Margaret within a few days. But Margaret, who was really grateful, was nevertheless glad that there was apparently nothing more that Madame Bonanni could do. She was not quite sure that the great singer's retirement would prove final; and on cool reflection she found it hard to believe that the motive for it was the one the latter alleged, and which had so touched her at first that it had brought tears to her eyes. The Anglo-Saxon woman could not help looking at the Latin woman with a little apprehension and a good deal of scepticism.

CHAPTER XX

The stage was set for the introduction to the first act of Rigoletto, the curtain was down, the lights were already up in the house and a good many people were in their seats or standing about and chatting quietly. It was a hot afternoon in July, and high up in the gallery the summer sunshine streamed through an open window full upon the blazing lights of the central chandelier, a straight, square beam of yellow gold thrown across a white fire, and clearly seen through it.

It was still afternoon when the dress rehearsal began, but the night would have come when it ended. There is always a pleasant latitude about dress rehearsals, even when the piece is old and there is no new stage machinery to be tried. While the play or the opera is actually going on, everything works quickly as in a real performance, but between the acts, or even between one scene and another, there is a tendency on the part of the actors and the invited public to treat the whole affair as a party of pleasure. Doors of communication are opened which would otherwise be shut, people wander about the house, looking for their friends, and if there is plenty of room they change seats now and then. Many of the people are extremely shabby, others are preternaturally smart; if it is in the daytime everybody wears street clothes and the women rarely take off their hats. It is only at the evening dress rehearsals of important new pieces at the great Paris theatres that the house presents its usual appearance, but then there have been already three or four real dress rehearsals at which the necessary work has been done.

The theatre at which Margaret was making her début was a large one in a Belgian city, a big modern house, to all appearance, and really fitted with the usual modern machinery which has completely changed the working of the stage since electricity was introduced. But the building itself was old and was full of queer nooks at the back, and passages and shafts long disused; and it had two stage entrances, one of which was now kept locked, while the other had the usual swinging doors guarded by a sharp-eyed doorkeeper who knew and remembered several thousand faces of actors, singers, authors, painters, and carpenters, and of other privileged persons from princes and bankers to dressmakers' girls who had, or had once had, the right to enter by the stage door. The two entrances were on opposite sides of the building. The one no longer in use led out to a dark, vaulted passage or alley wide enough for a carriage to enter; and formerly the carriages of the leading singers had driven up by that way, entering at one end and going out at the other, but the side that had formerly led to the square before the theatre was now built up, and contained a small shop having a back door in the dark alley, and only the other exit remained, and it opened upon an unfrequented street behind the theatre.

The dressing-rooms had been disposed with respect to this old entrance, and their position had never been changed. It had been convenient for the prima donna to be able to reach her carriage after the performance without crossing the stage; whereas, as things were now arranged, she had a long distance to go. The new stage door had been made within the last ten years, so that every one who had known the theatre longer than that was well aware of the existence of the old one, though few people knew that it could still be opened on emergency, as in case of fire, and that it was also used for bringing in the unusually big boxes in which some of the great singers sent their dresses. The dressing-rooms opened upon a wide but ill-lighted corridor which led from the stage near the back on the left; the last dressing-room was the largest and was always the prima donna's. Just beyond it a door closed the end of the passage, leading to the doorkeeper's former vestibule, which was now never lighted, and beyond that a short flight of steps led down to the locked outer door, on the level of the street. In the same corridor there were of course other dressing-rooms which were not all used in Rigoletto, an opera which has only two principal women's parts; whereas in the Huguenots, for instance, the rooms would all have been full, there would have been a number of maids about and more lights. In Rigoletto, too, the contralto does not even come to the theatre to dress until the opera is more than half over, as she is only on in the third act. The Contessa and Giovanna do not count, as they have so little to do.

This short explanation of the topography of the building is necessary in order to understand clearly what happened on that memorable afternoon and evening.

Margaret Donne was in her dressing-room, quite unaware that anything was going to occur beyond the first great ordeal of singing to a full house, a matter which was of itself enough to fill the day and to bring even Margaret's solid nerves to a state of tension which she had not anticipated. The bravest and coolest men have felt their hearts beating faster just before facing cold steel or going into battle, and almost all of them have felt something else too, which has nothing to do with the heart, and which I can only compare to what many women suffer from when there is going to be a thunderstorm—an indescribable physical restlessness and bodily irritation which make it irksome to stay long in one position and impossible to think consecutively and reasonably about ordinary matters. There is no sport like fighting with real weapons, with the certainty that life itself is depending at every instant on one's own hand and eye. No other game of skill or hazard can compare with that. It is chess, played for life and death, with an element of chance which chess has not; your foot may slip, your eye may be dazzled by a ray of light or a sudden reflection, or if you are not a first-rate player you may miscalculate your distance by four inches, which, in steel, is exactly enough; or if the weapons are fire-arms you may aim a little too high or too low, or the other man may, and that little will mean the difference between time and eternity.

But in the scale of emotion and excitement the theatre comes next to fighting, whether you be the author of the play or opera to be given for the first time before the greatest and most critical audience in the world, or the actor, or actress, or singer, who has not yet been heard or seen and of whom wonders are expected on the great night.

Margaret had not believed it true, though she had often heard it, and now she was amazed at the strangeness of the physical sensation which came over her and grew till it was almost intolerable. It was not fright, for she longed for the moment of appearing; it was not ordinary nervousness, for she felt that she was as steady as a rock, and now and then, when she tried a few notes, to 'limber' her voice, it was steady, too, and exactly what it always was. Yet she felt as if some tremendous, unseen shape of strength had hold of her and were pressing her to itself; and then again, she was sure that she was going to see something unreal in her brightly-lighted, whitewashed dressing-room, and that if she did see it, she should be frightened. But she saw nothing; nothing but the dresses she was to wear, the handsome court gown of the second act, the limp purple silk tights, the doublet, long cloak and spurred boots of the third, all laid out carefully in their newness, on the small sofa and the chairs. She saw Madame Bonanni's cadaverous maid, too, standing motionless and ready if wanted, and looking at her with a sort of inscrutable curiosity; for the retired prima donna had insisted upon doing Margaret the signal service of passing on to her one of the most accomplished theatrical dressers in Europe. A woman who had made Madame Bonanni look like Juliet or Lucia could make Margarita da Cordova look a goddess from Olympus; and she did, from the theatrical point of view. But Margaret was not yet used to seeing herself in the glass when her face was made up, beautifully though it was done, and she kept away from the two mirrors as much as she could while she slowly paced the well-worn carpet, moving her shoulders now and then, and her arms, as if to make sure that she was at ease in her stage clothes.

There was no one in the room but she and the maid. She had particularly asked Schreiermeyer not to come and see her till the end of the second act, and Madame Bonanni stayed away of her own accord, rather to Margaret's surprise, but greatly to her relief. At the last minute Mrs. Rushmore had refused to come at all, and had stayed in France, in a state of excitement and almost terror which made her very unlike herself, and would have rendered her a most disturbing companion. She could not see it, she said. The daughter of her old friend should always be welcome in her house, but Mrs. Rushmore could not face the theatre, to see Margaret come on in the last scene booted and spurred like a man. That was more than she could bear. You might say what you liked, but she would never see Margaret on the stage, never, never! And so she would keep her old illusions about the girl, and it would be easier to welcome her when she came on a visit. Margaret must have a chaperon of course, but she must hire one of those respectable-looking stage mothers who are always to be had when young actresses need them. It would have broken her old friend's heart to see her daughter chaperoned by a 'stage mother,' but it could not be helped. That much protection was necessary. She had burst into a very painful fit of crying when Margaret had left her, and had really suffered more than at any time since the death of the departed Mr. Rushmore.

Logotheti had given no sign of life, and Margaret had neither seen him nor heard from him since the eventful day when she had last spoken to him in his own house. He would not even come this evening, she was sure. He had either given her up altogether, or he had amused himself by obeying her to the letter; in which case he would not present himself till after the real performance, which was to take place on the next day but one. He might have written a note, or sent a telegram, she thought; but on the whole she cared very little. If she thought of any one but herself at that moment she thought of Lushington and wished she might see him again between the acts. He had called in the afternoon, and had been very quiet and sympathetic. She had feared that even at the last he would make a scene and entreat her to change her mind, and give up the idea of the stage, at any cost. But instead, he now seemed resigned to her future career, talked cheerfully and predicted unbounded success.

She had received very many letters and telegrams from other friends, and some of them lay in a heap on the dressing-table. The greater part were from people who had known her at Mrs. Rushmore's, and who did not look upon her attempt as anything more than the caprice of a gifted amateur. Society always finds it hard to believe that one of its own can leave it and turn professional.

It was like Margaret to prefer solitude just then. People who trust themselves would generally rather be alone just before a great event in their lives, and Margaret trusted herself a good deal more than she trusted any one else. Nevertheless, she began to feel that unless something happened soon, the nameless, indescribable pressure she felt would become unbearable, and as she walked the shabby carpet, her step accented itself to a little tramp, like a marching step. The cadaverous maid looked on with curiosity and said nothing. In her long career she had never dressed a débutante, and she had heard that débutantes sometimes behaved oddly before going on. Besides, she knew something which Margaret did not know; for when she had come down to the theatre in the morning with the luggage, she had met Madame Bonanni in the dressing-room, and her late mistress had given her a piece of information and some very precise instructions.

A moment came when Margaret felt that she could no longer bear the close atmosphere of the small room and the curious eyes of the cadaverous maid, watching her as she walked up and down. Madame Bonanni would have made the woman go out or even stand with her face to the wall, but Margaret had not yet lost that aristocratic sense of consideration for servants which Plato ascribes to pride. Instead of turning the maid out, Margaret suddenly opened the door wide and stood on the threshold, breathing with relief the not very sweet air that came down the corridor from the stage. It came laden with a compound odour of ropes, dusty scenery, mouldy flour paste and cotton velvet furniture, the whole very hot and far from aromatic, but at that moment as refreshing as a sea-breeze to the impatient singer. The smell had already acquired associations for her during the long weeks of rehearsal, and she liked it; for it meant the stage, and music, and the sound of her own beautiful voice, high and clear above the rest. Lushington might think of her when spring violets were near him, Logotheti might associate with her the intoxicating perfumes of the East, but Margaret's favourite scent was already that strange compound of smells which meets the nostrils nowhere in the world except behind the scenes. I have often wondered why the strong draught that comes from the back when the curtain is up does not blow the smell into the house, to the great annoyance of the audience; but it does not. Perhaps, like everything else behind the curtain, it is not real, after all; or perhaps it has a very high specific gravity, and would stay behind even if all the air passed out, preferring the vacuum which nature abhors—nothing would seem too absurd to account for the phenomenon.

It did not occur to Margaret to wonder that there should be a draught at all, at the end of a closed corridor. She stood on the threshold, resting one hand on the door-post and looking towards the stage. In the distance she could see it, somewhere in the neighbourhood of what is technically described as L 3, where a group of courtiers and court ladies were standing ready to go on in the Introduction. The border lights were up already, Margaret could see that, and just then she heard the warning signal to be ready to raise the curtain, and the first distant notes of the orchestra reached her ears. She breathed a sigh of relief. The long-wished-for ordeal had begun at last, and the tension of her nerves relaxed. The sensation was strangely delicious and quite new to her; the quiet and solitude of the dressing-room would not be disagreeable now, nor the steady gaze of the sallow-faced maid.

She turned half round to step back, and in so doing faced the end of the corridor. She had not the slightest idea of what was beyond the door she saw there, and which she had not noticed before, but she saw that it was now not quite shut, and that it moved slowly on its hinges as if it had been more open until that moment. So far as she knew there was no reason why it should be closed, but a little natural curiosity moved her to go and see what there was on the other side of it. It was not three steps from her own door, yet when she reached it, it was tightly closed, and when she took hold of the handle of the latch it resisted the effort she made to open it, though she had not heard the key turn in the lock. This seemed strange, but being under the influence of a much stronger excitement than she herself realised, she turned back without thinking seriously of it, being willing to believe that her sight had deceived her, where the light was so dim, and that the door had not been really open at all. Her eyes met those of the maid, who had evidently come to the threshold of the dressing-room to watch her.

'I thought that door was open,' she said, as if in answer to a question.

The woman said nothing, but passed her quickly and went and tried the lock herself. Though she was so very thin, she was strong, as bony people often are. She tried the handle with both hands, turned it, though with much difficulty, and pulled suddenly with all her might. The door yielded a little at first—not more than half an inch perhaps—but then it closed itself again with a strength far greater than she could resist. She shrugged her shoulders as she desisted and came back.

'It is a disused door,' she said. 'It will not open.'

Her tone was so indifferent that Margaret paid little attention to the words, and turned away to listen to the music which reached her from the stage. The curtain was up now, and the courtiers were dancing, up stage; she could see a few of them pass and repass; then she heard the little round of applause that greeted the Duke's appearance as he went forward to begin his scene with Borsa. He had many friends in the invited audience, and was moreover one of the popular light tenors of the day. Doubtless, the elderly woman of the world who worshipped him was there in her glory, in a stage-box, ready to split her gloves when he should sing 'La donna è mobile.' Margaret knew that the wholesale upholsterer who admired the contralto was not far off, for she had seen a man bringing in flowers for her, and no one else would have sent them to her for a mere dress rehearsal.

Margaret was so well used to the opera that the time passed quickly after the Duke had begun his scene.

The silent maid approached her with a hare's-foot and a saucer, to put a finishing touch on her face, to which she submitted with indifference, listening all the time to the music that came to her through the open door. There was time yet, but she was not impatient any more; the opera had begun and she was a part of it already, before she had set her foot upon the stage, before she had seen, for the first time, the full house before her, instead of the yawning emptiness. It would be dark when she went on, for Gilda's first entrance is in the night scene in the courtyard, but it would not be empty, and perhaps it would not be silent either. It was quite likely that a little encouraging applause for the young débutante would be heard.

Margaret smiled to herself as she thought of that. She would make them applaud her in real earnest before the curtain went down, not by way of good-natured encouragement, but whether they would or not. She was very sure of herself, and the cadaverous maid watched her with curiosity and admiration, wondering very much whether such pride might not go before a fall, and end in a violent stage fright. But then, the object of the dress rehearsal was to guard against the consequences of such a misfortune. If Margaret could not sing a note at first, it would not matter to-day, but it would certainly matter a good deal the day after to-morrow.

When the end of the Introduction was near, Margaret turned back into the room and sat down before the toilet-table to wait. She heard her maid shut the door, and the loud music of the full orchestra and chorus immediately sounded very faint and far away. When she looked round, she saw that the maid had gone out and that she was quite alone.

In ten minutes the scenery would be changed; five minutes after that, and her career would have definitely begun. She folded her whitened hands, leaned back thoughtfully and looked into her own eyes reflected in the mirror. The world knows very little about the great moments in artists' lives. It sees the young prima donna step upon the stage for the first time, smiling in the paint that perhaps hides her deadly pallor. She is so pretty, so fresh, so ready to sing! Perhaps she looks even beautiful; at all events, she is radiant, and looks perfectly happy. The world easily fancies that she has just left her nearest and dearest, her mother, her sisters, in the flies; that they have come with her to the boundary of the Play-King's Kingdom, and are waiting to lead her back to real life when she shall have finished her part in the pretty illusion.

The reality is different. Sometimes it is a sad and poor reality, rarely it is tragic; most often it is sordid, uninteresting, matter-of-fact, possibly vulgar; it is almost surely very much simpler than romantic people would wish it to be. As likely as not, the young prima donna is all alone just before going on, as Margaret was, looking at herself in the glass—this last, for one thing, is a certainty; and she is either badly frightened or very calm, for there is no such thing as being 'only a little' frightened the first time. That condition sometimes comes afterwards and may last through life. But pity those whose courage fails them the first time, for there is no more awful sensation for a man or woman in perfect health than to stand alone before a great audience, and suddenly to forget words, music, everything, and to see the faces of the people in the house turned upside down, and the chandelier swinging round like a wind mill while all the other lights tumble into it, and to notice with horror that the big stage is pitching and rolling like the most miserable little steamer that ever went to sea; and to feel that if one cannot remember one's part, one's head will certainly fly off at the neck and join the hideous dance of jumbled heads and lights and stalls and boxes in the general chaos.

Margaret, however, deserved no pity on that afternoon, for she was not in the least afraid of anything, except that the courtiers who were to carry her off at the end of her first scene might be clumsy, or that the sack in the last act would be dusty inside and make her sneeze. But as for that, she was willing that the ending should be a failure, as Madame Bonanni said it must be, for she did not mean to do it again if she could possibly help it.

She was not afraid, but she was not so very calm as she fancied she was, for afterwards, even on that very evening, she found it impossible to remember anything that happened from the moment when the sallow maid entered the dressing-room again, closely followed by the call-boy, who knocked on the open door and spoke her stage name, until she found herself well out on the stage, in Rigoletto's arms, uttering the girlish cry which begins Gilda's part. The three notes, not very high, not very loud, were drowned in the applause that roared at her from the house.

It was so loud, so unexpected, that she was startled for a moment, and remained with one arm on the barytone's shoulder looking rather shyly across the lowered footlights and over the director's head. He had already laid down his baton to wait.

'You must acknowledge that, and I must begin over again,' said the barytone, so loud that Margaret fancied every one must hear him.

He moved back a little when he had spoken and left her in the middle of the stage. She drew herself up, bent her head, smiled, and made a little courtesy, all as naturally as if she had never done anything else. Thereupon the clapping grew louder for one instant, and then ceased as suddenly as it had begun. The director raised his baton and looked at her, Rigoletto came forward once more calling to her, and she fell into his arms again with her little cry. There was no sound from the house now, and the silence was so intense that she could easily fancy herself at an ordinary rehearsal, with only a dozen or fifteen people looking on out of the darkness.

But she was thinking of nothing now. She was out of the world, in the Play-King's palace, herself a part, and a principal part, of an illusion, an imaginary personage in one of the dreams that great old Verdi had dreamt long ago, in his early manhood. Her lips parted and her matchless voice floated out of its own accord, filling the darkened air; she moved, but she did not know it, though every motion had been studied for weeks; she sung as few have ever sung, but it was to her as if some one else were singing while she listened and made no effort.

The duet is long, as Margaret had often thought when studying it, but now she was almost startled because it seemed to her so soon that she found herself once more embracing Rigoletto and uttering a very high note at the same time. Very vaguely she wondered whether the far-off person who had been singing for her had not left out something, and if so, why there had been no hitch. Then came the thunder of applause again, not in greeting now, but in praise of her, long-drawn, tremendous, rising and bursting and falling, like the breakers on an ocean beach.

'Brava! brava!' yelled Rigoletto in her ear; but she could hardly hear him for the noise.

She pressed his hand almost affectionately as she courtesied to the audience. If she could have thought at all, she would have remembered how Madame Bonanni had once told her that in moments of great success everybody embraces everybody else on the stage. But she could not think of anything. She was not frightened, but she was dazed; she felt the tide of triumph rising round her heart, and upwards towards her throat, like something real that was going to choke her with delight. The time while she had been singing had seemed short; the seconds during which the applause lasted seemed very long, but the roar sounded sweeter than anything had ever sounded to her before that day.

It ceased presently, and Margaret heard from the house that deep-drawn breath just after the applause ended, which tells that an audience is in haste for more and is anticipating interest or pleasure. The conductor's baton rose again and Margaret sang her little scene with the maid, and the few bars of soliloquy that follow, and presently she was launched in the great duet with the Duke, who had stolen forward to throw himself and his high note at her feet with such an air of real devotion, that the elderly woman of the world who admired him felt herself turning green with jealousy in the gloom of her box, and almost cried out at him.

He took his full share of the tremendous applause that broke out at the end, almost before the lovers had sung the last note of their parts, but the public made it clear enough that most of it was for Margaret, by yelling out, 'Brava, la Cordova!' again and again. The tenor was led off through the house by the maid at last, and Margaret was left to sing 'Caro nome' alone. Whatever may be said of Rigoletto as a composition—and out of Italy it was looked upon as a failure at first—it is certainly an opera which of all others gives a lyric soprano a chance of showing what she can do at her first appearance.

By this time Margaret was beyond the possibility of failure; she had at first sung almost unconsciously, under the influence of a glorious excitement like a beautiful dream, but she was now thoroughly aware of what she was doing and sang the intricate music of the aria with a judgment, a discrimination and a perfectly controlled taste which appealed to the real critics much more than all that had gone before. But the applause, though loud, was short, and hardly delayed Margaret's exit ten seconds. A moment later she was seen on the terrace with her lamp.

Madame Bonanni had listened with profound attention to every note that Margaret sang. She was quietly dressed in a costume of very dark stuff, she wore a veil, and few people would have recognised the dark, pale face of the middle-aged woman now that it was no longer painted. She leaned back in her box alone, watching the stage and calling up a vision of herself, from long ago, singing for the first time in the same house. For she had made her début in that very theatre, as many great singers have done. It was all changed, the house, the decorations, the stage entrance, but those same walls were standing which had echoed to her young voice, the same roof was overhead, and all her artist's lifetime was gone by.

As Margaret disappeared at last, softly repeating her lover's name, while the conspirators began to fill the stage, the door of the box opened quietly, and Lushington came and sat down close behind his mother.

'Well?' she said, only half turning her head, for she knew it was he. 'What do you think?'

'You know what I think, mother,' he answered.

'You did not want her to do it.'

'I've changed my mind,' said Lushington. 'It's the real thing. It would be a sin to keep it off the stage.'

Madame Bonanni nodded thoughtfully, but said nothing. A knock was heard at the door of the box. Lushington got up and opened, and the dark figure of the cadaverous maid appeared in the dim light. Before she had spoken, Madame Bonanni was close to her.

'They are in the chorus,' said the maid in a low voice, 'and there is some one behind the door, waiting. I think it will be now.'

That was all Lushington heard, but it was quite enough to awaken his curiosity. Who was in the chorus? Behind which door was some one waiting? What was to happen 'now'?

Madame Bonanni reflected a moment before she answered.

'They won't try it now,' she said, at last, very confidently.

The maid shrugged her thin shoulders, as if to say that she declined to take any responsibility in the matter, and did not otherwise care much.

'Do exactly as I told you,' Madame Bonanni said. 'If anything goes wrong, it will be my fault, not yours.'

'Very good, Madame,' answered the maid.

She went away, and Madame Bonanni returned to her seat in the front of the box, without any apparent intention of explaining matters to Lushington.

'What is happening?' he asked after a few moments. 'Can I be of any use?'

'Not yet,' answered his mother. 'But you may be, by and by. I shall want you to take a message to her.'

'To Miss Donne? When?'

'Have you ever been behind in this theatre? Do you know your way about?'

'Yes. What am I to do?'

Madame Bonanni did not answer at once. She was scrutinising the faces of the courtiers on the darkened stage, and wishing very much that there were more light.

'Schreiermeyer is doing things handsomely,' Lushington observed. 'He has really given us a good allowance of conspirators.'

'There are four more than usual,' said Madame Bonanni, who had counted the chorus.

'They make a very good show,' Lushington observed indifferently. 'But I did not think they made much noise in the Introduction, when they were expected to.'

'Perhaps,' suggested Madame Bonanni, 'the four supernumeraries are dummies, put on to fill up.'

Just then the chorus was explaining at great length, as choruses in operas often do, that it was absolutely necessary not to make the least noise, while Rigoletto stood at the foot of the ladder, pretending neither to hear them nor to know, in the supposed total darkness, that his eyes were bandaged.

'Have you seen Logotheti?' asked Lushington.

'Not yet, but I shall certainly see him before it's over. I'm sure that he is somewhere in the house.'

'He came over from Paris in his motor car,' Lushington said.

'I know he did.'

There was no reason why she should not know that Logotheti had come in his car, but Lushington thought she seemed annoyed that the words should have slipped out. Her eyes were still fixed intently on the stage.

She rose to her feet suddenly, as if she had seen something that startled her.

'Wait for me!' she said almost sharply, as she passed her son.

She was gone in an instant, and Lushington leaned back in his seat, indifferent to what was going on, since Margaret had disappeared from the stage. As for his mother's unexpected departure, he never was surprised at anything she did, and whatever she did, she generally did without warning, with a rush, as if some one's life depended on it. He fancied that her practised eye had noticed something that did not please her in the stage management, and that she had hurried away to give her opinion.

But she had only gone behind to meet Margaret as she was carried off the stage with a handkerchief tied over her mouth. She knew very nearly at what point to wait, and the four big men in costume who came off almost at a run, carrying Margaret between them, nearly ran into Madame Bonanni, whom they certainly did not expect to find there.

When she was in the way, in a narrow place, it was quite hopeless to try and pass her. The four men, still carrying Margaret, stopped, but looked bewildered, as if they did not know what to do, and did not set her down.

Madame Bonanni sprang at them and almost took her bodily from their arms, tearing the handkerchief from her mouth just in time to let her utter the cry for help which is heard from behind the scenes. It was answered instantly by the courtiers shout of triumph, in which the four men who had carried off Gilda did not join. Margaret gave one more cry, and instantly Madame Bonanni led her quickly away towards her dressing-room, a little shaken and in a very bad temper with the men who had carried her.

'I knew they would be clumsy!' she said.

'So did I,' answered her friend. 'That is why I came round to meet you.'

They entered the dim corridor together, and an instant later they both heard the sharp click of a door hastily closed at the other end. It was not the door of Margaret's dressing-room, for that was wide open and the light from within fell across the dark paved floor, nor was it the door of the contralto's room, for that was ajar when they passed it. She had not come in to dress yet.

'That door does not shut well,' Margaret said, indifferently.

'No,' answered Madame Bonanni, in a rather preoccupied tone. 'Where is your maid?'

The cadaverous maid came up very quickly from behind, overtaking them with Margaret's grey linen duster.

'They did not carry Mademoiselle out at the usual fly,' she said. 'I was waiting there.'

'They were abominably clumsy,' Margaret said, still very much annoyed. 'They almost hurt me, and somebody had the impertinence to double-knot the handkerchief after I had arranged it! I'll send for Schreiermeyer at once, I think! If I hadn't solid nerves a thing like that might ruin my début!'

The maid smiled discreetly. The dress rehearsal for Margaret's début was not half over yet, but she had already the dominating tone of the successful prima donna, and talked of sending at once for the redoubtable manager, as if she were talking about scolding the call-boy. And the maid knew very well that if sent for Schreiermeyer would come and behave with relative meekness, because he had a prospective share in the fortune which was in the Cordova's throat.

But Madame Bonanni was in favour of temporising.

'Don't send for him, my dear,' she said. 'Getting angry is very bad for the voice, and your duet with Rigoletto in the next act is always trying.

They were in the dressing-room now, all three women, and the door was shut.

'Is it all right?' Margaret asked, sitting down and looking into the glass. 'Am I doing well?'

'You don't need me to tell you that! You are magnificent! Divine! No one ever began so well as you, not even I, my dear, not even I myself!'

This was said with great emphasis. Nothing, perhaps, could have surprised Madame Bonanni more than that any one should sing better at the beginning than she had sung herself; but having once admitted the fact she was quite willing that Margaret should know it, and be made happy.

'You're the best friend that ever was!' cried Margaret, springing up; and for the first time in their acquaintance she threw her arms round the elder woman's neck and kissed her—hitherto the attack, if I may call it so, had always come from Madame Bonanni, and had been sustained by Margaret.

'Yes,' said Madame Bonanni, 'I'm your best friend now, but in a couple of days you will have your choice of the whole world! Now dress, for I'm going away, and though it's only a rehearsal, it's of no use to keep people waiting.'

Margaret looked at her and for the first time realised the change in her appearance, the quiet colours of her dress, the absence of paint on her cheeks, the moderation of the hat. Yet on that very morning Margaret had seen her still in all her glory when she had arrived from Paris.

One woman always knows when another notices her dress. Women have a sixth sense for clothes.

'Yes, my dear,' Madame Bonanni said, as soon as she was aware that Margaret had seen the change, 'I did not wish to come to your début looking like an advertisement of my former greatness, so I put on this. Tom likes it. He thinks that I look almost like a human being in it!'

'That's complimentary of him!' laughed Margaret.

'Oh, he wouldn't say such a thing, but I see it is just what he thinks. Perhaps I'll send him to you with a message, by and by, before you get into your sack, while the storm is going on. If I do, it will be because it's very important, and whatever he says comes directly from me.'

'Very well,' Margaret said quietly. 'I shall always take your advice, though I hate that last scene.'

'I'm beginning to think that it may be more effective than we thought,' answered Madame Bonanni, with a little laugh. 'Good-bye, my dear.'

'Won't you come and dine with me afterwards?' asked Margaret, who had begun to change her dress. 'There will only be Madame De Rosa. You know she could not get here in time for the rehearsal, but she is coming before nine o'clock.'

'No, dear. I cannot dine with you to-night. I've made an engagement I can't break. But do you mean to say that anything could keep De Rosa in Paris this afternoon?' Madame Bonanni was very much surprised, for she knew that the excellent teacher almost worshipped her pupil.

'Yes,' said Margaret. 'She wrote me that Monsieur Logotheti had some papers for her to sign to-day before a notary, and that somehow if she did not stay and sign them she would lose most of what she has.'

'That's ingenious!' exclaimed Madame Bonanni, with a laugh.

'Ingenious?' Margaret did not understand. 'Do you mean that Madame De Rosa has invented the story?'

'No, no!' cried the other. 'I mean it was ingenious of fate, you know—to make such a thing happen just to-day.'

'Oh, very!' assented Margaret carelessly, and rather wishing that Madame Bonanni would go away, for though she was turning into a professional artist at an almost alarming rate, she was not yet hardened in regard to little things and preferred to be alone with her maid while she was dressing.

But Madame Bonanni had no intention of staying, and now went away rather abruptly, after nodding to her old maid, unseen by Margaret, as if there were some understanding between them, for the woman answered the signal with an unmistakable look of intelligence.

In the corridor Madame Bonanni met the contralto taking a temporary leave of the wholesale upholsterer at the door of her dressing-room, a black-browed, bony young Italian woman with the face of a Medea, whose boast it was that with her voice and figure she could pass for a man when she pleased.

Madame Bonanni greeted her and stopped a moment.

'Please do not think I have only just come to the theatre,' said the Italian. 'I have been listening to her in the house, though I have heard her so often at rehearsals.'

'Well?' asked the elder woman. 'What do you think of it?'

'It is the voice of an angel—and then, she is handsome, too! But——'

'But what?'

'She is a statue,' answered the contralto in a tone of mingled pity and contempt. 'She has no heart.'

'They say that of most lyric sopranos,' laughed Madame Bonanni.

'I never heard it said of you! You have a heart as big as the world!' The Italian made a circle of her two arms, to convey an idea of the size of the prima donna's heart, while the wholesale upholsterer, who had a good eye, compared the measurement with that lady's waist. 'You bring the tears to my eyes when you sing,' continued the contralto, 'but Cordova is different. She only makes me hate her because she has such a splendid voice!'

'Don't hate her, my dear,' said Madame Bonanni gently. 'She's a friend of mine. And as for the heart, child, it's like a loaf of bread! You must break it to get anything out of it, and if you never break it at all it dries up into a sort of little wooden cannon-ball! Cordova will break hers, some day, and then you will all say that she is a great artist!'

Thereupon Madame Bonanni kissed the contralto affectionately, as she kissed most people, nodded and smiled to the wholesale upholsterer, and went on her way to cross the stage and get back to her box.

She found Lushington there when she opened the door, looking as if he had not moved since she had left him. He rose as she entered, and then sat down beside her.

'Have you any money with you?' she asked, suddenly.

'Yes. How much do you want?'

'I don't want any for myself. Tom, do something for me. Go out and buy the biggest woman's cloak you can find. The shops are all open still. Get something that will come down to my feet, and cover me up entirely. We are nearly of the same height, and you can measure it on yourself.'

'All right,' said Lushington, who was well used to his mother's caprices.

'And, Tom,' she called, as he was going to the door, 'get a closed carriage and bring it to the stage entrance when you come back. And be quick, my darling child! You must be back in half-an-hour, or you won't hear the duet.'

'It won't take half an hour to buy a cloak,' answered Lushington.

'Oh, I forgot—it must have a hood that will quite cover my head—I mean without my hat, of course!'

'Very well—a big hood. I understand. Anything else?'

'No. Now run, sweet child!'

Lushington went out to do the errand, and Madame Bonanni drew back into the shadow of the box, for the lights were up in the house between the acts. She sat quite still, leaning forward and resting her chin on her hand, and her elbow on her knee, thinking.

There was a knock at the door; she sprang to her feet and opened, and found a shabby woman, who looked like a rather slatternly servant, standing outside with the box-opener, who had shown her where to find the prima donna. The shabby woman gave her a dingy piece of paper folded and addressed hurriedly in pencil, in Logotheti's familiar handwriting. She spread out the half-sheet and read the contents twice over, looked hard at the messenger and then looked at the note again.

'Who gave you this? Who sent you?' she asked.

'You are Madame Bonanni, are you not?' inquired the woman, instead of answering.

'Of course I am! I want to know who sent you to me.'

'The note is for you, Madame, is it not?' asked the woman, by way of reply.

'Yes, certainly! Can't you answer my question?' Madame Bonanni was beginning to be angry.

'I will take the answer to the note, if there is one,' answered the other, coolly.

Madame Bonanni was on the point of flying into a rage, but she apparently thought better of it. The contents of the note might be true after all. She read it again.

Dear lady (it said), I am the victim of the most absurd and annoying mistake. I have been arrested for Schirmer, the betting man who murdered his mother-in-law and escaped from Paris yesterday. They will not let me communicate with any one till to-morrow morning and I have had great trouble in getting this line to you. For heaven's sake bring Schreiermeyer and anybody else you can find, to identify me, as soon as possible. I am locked up in a cell in the police station of the Third Arrondissement.——

Yours ever,

C. Logotheti.

Madame Bonanni looked at the woman again.

'Did you see the gentleman?' she asked.

'What gentleman?'

'The gentleman who is in prison!'

'What prison?' asked the woman with dogged stupidity.

'You're a perfect idiot!' cried Madame Bonanni, and she slammed the door of the box in the woman's face, and bolted it inside.

She sat down and read the note a fourth time. There was no doubt as to its being really from Logotheti. She laughed to herself.

'More ingenious than ever!' she said, half aloud.

A timid knock at the door of the box. She rose with evident annoyance, and opened again, to meet the respectable old box-opener, a grey-haired woman of fifty-five.

'Please, Madame, is the woman to go away? She seems to be waiting for something.'

'Tell her to go to all the devils!' answered Madame Bonanni, furious. 'No—don't!' she cried. 'Where is she? Come here, you!' she called, seeing the woman at a little distance. 'Do you know what you are doing? You are trying to help Schirmer, the murderer, to escape. If you are not careful you will be in prison yourself before morning! That is the answer! Now go, and take care that you are not caught!'

The woman, who was certainly not over-intelligent, stared hard at Madame Bonanni for a moment, and then turned, with a cry of terror, and fled along the circular passage.

'You should not let in such suspicious-looking people,' said Madame Bonanni to the box-opener in a severe tone.

The poor soul began an apology, but Madame Bonanni did not stop to listen, and entered the box again, shutting the door behind her.

The curtain went up before Lushington came back, but the prima donna did not look at the stage and scarcely heard the tenor's lament, the chorus and the rest. She seemed quite lost in her thoughts. Then Lushington appeared with a big dark cloak on his arm.

'Will this do, mother?' he asked.

She stood up and made him put it over her. It had a hood, as she had wished, which quite covered her head and would cover her face, too, if she wished not to be recognised.

'It's just what I wanted,' she said. 'Hang it on the hook by the door, and sit down. Gilda will be on in a minute.'

Lushington obeyed, and if he wondered a little at first why his mother should want a big cloak on a suffocating evening in July, he soon forgot all about it in listening to Margaret's duet with Rigoletto. His mother sat perfectly motionless in her seat, her eyes closed, following every note.

At the end of the short act, the applause became almost riotous, and if Margaret had appeared before the curtain she would have had an ovation. But in the first place, it was only a rehearsal, after all, and secondly there was no one to call her back after she had gone to her dressing-room to dress for the last act. She heard the distant roar, however, and felt the tide of triumph rising still higher round her heart. If she had been used to her cadaverous maid, too, she would have seen that the woman's manner was growing more deferential each time she saw her. Success was certain, now, a great and memorable success, which would be proclaimed throughout the world in a very few days. The new star was rising fast, and it was the sallow-faced maid's business to serve stars and no others.

For the first scene of the last act Gilda puts on a gown over her man's riding-dress; and when Rigoletto sends her off, she has only to drop the skirt, draw on the long boots and throw her riding-cloak round her to come on for the last scene. Of course the prima donna is obliged to come back to her dressing-room to make even this slight change.

Madame Bonanni was speaking earnestly to Lushington in an undertone during the interval before the last act, and as he listened to what she said his face became very grave, and his lips set themselves together in a look which his mother knew well enough.

The act proceeded, and Margaret's complete triumph became more and more a matter of certainty. She sang with infinite grace and tenderness that part in the quartet which is intended to express the operatic broken heart, while the Duke, the professional murderer, and Maddalena are laughing and talking inside the inn. That sort of thing does not appeal much to our modern taste, but Margaret did what she could to make it touching, and was rewarded with round upon round of applause.

Lushington rose quietly at this point, slipped on his thin overcoat, took his hat and the big cloak he had bought, nodded to his mother and left the box. A few moments later she rose and followed him.

In due time Margaret reappeared in her man's dress, but almost completely wrapped in the traditional riding mantle. Rigoletto is off when Gilda comes on alone at this point, outside the inn, and the stage gradually darkens while the storm rises. When the trio is over and Gilda enters the ruined inn, the darkness is such, even behind the scenes, that one may easily lose one's way and it is hard to recognise any one.

Margaret disappeared, and hurried off, expecting to meet her maid with the sack ready for the final scene. To her surprise a man was standing waiting for her. She could not see his face at all, but she knew it was Lushington who whispered in her ear as he wrapped her in the big cloak he carried. He spoke fast and decidedly.

'That is why the door at the end of the corridor is open to-night,' he concluded. 'I give you my word that it's true. Now come with me.'

Margaret had told Lushington not very long ago that he always acted like a gentleman and sometimes like a hero, and she had meant it. After all, the opera was over now, and it was only a rehearsal. If there was no sack scene, no one would be surprised, and there was no time to hesitate not an instant.

She slipped her arm through Lushington's, and drawing the hood almost over her eyes with her free hand and the cloak completely round her, she went where he led her. Certainly in all the history of the opera no prima donna ever left the stage and the theatre in such a hurry after her first appearance.

One minute had hardly elapsed in all after she had disappeared into the ruined inn, before she found herself driving at a smart pace in a closed carriage, with Lushington sitting bolt upright beside her like a policeman in charge of his prisoner. It was not yet quite dark when the brougham stopped at the door of Margaret's hotel, and the porter who opened the carriage looked curiously at her riding boot and spurred heel as she got out under the covered way. She and Lushington had not exchanged a word during the short drive.

He went up in the lift with her and saw her to the door of her apartment. Then he stood still, with his hat off, holding out his hand to say good-bye.

'No,' said Margaret, 'come in. I don't care what the people think!'

He followed her into her sitting-room, and she shut the door, and turned up the electric light. When he saw her standing in the full glare of the lamps, she had thrown back her hood; she wore a wig with short tangled hair as part of her man's disguise, and her face was heavily powdered over the paint in order to produce the ghastly pallor which indicates a broken heart on the stage. The heavily-blackened lashes made her eyes seem very dark, while her lips were still a deep crimson. She held her head high, and a little thrown back, and there was something wild and almost fantastic about her looks as she stood there, that made Lushington think of one of Hoffmann's tales. She held out her whitened hand to him; and when he took it he felt the chalk on it, and it was no longer to him the hand of Margaret Donne, but the hand of the Cordova, the great soprano.

'It's of no use,' she said. 'Something always brings us together. I believe it's our fate. Thank you for what you've just done. Thank you—Tom, with all my heart!'

And suddenly the voice was Margaret's, and rang true and kind. For had he not saved her, and her career, too, perhaps? She could not but be grateful, and forget her other triumphant self for a moment. There was no knowing where that mad Greek might have taken her if she had gone near the door in the corridor again; it would have been somewhere out of Europe, to some lawless Eastern country whence she could never have got back to civilisation again.

'You must thank my mother,' Lushington answered quietly. 'It was she who found out the danger and told me what to do. But I'm glad you're safe from that brute!'

He pressed the handsome, chalked hand in his own and then to his lips when he had spoken, in a very un-English way; for, after all, he was the son of Madame Bonanni, the French singer, and only half an Anglo-Saxon.

The last thing Madame Bonanni remembered, before a strangely sweet and delicious perfume had overpowered her senses, was that she had congratulated herself on not having believed that Logotheti was really in prison, arrested by a mistake. How hugely ingenious he had been, she thought, in trying to get poor Margaret's best friends out of the way! But at that point, while she felt herself being carried along in the sack as swiftly and lightly as if she had been a mere child, she suddenly fell asleep.

She never had any idea how long she was unconscious, but she afterwards calculated that it must have been between twenty minutes and half an hour, and she came to herself just as she felt that she was being laid in a comfortable position on a luxuriously cushioned sofa.

She heard heavy retreating footsteps, and then she felt that a hand was undoing the mouth of the sack above her head.

'Dearest lady,' said a deep voice, with a sort of oily, anticipative gentleness in it, 'can you forgive me my little stratagem?'

The voice spoke very softly, as if the speaker were not at all sure that she was awake; but when she heard it, Madame Bonanni started, for it was certainly not the voice of Constantine Logotheti, though it was strangely familiar to her.

The sack was drawn down from her face quickly and skilfully. At the same time some slight sound from the door of the room made the man look half round.

In the softly lighted room, against the pale silk hangings, Madame Bonanni saw a tremendous profile over a huge fair beard that was half grey, and one large and rather watery blue eye behind a single eyeglass with a broad black riband. Before the possessor of these features turned to look at her, she uttered a loud exclamation of amazement. Logotheti was really in prison, after all.

Instantly the watery blue eyes met her own. Then the eyeglass dropped from its place, the jaw fell, with a wag of the fair beard, and a look of stony astonishment and blank disappointment came into all the great features, while Madame Bonanni broke into a peal of perfectly uncontrollable laughter.

And with the big-hearted woman's laugh ends the first part of this history.

THE END

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