She laughed.

"Ah, how bad a man is at observing a man!" she said. "Didn't you see Georgie at dinner? He hardly took his eyes off her."

She had a great and glorious reward. Colonel Boucher's face grew absolutely blank in the moonlight with sheer astonishment.

"Well, you surprise me," he said. "Surely a fine woman, though lame, wouldn't look at a needle-woman-well, leave it at that."

He stamped his feet and put his hands in his pockets.

"It's growing a bit chilly," he said. "You'll be catching cold, Miss Bracely, and what will your husband say if he finds out I've been strolling about with you out of doors after dinner?"

"Yes, we'll go in," she said. "It is chilly. How thoughtful you are for me."

Georgie little knowing the catspaw that had been made of him, found himself being detached from Mrs Weston by the Colonel, and this suited him very well, for presently Olga said she would sing, unless anybody minded, and called on him to accompany her. She stood just behind him, leaning over him sometimes with a hand on his shoulder, and sang three ruthless simple English songs, appropriate to the matter in hand. She sang, "I Attempt from Love's Sickness to Fly," and "Sally in Our Alley," and "Come Live with Me," and sometimes beneath the rustle of leaves turned over she whispered to him, "Georgie, I'm cleverer than anybody ever was, and I shall die in the night," she said once. Again more enigmatically she said, "I've been a cad, but I'll tell you about it when they've gone. Stop behind." And then some whiskey came in, and she insisted on the "young people" having some of that; finally she saw them off at the door, and came running back to Georgie. "I've been a cad," she said, "because I hinted that you were in love with Mrs Weston. My dear, it was simply perfect! I believe it to have been the last straw, and if you don't forgive me you needn't. Wasn't it clever? He simply couldn't stand that, for it came on the top of your being so young."

"Well, really-" said Georgie.

"I know. And I must be a cad again. I'm going up to my bedroom, you may come, too, if you like, because it commands a view of Church Road. I shouldn't sleep a wink unless I knew that he had gone in with her. It'll be precisely like Faust and Marguerite going into the house, and you and I are Mephistopheles and Martha. Come quick!"

From the dark of the window they watched Mrs Weston's bath-chair being pushed up the lit road.

"It's the Colonel pushing it," whispered Olga, squeezing him into a corner of the window. "Look! There's Tommy Luton on the path. Now they've stopped at her gate ... I can't bear the suspense.... Oh, Georgie, they've gone in! And Atkinson will stop, and so will Elizabeth, and you've promised to lend them Foljambe. Which house will they live at, do you think? Aren't you happy?"

Chapter TWELVE

The miserable Lucia started a run of extreme bad luck about this time, of which the adventure or misadventure of the Guru seemed to be the prelude, or perhaps the news of her want of recognition of the August moon, which Georgie had so carefully saluted, may have arrived at that satellite by October. For she had simply "cut" the August moon....

There was the fiasco about Olga coming to the tableaux, which was the cause of her sending that very tart reply, via Miss Lyall, to Lady Ambermere's impertinence, and the very next morning, Lady Ambermere, coming again into Riseholme, perhaps for that very purpose, had behaved to Lucia as Lucia had behaved to the moon, and cut her. That was irritating, but the counter-irritant to it had been that Lady Ambermere had then gone to Olga's, and been told that she was not at home, though she was very audibly practising in her music-room at the time. Upon which Lady Ambermere had said "Home" to her people, and got in with such unconcern of the material world that she sat down on Pug.

Mrs Quantock had heard both "Home" and Pug, and told the cut Lucia, who was a hundred yards away about it. She also told her about the engagement of Atkinson and Elizabeth, which was all she knew about events in those houses. On which Lucia with a kind smile had said, "Dear Daisy, what slaves some people are to their servants. I am sure Mrs Weston and Colonel Boucher will be quite miserable, poor things. Now I must run home. How I wish I could stop and chat on the green!" And she gave her silvery laugh, for she felt much better now that she knew Olga had said she was out to Lady Ambermere, when she was so audibly in.

Then came a second piece of bad luck. Lucia had not gone more than a hundred yards past Georgie's house, when he came out in a tremendous hurry. He rapidly measured the distance between himself and Lucia, and himself and Mrs Quantock, and made a bee-line for Mrs Quantock, since she was the nearest. Olga had just telephoned to him....

"Good morning," he said breathlessly, determined to cap anything she said. "Any news?"

"Yes, indeed," she said. "Haven't you heard?"

Georgie had one moment of heart-sink.

"What?" he said.

"Atkinson and Eliz--" she began.

"Oh, that," said he scornfully. "And talking of them, of course you've heard the rest. Haven't you? Why, Mrs Weston and Colonel Boucher are going to follow their example, unless they set it themselves, and get married first."

"No!" said Mrs Quantock in the loudest possible Riseholme voice of surprise.

"Oh, yes. I really knew it last night. I was dining at Old Place and they were there. Olga and I both settled there would be something to talk in the morning. Shall we stroll on the green a few minutes?"

Georgie had a lovely time. He hurried from person to person, leaving Mrs Quantock to pick up a few further gleanings. Everyone was there except Lucia, and she, but for the accident of her being further off than Mrs Quantock, would have been the first to know.

When this tour was finished Georgie sat to enjoy the warm comforting glow of envy that surrounded him. Nowadays the meeting place at the Green had insensibly transferred itself to just opposite Old Place, and it was extremely interesting to hear Olga practising as she always did in the morning. Interesting though it was, Riseholme had at first been a little disappointed about it, for everyone had thought that she would sing Brunnhilde's part or Salome's part through every day, or some trifle of that kind. Instead she would perform an upwards scale in gradual crescendo, and on the highest most magnificent note would enunciate at the top of her voice, "Yawning York!" Then starting soft again she would descend in crescendo to a superb low note and enunciate "Love's Lilies Lonely." Then after a dozen repet.i.tions of this, she would start off with full voice, and get softer and softer until she just whispered that York was yawning, and do the same with Love's Lilies. But you never could tell what she might not sing, and some mornings there would be long trills and leapings onto high notes: long notes and leaping onto trills, and occasionally she sang a real song. That was worth waiting for, and Georgie did not hesitate to let drop that she had sung four last night to his accompaniment. And hardly had he repeated that the third time, when she appeared at her window, and before all Riseholme called out "Georgie!" with a trill at the end, like a bird shaking its wings. Before all Riseholme!

So in he went. Had Lucia known that, it would quite have wiped the gilt off Lady Ambermere's being refused admittance. In point of fact it did wipe the gilt off when, about an hour afterwards, Georgie went to lunch because he told her. And if there had been any gilt left about anywhere, that would have vanished, too, when in answer to some rather damaging remark she made about poor Daisy's interests in the love-affairs of other people's servants, she learned that it was of the love-affairs of their superiors that all Riseholme had been talking for at least an hour by now.

Again there was ill-luck about the tableaux on Sat.u.r.day, for in the Brunnhilde scene, Peppino in his agitation, turned the lamp that was to be a sunrise, completely out, and Brunnhilde had to hail the midnight, or at any rate a very obscure twilight. Georgie, it is true, with wonderful presence of mind, turned on an electric light when he had finished playing, but it was more like a flash of lightning than a slow, wonderful dawn. The tableaux were over well before 10.45, and though Lucia in answer to the usual pressings, said she would "see about" doing them again, she felt that Mrs Weston and Colonel Boucher, who made their first public appearance as the happy pair, attracted more than their proper share of attention. The only consolation was that the romps that followed at poor Daisy's were a complete fiasco. It was in vain, too, at supper, that she went from table to table, and helped people to lobster salad and champagne, and had not enough chairs, and generally imitated all that had apparently made Olga's party so supreme a success. But on this occasion the recipe for the dish and not the dish itself was served up, and the hunting of the slipper produced no exhilaration in the chase....

But far more untoward events followed. Olga came back on the next Monday, and immediately after Lucia received a card for an evening "At Home," with "Music" in the bottom left-hand corner. It happened to be wet that afternoon, and seeing Olga's shut motor coming from the station with four men inside, she leaped to the conclusion that these were four musicians for the music. A second motor followed with luggage, and she quite distinctly saw the unmistakable shape of a 'cello against the window. After that no more guessing was necessary, for it was clear that poor Olga had hired the awful string-quartet from Brinton, that played in the lounge at the Royal Hotel after dinner. The Brinton string-quartet! She had heard them once at a distance and that was quite enough. Lucia shuddered as she thought of those doleful fiddlers. It was indeed strange that Olga with all the opportunities she had had for hearing good music, should hire the Brinton string-quartet, but, after all, that was entirely of a piece with her views about the gramophone. Perhaps the gramophone would have its share in this musical evening. But she had said she would go: it would be very unkind to Olga to stop away now, for Olga must know by this time her pa.s.sion for music, so she went. She sincerely hoped that she would not be conducted to the seat of honour, and be obliged to say a few encouraging words to the string-quartet afterwards.

Once again she came rather late, for the music had begun. It had only just begun, for she recognised-who should recognise if not she?-the early bars of a Beethoven quartet. She laid her hand on Peppino's arm.

"Brinton: Beethoven," she said limply.

She slipped into a chair next Daisy Quantock, and sat in her well-known position when listening to music, with her head forward, her chin resting on her hand, and the far-away look in her eyes. Nothing of course could wholly take away the splendour of that glorious composition, and she was pleased that there was no applause between the movements, for she had rather expected that Olga would clap, and interrupt the unity of it all. Occasionally, too, she was agreeably surprised by the Brinton string-quartet: they seemed to have some inklings, though not many. Once she winced very much when a string broke.

Olga (she was rather a restless hostess) came up to her when it was over.

"So glad you could come," she said. "Aren't they divine?"

Lucia gave her most indulgent smile.

"Perfect music! Glorious!" she said. "And they really played it very creditably. But I am a little spoiled, you know, for the last time I heard that it was performed by the Spanish Quartet. I know one ought never to compare, but have you ever heard the Spanish Quartet, Miss Bracely?"

Olga looked at her in surprise.

"But they are the Spanish Quartet!" she said pointing to the players.

Lucia had raised her voice rather as she spoke, for when she spoke on music she spoke for everybody to hear. And a great many people undoubtedly did hear, among whom, of course, was Daisy Quantock. She gave one shrill squeal of laughter, like a slate-pencil, and from that moment granted plenary absolution to poor dear Lucia for all her greed and grabbing with regard to the Guru.

But instantly all Olga's good-nature awoke: unwittingly (for her remark that this was the Spanish Quartet had been a mere surprised exclamation), she had made a guest of hers uncomfortable, and must at once do all she could to remedy that.

"It's a shocking room for echoes, this," she said. "Do all of you come up a little nearer, and you will be able to hear the playing so much better. You lose all shade, all fineness here. I came here on purpose to ask you to move up, Mrs Lucas: there are half a dozen chairs unoccupied near the platform."

It was a kindly intention that prompted the speech, but for all real Riseholme practical purposes, quite barren, for many people had heard Lucia's remarks, and Peppino also had already been wincing at the Brinton quartet. In that fell moment the Bolshevists laid bony fingers on the sceptre of her musical autocracy.... But who would have guessed that Olga would get the Spanish Quartet from London to come down to Riseholme?

Staggering from these blows, she had to undergo an even shrewder stroke yet. Already, in the intelligence department, she had been sadly behind-hand in news, her tableaux-party had been anything but a success, this one little remark of Olga's had shaken her musically, but at any rate up till this moment she had shewn herself mistress of the Italian tongue, while to strengthen that she was being very diligent with her dictionary, grammar and Dante's Paradiso. Then as by a bolt out of a clear sky that temple, too, was completely demolished, in the most tragic fashion.

A few days after the disaster of the Spanish-Brinton Quartet, Olga received a letter from Signor Cortese, the eminent Italian composer, to herald the completion of his opera, "Lucretia." Might he come down to Riseholme for a couple of nights, and, figuratively, lay it at her feet, in the hope that she would raise it up, and usher it into the world? All the time he had been writing it, as she knew, he had thought of her in the name part and he would come down today, tomorrow, at a moment's notice by day or night to submit it to her. Olga was delighted and sent an effusive telegram of many sheets, full of congratulation and welcome, for she wanted above all things to "create" the part. So would Signor Cortese come down that very day?

She ran upstairs with the news to her husband.

"My dear, 'Lucretia' is finished," she said, "and that angel practically offers it me. Now what are we to do about dinner tonight? Jacob and Jane are coming, and neither you nor they, I suppose, speak one word of Italian, and you know what mine is, firm and intelligible and operatic but not conversational. What are we to do? He hates talking English.... Oh, I know, if I can only get Mrs Lucas. They always talk Italian, I believe, at home. I wonder if she can come. She's musical, too, and I shall ask her husband, I think: that'll be a man over, but it will be another Italiano--"

Olga wrote at once to Lucia, mentioning that Cortese was staying with them, but, quite naturally, saying nothing about the usefulness of Peppino and her being able to engage the musician in his own tongue, for that she took for granted. An eager affirmative (such a great pleasure) came back to her, and for the rest of the day, Lucia and Peppino made up neat little sentences to let off to the dazzled Cortese, at the moment when they said "good-night," to shew that they could have talked Italian all the time, had there been any occasion for doing so.