Margaret turned on him almost fiercely.

'Why do you tell me all this?' she asked. 'For heaven's sake let poor Miss Bamberger rest in her grave!'

'Since you ask me why,' answered Mr. Van Torp, unmoved,' I tell you all this because I want you to know more about me than you do. If you did, you'd hate me less. That's the plain truth. You know very well that there's n.o.body like you, and that if I'd judged I had the slightest chance of getting you I would no more have thought of marrying Miss Bamberger than of throwing a million dollars into the sea after that book, or ten million, and that's a great deal of money.'

'I ought to be flattered,' said Margaret with scorn, still facing the wind.

'No. I'm not given to flattery, and money means something real to me, because I've fought for it, and got it. Your regular young lover will always call you his precious treasure, and I don't see much difference between a precious treasure and several million dollars. I'm logical, you see. I tell you I'm logical, that's all.'

'I daresay. I think we have been talking here long enough. Shall we go back?'

She had got her anger under again. She detested Mr. Van Torp, but she was honest enough to realise that for the present she had resented his saying that Lushington's book was probably trash, much more than what he had told her of his broken engagement. She turned and came back to the ventilator, meaning to go around to her chair, but he stopped her.

'Don't go yet, please!' he said, keeping beside her. 'Call me a disgusting brute if you like. I sha'n't mind it, and I daresay it's true in a kind of way. Business isn't very refining, you know, and it was the only education I got after I was sixteen. I'm sorry I called that book rubbish, for I'm sure it's not. I've met Mr. Lushington in England several times; he's very clever, and he's got a first-rate position. But you see I didn't like your refusing the book, after I'd taken so much trouble to get it for you. Perhaps if I hadn't thrown it overboard you'd take it, now that I've apologised. Would you?'

His tone had changed at last, as she had known it to change before in the course of an acquaintance that had lasted more than a year. He put the question almost humbly.

'I don't know,' Margaret answered, relenting a little in spite of herself. 'At all events I'm sorry I was so rude. I lost my temper.'

'It was very natural,' said Mr. Van Torp meekly, but not looking at her, 'and I know I deserved it. You really would let me give you the book now, if it were possible, wouldn't you?'

'Perhaps.' She thought that as there was no such possibility it was safe to say as much as that.

'I should feel so much better if you would,' he answered. 'I should feel as if you'd accepted my apology. Won't you say it, Madame Cordova?'

'Well--yes--since you wish it so much,' Margaret replied, feeling that she risked nothing.

'Here it is, then,' he said, to her amazement, producing the new novel from the pocket of his overcoat, and enjoying her surprise as he put it into her hand.

It looked like a trick of sleight of hand, and she took the book and stared at him, as a child stares at the conjuror who produces an apple out of its ear.

'But I saw you throw it away,' she said in a puzzled tone.

'I got two while I was about it,' said Mr. Van Torp, smiling without showing his teeth. 'It was just as easy and it didn't cost me any more.'

'I see! Thank you very much.'

She knew that she could not but keep the volume now, and in her heart she was glad to have it, for Lushington had written to her about it several times since she had been in America.

'Well, I'll leave you now,' said the millionaire, resuming his stony expression. 'I hope I've not kept you too long.'

Before Margaret had realised the idiotic conventionality of the last words her companion had disappeared and she was left alone. He had not gone back in the direction whence they had come, but had taken the deserted windward side of the ship, doubtless with the intention of avoiding the crowd.

Margaret stood still for some time in the lee of the ventilator, holding the novel in her hand and thinking. She wondered whether Mr.

Van Torp had planned the whole scene, including the sacrifice of the novel. If he had not, it was certainly strange that he should have had the second copy ready in his pocket. Lushington had once told her that great politicians and great financiers were always great comedians, and now that she remembered the saying it occurred to her that Mr. Van Torp reminded her of a certain type of American actor, a type that has a heavy jaw and an aggressive eye, and strongly resembles the portraits of Daniel Webster. Now Daniel Webster had a wide reputation as a politician, but there is reason to believe that the numerous persons who lent him money and never got it back thought him a financier of undoubted ability, if not a comedian of talent. There were giants in those days.

The English girl, breathing the clean air of the ocean, felt as if something had left a bad taste in her mouth; and the famous young singer, who had seen in two years what a normal Englishwoman would neither see, nor guess at, nor wish to imagine in a lifetime, thought she understood tolerably well what the bad taste meant. Moreover, Margaret Donne was ashamed of what Margarita da Cordova knew, and Cordova had moments of sharp regret when she thought of the girl who had been herself, and had lived under good Mrs. Rushmore's protection, like a flower in a gla.s.s house.

She remembered, too, how Lushington and Mrs. Rushmore had warned her and entreated her not to become an opera-singer. She had taken her future into her own hands and had soon found out what it meant to be a celebrity on the stage; and she had seen only too clearly where she was cla.s.sed by the women who would have been her companions and friends if she had kept out of the profession. She had learned by experience, too, how little real consideration she could expect from men of the world, and how very little she could really exact from such people as Mr. Van Torp; still less could she expect to get it from persons like Schreiermeyer, who looked upon the gifted men and women he engaged to sing as so many head of cattle, to be driven more or less hard according to their value, and to be turned out to starve the moment they were broken-winded. That fate is sure to overtake the best of them sooner or later. The career of a great opera-singer is rarely more than half as long as that of a great tragedian, and even when a primadonna or a tenor makes a fortune, the decline of their glory is far more sudden and sad than that of actors generally is. Lady Macbeth is as great a part as Juliet for an actress of genius, but there are no 'old parts' for singers; the soprano dare not turn into a contralto with advancing years, nor does the unapproachable Parsifal of eight-and-twenty turn into an incomparable Amfortas at fifty. For the actor, it often happens that the first sign of age is fatigue; in the singer's day, the first shadow is an eclipse, the first false note is disaster, the first breakdown is often a heart-rending failure that brings real tears to the eyes of younger comrades. The exquisite voice does not grow weak and pathetic and ethereal by degrees, so that we still love to hear it, even to the end; far more often it is suddenly flat or sharp by a quarter of a tone throughout whole acts, or it breaks on one note in a discordant shriek that is the end. Down goes the curtain then, in the middle of the great opera, and down goes the great singer for ever into tears and silence. Some of us have seen that happen, many have heard of it; few can think without real sympathy of such mortal suffering and distress.

Margaret realised all this, without any illusion, but there was another side to the question. There was success, glorious and far-reaching, and beyond her brightest dreams; there was the certainty that she was amongst the very first, for the deafening ring of universal applause was in her ears; and, above all, there was youth.

Sometimes it seemed to her that she had almost too much, and that some dreadful thing must happen to her; yet if there were moments when she faintly regretted the calmer, sweeter life she might have led, she knew that she would have given that life up, over and over again, for the splendid joy of holding thousands spellbound while she sang. She had the real lyric artist's temperament, for that breathless silence of the many while her voice rang out alone, and trilled and died away to a delicate musical echo, was more to her than the roar of applause that could be heard through the walls and closed doors in the street outside. To such a moment as that Faustus himself would have cried 'Stay!' though the price of satisfied desire were his soul. And there had been many such moments in Cordova's life. They satisfied something much deeper than greedy vanity and stronger than hungry ambition. Call it what you will, according to the worth you set on such art, it is a longing which only artists feel, and to which only something in themselves can answer. To listen to perfect music is a feast for G.o.ds, but to be the living instrument beyond compare is to be a G.o.d oneself.

Of our five senses, sight calls up visions, divine as well as earthly, but hearing alone can link body, mind, and soul with higher things, by the word and by the word made song. The mere memory of hearing when it is lost is still enough for the ends of genius; for the poet and the composer touch the blind most deeply, perhaps, when other senses do not count at all; but a painter who loses his sight is as helpless in the world of art as a dismasted ship in the middle of the ocean.

Some of these thoughts pa.s.sed through Margaret's brain as she stood beside the ventilator with her friend's new book in her hand, and, although her reflections were not new to her, it was the first time she clearly understood that her life had made two natures out of her original self, and that the two did not always agree. She felt that she was not halved by the process, but doubled. She was two women instead of one, and each woman was complete in herself. She had not found this out by any elaborate self-study, for healthy people do not study themselves. She simply felt it, and she was sure it was true, because she knew that each of her two selves was able to do, suffer, and enjoy as much as any one woman could. The one might like what the other disliked and feared, but the contradiction was open and natural, not secret or morbid. The two women were called respectively Madame Cordova and Miss Donne. Miss Donne thought Madame Cordova very showy, and much too tolerant of vulgar things and people, if not a little touched with vulgarity herself. On the other hand, the brilliantly successful Cordova thought Margaret Donne a good girl, but rather silly. Miss Donne was very fond of Edmund Lushington, the writer, but the Primadonna had a distinct weakness for Constantine Logotheti, the Greek financier who lived in Paris, and who wore too many rubies and diamonds.

On two points, at least, the singer and the modest English girl agreed, for they both detested Rufus Van Torp, and each had positive proof that he was in love with her, if what he felt deserved the name.

For in very different ways she was really loved by Lushington and by Logotheti; and since she had been famous she had made the acquaintance of a good many very high and imposing personages, whose names are to be found in the first and second part of the _Almanack de Gotha_, in the Olympian circle of the reigning or the supernal regions of the Serene Mediatized, far above the common herd of dukes and princes; they had offered her a share in the overflowing abundance of their admirative protection; and then had seemed surprised, if not deeply moved, by the independence she showed in declining their intimacy.

Some of them were frankly and contentedly cynical; some were of a brutality compared with which the tastes and manners of a bargee would have seemed ladylike; some were as refined and sensitive as English old maids, though less scrupulous and much less shy; the one was as generous as an Irish sailor, the next was as mean as a Normandy peasant; some had offered her rivers of rubies, and some had proposed to take her incognito for a drive in a cab, because it would be so amusing--and so inexpensive. Yet in their families and varieties they were all of the same species, all human and all subject to the ordinary laws of attraction and repulsion. Rufus Van Torp was not like them.

Neither of Margaret's selves could look upon him as a normal human being. At first sight there was nothing so very unusual in his face, certainly nothing that suggested a monster; and yet, whatever mood she chanced to be in, she could not be with him five minutes without being aware of something undefinable that always disturbed her profoundly, and sometimes became positively terrifying. She always felt the sensation coming upon her after a few moments, and when it had actually come she could hardly hide her repulsion till she felt, as to-day, that she must run from him, without the least consideration of pride or dignity. She might have fled like that before a fire or a flood, or from the scene of an earthquake, and more than once nothing had kept her in her place but her strong will and healthy nerves. She knew that it was like the panic that seizes people in the presence of an appalling disturbance of nature.

Doubtless, when she had talked with Mr. Van Torp just now, she had been disgusted by the indifferent way in which he spoke of poor Miss Bamberger's sudden death; it was still more certain that what he said about the book, and his very ungentlemanly behaviour in throwing it into the sea, had roused her justifiable anger. But she would have smiled at the thought that an exhibition of heartlessness, or the most utter lack of manners, could have made her wish to run away from any other man. Her life had accustomed her to people who had no more feeling than Schreiermeyer, and no better manners than Pompeo Stromboli. Van Torp might have been on his very best behaviour that morning, or at any of her previous chance meetings with him; sooner or later she would have felt that same absurd and unreasoning fear of him, and would have found it very hard not to turn and make her escape. His face was so stony and his eyes were so aggressive; he was always like something dreadful that was just going to happen.

Yet Margarita da Cordova was a brave woman, and had lately been called a heroine because she had gone on singing after that explosion till the people were quiet again; and Margaret Donne was a sensible girl, justly confident of being able to take care of herself where men were concerned. She stood still and wondered what there was about Mr. Van Torp that could frighten her so dreadfully.

After a little while she went quietly back to her chair, and sat down between Griggs and Miss More. The elderly man rose and packed her neatly in her plaid, and she thanked him. Miss More looked at her and smiled vaguely, as even the most intelligent people do sometimes. Then Griggs got into his own chair again and took up his book.

'Was that right of me?' he asked presently, so low that Miss More did not hear him speak.

'Yes,' Margaret answered, under her breath, 'but don't let me do it again, please.'

They both began to read, but after a time Margaret spoke to him again without turning her eyes.

'He wanted to ask me about that girl who died at the theatre,' she said, just audibly.

'Oh--yes!'

Griggs seemed so vague that Margaret glanced at him. He was looking at the inside of his right hand in a meditative way, as if it recalled something. If he had shown more interest in what she said she would have told him what she had just learned, about the breaking off of the engagement, but he was evidently absorbed in thought, while he slowly rubbed that particular spot on his hand, and looked at it again and again as if it recalled something.

Margaret did not resent his indifference, for he was much more than old enough to be her father; he was a man whom all younger writers looked upon as a veteran, he had always been most kind and courteous to her when she had met him, and she freely conceded him the right to be occupied with his own thoughts and not with hers. With him she was always Margaret Donne, and he seldom talked to her about music, or of her own work. Indeed, he so rarely mentioned music that she fancied he did not really care for it, and she wondered why he was so often in the house when she sang.

Mr. Van Torp did not show himself at luncheon, and Margaret began to hope that he would not appear on deck again till the next day. In the afternoon the wind dropped, the clouds broke, and the sun shone brightly. Little Ida, who was tired of doing crochet work, and had looked at all the books that had pictures, came and begged Margaret to walk round the ship with her. It would please her small child's vanity to show everybody that the great singer was willing to be seen walking up and down with her, although she was quite deaf, and could not hope ever to hear music. It was her greatest delight to be treated before every one as if she were just like other girls, and her cleverness in watching the lips of the person with her, without seeming too intent, was wonderful.

They went the whole length of the promenade deck, as if they were reviewing the pa.s.sengers, bundled and packed in their chairs, and the pa.s.sengers looked at them both with so much interest that the child made Margaret come all the way back again.

'The sea has a voice, too, hasn't it?' Ida asked, as they paused and looked over the rail.

She glanced up quickly for the answer, but Margaret did not find one at once.

'Because I've read poetry about the voices of the sea,' Ida explained.

'And in books they talk of the music of the waves, and then they say the sea roars, and thunders in a storm. I can hear thunder, you know.

Did you know that I could hear thunder?'

Margaret smiled and looked interested.

'It bangs in the back of my head,' said the child gravely. 'But I should like to hear the sea thunder. I often watch the waves on the beach, as if they were lips moving, and I try to understand what they say. Of course, it's play, because one can't, can one? But I can only make out "Boom, ta-ta-ta-ta," getting quicker and weaker to the end, you know, as the ripples run up the sand.'