Lady Sunningdale had few habits, and was thus very adaptable, but one was to make a punctual first appearance half an hour before luncheon. Her appearance, though long-delayed, was brilliant when it came, and it was as if a fresh and many-coloured sun had arisen to take the shine out of the splendour of the noon-day. Years were the only things in which she was no longer young, but the youthfulness of her mind, tastes, character was perfectly spontaneous and natural, and she still retained to the full all the eager curiosity of youth, all youth’s insatiable appetite for pleasure. In person she was very tall and largely made, but she moved with exquisite briskness and vigour, and, though stout, still clung to her waist. Her hat generally contained a perfect aviary of birds perched about on it, and her dresses to match her tastes were rather youthful in cut and colour. She wore also white satin shoes with extremely high heels, which had been known, when she walked in wet or clayey places, to be drawn with a cloop, like the drawing of a cork, completely off her feet, the heel being driven into the ground by her weight in the manner of a nail. But, as a rule, she avoided clayey places; indeed, she seldom walked at all, except at this stated time, half an hour before luncheon. But she made up for her lack of walking by talking; this she did on all occasions to as many people as possible, and was extremely entertaining.{31}

She was staying now (she spent the greater part of her life in staying) for a rather extensive weekend, that is to say from Friday till Monday, with Lord Flintshire, and the morning after her arrival came radiantly downstairs at a quarter-past one. Two irrepressible dachshunds barked excitedly round her, and as she stepped on to the terrace where her host was sitting, she was trying, without the least success, to put up a pale-blue sunshade with a handle of Saxe-china.

“Dear Flints,” she cried, “how sweet of you to wait for me! Where is everybody? Yes. Isn’t it a divine morning? Everything looks as if it had been washed during the night. Why is one such a fool as ever to leave the country and go to London? If one had a single spark of originality one would never go near it. Yes. Please put up my sunshade for me. I know I look hideous this morning; but it doesn’t matter how one looks in the country, which is another of its charms. But I didn’t sleep a wink,—I never close my eyes in the country; really, London is the place to live in. I have contradicted myself, have I not? Who cares? I’m sure I don’t. Where are the dogs? Please whistle on your fingers, if you can. So piercing, is it not? There they are! Ah, how naughty! Yes, who cares whether one contradicts one’s self? It shews, in fact, that one’s powers of sympathy and of seeing other points of view are defective, unless one sees both sides of every question, and upholds both vehemently. Yes, do let us walk down the terrace. I adore walking. Oh, Suez Canal, running over the flower-beds like that! How naughty!”

“Suez Canal?” interpolated Lord Flintshire, who,{32} walking by her side, looked like a small rowing-boat towed by a brig in full sail.

“Yes, don’t you see how dreadfully long he is? Now tell me all about your brother who dined here last night. I thought him too fascinating, and we had a great talk about somebody called Kennet, I think he said. Mr. Chancellor is very high-church, is he not? His mouth looked to me high-church. There is something perfectly beautiful about high-church mouths. Look at Lady Otterbourne’s: her mouth is exactly like your brother’s. So is the Bishop of Tavistock’s, whom I adore. He plays the flute divinely, looking funnier than anything I ever saw—so funny that I never want to laugh. Somehow a bishop playing on a flute—or do I mean low-church? I think I must mean low-church. And so your brother is Martin’s father. I sent a message by him last night to tell Martin to come and see me this afternoon. I completely lost my heart to Martin last winter. It is terrible to lose one’s heart when one is fifty, because one has already lost one’s looks, so that it leaves one really denuded. Besides it seems so careless. That is a chestnut, I think. But everything worth saying has been said years before even I was born. Where is Suez? Naughty!”

Lady Sunningdale’s conversation flowed in the manner of a river in flood; it flowed over everything, it foamed and spouted, and there was always the sense—never left unjustified—that there was plenty more to come. It flowed, in fact, over so many different subjects that her interlocutor had a practically limitless range of topics from which to select the matter of his reply; on the other hand, he could fly off on any tangent of his own without initiating incongruity, or,{33} again, he could be silent, completely confident that Lady Sunningdale would go on. But the last topic suited Lord Flintshire very well.

“Do tell me what you think of Martin,” he said.

“But too fascinating and a genius. That combination is so rare; geniuses are usually quite unpresentable. He was staying with us at Easter, and I used to borrow him, as one borrows a book and tries to forget to return it. Where is Sahara? Will you whistle again, please. And his playing—well, merely sublime. He can even play Wagner on the piano. Orchestral music on the piano is generally detestable, but Martin—I used to tell him I believed he had instruments concealed about his person. He is quite clever enough to. My dear, you can hear the strings. Then he used to draw me caricatures of all the extremely tiresome people who were in the house. And his mimicry! Sunningdale finding fault with the soup, and me telling him he was a gross feeder. My dear Flint, I could have sworn it was us. You know the charming way we behave at dinner. Frank Yorkshire, too,—you would have thought that nobody could have imitated Frank. But Martin—‘Beauty is probably evil in its origin, which accounts for the extreme plainness of good people!’ Simply too killing. I suppose your low-church brother doesn’t approve of him, or appreciate him. A slight frigidity occurred when I mentioned Martin!”

“He certainly doesn’t appreciate all the excellencies you have mentioned. I doubt if he really knows they exist.”

“That is always the way,” said Lady Sunningdale, with a florid gesture of despair. “That very rare{34} product, a natural artistic genius, always makes its wayward appearance in utterly uncongenial places. I am bound to say it usually leaves them before long; but what a waste of time! Dear Flints, don’t walk quite so fast. I had no idea this terrace was so interminable. We shall be miles from the house when we reach the end. Where are my angels? But it really is a pity. And I suppose his father will make a curate or a Greek scholar of him.”

“That is just what he is afraid he will not do. He was talking to me about it last night.”

Lady Sunningdale’s attention suddenly and completely wandered.

“You should build a pergola here, Flints,” she said. “There is a pergola at Frank Yorkshire’s villa in Capri, which is the most divine thing I ever saw, covered with roses. We used to dine there, and earwigs dropped into one’s hair, and from the dark one heard those extraordinary Italian melodies from the piazza. That is where I should like to live, to leave the world utterly and entirely and just exist. So unworldly. Yes. My angels, they want their dinner, and so does their mamma.”

They had got to the end of the terrace, and Lady Sunningdale gazed about her with roving, abstracted eyes. She never did anything, even gaze, without her thoughts being occupied with something totally different, and now as she looked over the great swelling lines of downs which flowed and melted into each other like interlacing muscles away to the horizon, across the hollow where the roofs and grey spires of Winchester trembled in a haze of heat, her thoughts were further away than the horizon itself.{35}

“So affected of people to pretend not to like food,” she said, “or, if it is genuine, it shows they are partly imbecile, lacking the sense of taste. Yes, what Martin wants is to be chucked into an artistic milieu to see what he is really worth. And the artistic milieu is exactly what he hasn’t got. He is starving, he is living on himself. Now, no artist except the very greatest artist can do that, and even then he dies very quickly. He wants to be soaked and steeped in art. Paris, now! There is the artistic milieu there; but the music is generally atrocious,—nearly as bad as in London. He could lunch at the Café Champêtre then.”

“Why do you wish him to do that?” asked Lord Flintshire.

“Dear Flints, because the cooking is so good. The really artist is a gourmet in everything, including food. Think of the story of Beethoven and the soup. He threw it in the footman’s face because it was cold. He could not bear that it should not be hot. Cold soup in one’s face—how horrible!—and thrown by Beethoven! Even that would not make it pleasant. Certainly Martin has the instincts of a great artist. He has a sense of form in all he does, which, I expect, means nothing to your brother. Certainly also he has the sense of form in himself. My dear, he is an absolute Adonis, and as slim as asparagus, the English kind.”

Lord Flintshire laughed.

“And when do you expect this paragon?” he asked.

“After lunch. To let Martin go on learning Greek and curacies is like looking on at somebody being slowly murdered. Pray do as I tell you and get him away from that terrible parsonage. Why, the word{36} is enough to upset an artist. It sounds so like parsnips.”

“I feel sure his father would never consent to let him run free in Paris,” he said.

“Why not?”

“Because he has the insular distrust of Paris as a residence for the young.”

“My dear Flints,” she said, with some impatience, “if a young man is going to get into messes and make mudpies, he will make them anywhere. Surely it is the least desirable thing in the world that he should make them in the parsonage. Yes. You see your brother has so much character himself that he doesn’t seriously think that anybody else has got any.”

“I wish you would say these things to him,” said Lord Flintshire.

“I will, if I get an opportunity. But if not Paris, London, Rome, anywhere. Take poor Martin’s collar off, and let him roll in the grass. Yes, let us turn. Surely it is lunch-time. But do put up a pergola here all down the terrace and leave out the earwigs. My angels, we are going to our dinners.”

She turned, her very high heels clicking on the hard gravel of the terrace, and paused a moment.

“The mistake in principle which your fascinating brother is making,” she said, “lies in thinking that every one is cast in the same mould, which is his own, and has to be educated in the same manner. Whereas one of the few things of which we can be absolutely certain is that everybody is cast in different moulds. What fools people are really! Fancy trying to make a scholar or a parson of poor Martin! Such a waste, too, as well as an impossibility. Sunningdale might as well{37} insist on my taking lessons in juggling or mathematics. Don’t you hate conjuring-tricks? What is the point of cutting open a loaf of bread and finding a globe of gold-fish inside it? Nobody in their senses could call me stupid, but I am morally incapable of adding up three figures correctly. Why? Simply because the process bores me, and I therefore do it wrong.”

“That is a fascinating theory of education for the young.”

“It may or may not be fascinating, but it is certainly true. The point of education is to develop any taste you may possess, not to bore you with the acquisition of knowledge. Ah, there is Stella Plympton coming to meet us. She has immense charm, and look at the way her head is set on her shoulders. Really, to have a neck is the only thing that matters. A girl with a neck has only to say ‘Good-morning’ for every one to exclaim, ‘How brilliant!’ Whereas people like me, with no neck, have to talk from morning till night at the tops of our voices, and wear ridiculous hats, or else every one says, ‘Poor dear, how much she has aged, and how very dull and heavy she is.’ Flints, I have immense trials. I often wonder how I keep up as I do, and am so frequently the life and soul of the party. Yes. Every one made in the same mould indeed! Stella and me, for instance. Flints, your brother is an imbecile. I don’t propose to learn Greek, because he can talk it in his sleep. Helen, too! Is she to be kept in that dreadful parsonage all her life, and see nobody but district visitors? I think we ought to take your brother’s family in hand. He neglects them shamefully; he ought to be prosecuted for criminal neglect. A man has a duty towards his children.”{38}

Lord Flintshire laughed.

“And only last night I was telling Sidney that his sense of duty towards them was too strong.”

Again Lady Sunningdale’s attention rushed headlong away with the bit in its teeth; it was so rapid that one could not say it wandered.

“The last act of the ‘G?tterd?mmerung’!” she exclaimed. “My dear, they gave it superbly the other night; at Covent Garden, too, of all places,—though the ravens did come in ten bars too soon, and Siegfried had to throw them away. I never slept for a week afterwards.”

The performance in question, therefore, must have taken place at least a week ago, for there was no manner of doubt that when Martin arrived, an hour or so after lunch, Lady Sunningdale was snatching a brief interval of much-needed repose after her sen’night vigil under the cedar on the lawn. The rest of the party, with the exception of Stella Plympton, had dispersed to spend the afternoon in what she considered the violent English fashion; that is to say, Frank Yorkshire and her brother had gone to play golf. Lord Flintshire had taken Lady Sunningdale’s daughter for a ride, and Lord Sunningdale himself, who had an insatiable mania for losing large sums of money in what he euphemistically called farming, had gone to feel horses’ legs and poke pigs in the back with the Scotch bailiff. Martin, in consequence, who had walked over the fields from the terrible parsonage and approached his uncle’s house from the garden side, found an idyll of placidity occupying the stage below the cedar, for a young woman of about his own age was sitting with an air of extreme content doing{39} nothing whatever, and in a basket-chair close by was Lady Sunningdale, recuperating after the “G?tterd?mmerung.” Martin had formed a somewhat copious subject of conversation during lunch, and it required no particular exercise of ingenuity on Stella’s part to guess who the tall, straw-hatted figure was. From him again she looked at Lady Sunningdale’s slumbers, and glancing back to Martin raised her eyebrows, as if to ask what had better be done. Then she rose noiselessly from her chair, and beckoning to him with a little amused, friendly gesture, walked quietly away from the immediate neighbourhood.

“You must be Mr. Challoner,” she said, holding out her hand; “and Lady Sunningdale, apparently exhausted by the prospect of your arrival, is snatching a few moments of repose. What are we to do, then? Shall we wake her and risk her immediate displeasure, or let her sleep and risk her ultimate displeasure? We are quite certain to decide wrong.”

Much as Martin liked Lady Sunningdale, his instant and instinctive decision was not to wake her, for an enforced tête-à-tête with Stella had its obvious attractions. She was nearly as tall as he, and her dark-grey eyes almost on a level with his. Her face was a short oval, slightly and charmingly irregular in feature, the nose a little tip-tilted, the mouth a little full. This, set on the neck, which, according to Lady Sunningdale, could supply the place of intellectual brilliance, made a very good reason for risking the ultimate, not the immediate displeasure.

“My name is Stella Plympton, by the way,” the girl went on. “Pray excuse my introducing so stupid a topic. A person’s name matters so very little, does{40} it not? But sometimes it is inconvenient not to know uninteresting things, like names, and the hours at which trains leave stations. Aren’t you thirsty after your walk? Will you not go and forage for fluids? And what are we to do?”

Martin looked at her with his direct lucid gaze.

“No fluid for me, thanks,” he said. “What do you advise? One can’t go and say ‘Hi, Lady Sunningdale.’”

Stella laughed.

“I couldn’t,” she said; “but I think you might, if you felt disposed. She adores you, you know.”

Martin laughed also, flushing slightly.

“I adore her,” he said. “She makes me laugh all the time. And I love laughing.”

“So do I,” she said. “So please go and say ‘Hi, Lady Sunningdale.’ I’m sure it would make me laugh. You won’t? Then a false and conventional code of politeness dictates that I should inflict my company on you, though you would probably rather be left alone. Anyhow, do not let us grill here in the sun like beefsteaks. There appears to be chairs in the shade over there. From there, too, we shall occupy a strategic position in which to observe Lady Sunningdale’s slumbers.”

There was a slightly sub-acid flavour about this of which Martin was just conscious. Stella, it seemed, was conscious of it too, for she explained:

“I feel rather a failure this afternoon,” she said, “for Lady Sunningdale asked me to stop and amuse her till you came. The result of my efforts to be entertaining, you can see!”

“Please amuse me instead,” said Martin.{41}

“I daren’t try, for fear you should fall asleep too. How is your sister? I remember meeting her once. But, though I have never seen you before, I feel as if I knew you much better. Really at lunch we talked solidly and exclusively about you. You can do everything, they said, except pass examinations. That seemed to me very admirable, for it is notorious, as Lady Sunningdale said, that any fool can pass examinations. She deduced from that that you can’t be a fool.”

Martin laughed.

“I ought to apologize, then,” said he; “though really it isn’t my fault that I monopolized the conversation at lunch or that I am left on your hands now. I hope it wasn’t a long lunch.”

“Ah, but isn’t it the fault of your character that you get talked about?”

“But not that Lady Sunningdale goes to sleep after lunch. At least I don’t see how!”

Stella laughed too.

“You put it down to mere lunch?” she said. “But if one were disagreeable one might suggest that it was the conversation at lunch, not lunch itself, that led to the desire for repose. How rude of me!”

Martin looked across to the cedar; he was quite willing that Lady Sunningdale’s need for repose should not yet be satisfied.

“But I thought you settled that it was your efforts to amuse her that produced that result,” he said.

The sound of Stella’s laughter perhaps roused Lady Sunningdale, for she moved in her chair and suddenly sat bolt upright.{42}

“Ah, she is awake,” said Stella. “We can peashoot each other no longer. What a pity!”

“But that at least is very polite of you,” said Martin, rising.

“And that is very modest,” she answered. “It might have been true.”

Shrill, staccato cries came from the cedar as the two walked back across the hot velvet of the lawn.

“Stella dear, it is too bad of you,” shrieked Lady Sunningdale. “I send for my own particular young man and you monopolize him all the afternoon. Martin, you perfidious monster. What do you mean by flirting with Stella under my very eyes? Did I close them a moment? I think I must have. Is it not tea-time? Where is Sahara? There is a terrible black dog of Flints’s. My dear, it is too hot for words, and have you walked all the way from the terrible parsonage to see me? That is too sweet of you. What have you and Stella been talking about? Stella dearest, if you would whistle three or four times for Sahara. Martin, Frank Yorkshire is here. So odd, two counties in the same house in another county. Is not geography detestable? Yes. I sat next your father last night. I don’t think I ever saw anybody so unlike as you two. I don’t think that’s grammar. Stella, you went fast asleep, I thought, in that chair, and when I woke up, I found it was me in the other. Where are the dogs? Martin, the ‘G?tterd?mmerung,’ was too exquisite! Ternina! Floods, I assure you—I wept floods, and at the critical moment I tugged at my necklace, and it broke, and a large pearl fell into the trombone below. Why did you not come up to town, as I told you, for it? Not the pearl,—do not be so foolish.”{43}

Her slumber had slightly dishevelled Lady Sunningdale, and as she poured forth this surprising nonsense she effected various small repairs and generally made the crooked straight. Sahara, the delinquent dachshund, recalled by shrill whistling from Stella, waddled pathetically up to her, and a violent wagging of heliotrope in a flower-bed near probably indicated the locality of Suez Canal.

“And we are going to send you to London or Paris or Rome, Martin,” she continued. “And we don’t quite know which. Tell me, is your father naturally solemn, or is his solemnity beautifully assumed. I don’t think any one could really be as solemn as he appears to be. He sat next me at dinner last night and was quite fascinating. I shall have seven candlesticks on my dressing-table for the future, and he extremely reserved. Dear me, I suppose it would have been better not to have said that. But really his attitude about you is ridiculous. Do imitate him. I am sure you can.”

The corners of Martin’s mouth quivered slightly.

“I think I won’t,” he said.

“You mean you can.”

“I think, perhaps, I could,” said Martin, guardedly.

“Ah, do. Imitate our conversation last night about matters of high-and low-church. Wasn’t it dreadful? I mixed them up, and I don’t know which is which now. Why will Suez Canal always leap about in garden-beds when there is the whole lawn? Naughty! Martin, we have been talking a great deal about you. I am rather bored with you. I stop here over Sunday, and I shall go to church if your father preaches. I think that will give me more influence with him. He{44} said he would very likely come over to tea to-day. I shall never forgive him if he does not, because I want to talk to him about you. We are not going to let you blush unseen any more, and waste your sweetness on the parsonage air. You’ve got to go and work. Men must work, though I never saw the slightest need for women to weep. I haven’t wept for years, except the other night at the ‘G?tterd?mmerung.’ What a charming picture of domestic life, Martin reading Greek history at the table and Mrs. Martin sobbing violently in the corner! Yes. How I run on! I suppose you really ought to go to Germany and eat cherry jam with your chicken.”

“How horrible!” said Stella. “Must one take it?”

“If you want to enter into the essential Teutonic spirit you must. You might as well hope to feel like an Anglo-Saxon without being always in a rage or playing violent games as try to be German without jam. How I hate women who play games! They are nearly as odious as men who don’t. Let us go indoors, and Martin shall play to us till tea-time. Afterwards he shall play till dinner-time.”

Lady Sunningdale surged slowly to her feet and looked helplessly about.

“Where are the dogs?” she said. “It is too tiresome. They are sure to stray into the woods, and Flints’s horrid pheasants will peck them. My darlings! Ah, there they are amid what was once begonias. It looks more like a battlefield now. How naughty! Come at once, all of you!”

There was no doubt whatever that Martin’s piano-playing was of a very remarkable order, and before he was half-way through Chopin’s first ballade, Stella,{45} who had been accustomed to consider the piano as an instrument for the encouragement of conversation after dinner, or at the most as the introduction to the vocal part of a concert, found herself sitting bolt upright in her chair with a strange tingling excitement spreading through her and a heightened and quickened beating of the blood. She was essentially unmusical; but something in this was extraordinarily arresting; her nerves, if not her sense of melody, were at attention. As for Lady Sunningdale, she always gasped when Martin played, and did so now.

“Too heavenly,” she said at the end. “Now make me miserable. Play the rain on the roof. Tum, tum, tum, tum, don’t you know. Yes, how clever of you to guess.”

It was rather clever, for Lady Sunningdale’s rendering did not really resemble any one tune in the world more than any other.

Martin paused a moment. Then the slow, sullen drip of hot, steady rain on the roof began, as it sounded to a man who was alone in an alien land. It fell with hopeless regular iteration from grey skies, then there was the gurgle of some choked gutter, and the collected water overflowed and was spilt with a little chuckle. Very distantly on the horizon remote lightning winked and flickered, but there was as yet no sound of thunder in the dark sultriness of the afternoon, but only the endless, monotonous rhythm of the dropping rain. Then, faintly at first but with slow crescendo, there was heard the distant drums of thunder, buffeting and rumbling among the hills. Then all at once the rain grew heavier; larger drops, as if of lead, fell beating with a resonant insistance on the roof,{46} and the voice of the storm grew angry and articulate. Suddenly with an appalling crash it burst immediately overhead, drowning for a moment the beat of the rain, and by the blaze of the simultaneous flash sea, sky, and the wave-beaten rocks of Majorca leapt into light. Then, as thunder will, it drew away, and for a time the rain was not so heavy, but again the storm swept up, and once more the chariots of God crashed on their way above them, and the wild lantern of the storm flared this way and that, and once more again after that stupendous riot in the skies the hot darkness was punctuated by the dreadful melancholy of the dripping rain. Then the storm growled itself away into the distance; a little light came back into the weeping skies; the pulse of the rain grew fainter, and again a choked gutter gurgled and overflowed. Suddenly, through some unconjectured rift in the clouds, one beam of the sun, divinely clear, shot down for a moment on them with excellent brightness. Yet it was only for a moment; again the clouds drifted up, and the rain, which for that minute had ceased, began again, dripping with hopeless regular iteration on to the roof as evening closed in, some evening far away in a land of exile beneath an alien sky.

Effusive as she usually was, and accustomed to fill any interval of silence that might conceivably occur with discursive volubility, even Lady Sunningdale was silent except for an “Oh, Martin,” which she no more than whispered. For there was that in the room which, in spite of her superficial frivolity and the dragon-fly dartings of her mind, she knew and recognized and adored, that the touch of art which makes even of things that are common and unclean gems and jewels.{47} Stella too said nothing, but sat still, much more upright than her lolling wont, holding the arms of her chair. From where she sat she could see Martin’s profile cut with great clearness of outline against a brocaded screen of scarlet and gold that stood beyond the piano, and between the music and the musician she was dumb. Even in the desultory accidental conversation which she had had with him during the slumbers of Lady Sunningdale there had been something arresting to her in his brilliant boyish personality, and now from his finger-tips there flowed out, so it seemed to her, a personality just as brilliant, but either very mature or by the instinct of genius still boyish, but clad, as it were, in the purple of the artistic nature. There was nothing amateurish about it; and, unmusical as she was, she could not help recognising the certainty of the performance.

For a few moments after the last note had died into silence he sat silent also, with head bent over the keys. Then he looked up.

“Is that enough, Lady Sunningdale?” he asked.

“No, you angel from heaven, it is never enough!” she cried; “but play something different—something brilliant; I should expire with several hollow church-yard groans if you played that again. It makes me miserable. Play something virtuoso, and let me come closer, where I can see your hands.”

She moved to a low chair to the right of the piano.

“Brahms’s ‘Paganini Variations,’” he suggested.

“Ah, yes, do. It makes me shriek with laughter.”

Then, with the same absolute facility and certainty, with the same cleanness and perfection, suggesting, indeed, a slim poised figure, he took a header into that{48} ridiculous theme. But out of the foam and bubble beneath his hands flowers grew, stars were scattered, and all nature went mad with dancing. But when the riot of jubilance was at its height, a tall, severe figure suddenly appeared at the French window of the drawing-room, advanced very audibly on the bare boards, and spoke sufficiently loud to be heard.

“Ah, Lady Sunningdale,” said Mr. Challoner, “how are you? And Martin wasting his time at the piano, as usual. How kind of you to let him play to you!”

Martin wasted no more time there; at the noise of interruption, before his brain had conjectured who it was, his hands stopped, the eager, active vitality died out of his face, as when a candle is blown out, and he banged a random chord in sheer rage. Then, instantaneously, he recognized the voice, and he rose quickly from the music-stool, trembling.

“Yes, wasting my time, as usual,” he said, excitedly, the artist in him suddenly struck dead, leaving just an angry, startled boy. “I must go home, Lady Sunningdale. Thank you so much for letting me play to you, and I hope I haven’t bored you. Good-bye. I have a lot of work to do.”

He closed the piano lid as he spoke, but it slipped from his fingers and shut with a bang that set all the strings jarring.

“Ah, how could you interrupt like that?” cried Lady Sunningdale to his father. “Yes, how are you, Mr. Challoner? Martin, pray begin it again. We will all sit quite quiet without stirring a finger or breathing. You are superb!”

His father sat down, distressed at Martin’s rudeness, but honestly desirous of being sympathetic.{49}

“Dear boy, I am so sorry,” he said. “Pray, play your piece.”

“I can’t,” said Martin. “I don’t know it.”

For a moment father and son looked at each other, the one with surprise and indignation, the other in impetuous rebellion and anger.

“Lady Sunningdale asks you to play again what you were playing,” said his father, the desire to be sympathetic vanishing, the sternness deserved by this deplorable lack of manners in Martin increasing every moment.

“It is quite impossible that I should play it,” said Martin. “I couldn’t play a note of it.”

“You seemed to me to know it,” said Mr. Challoner. “Surely you have played it a hundred times at home.”

Martin was really incapable in the shock of this transition from the world which he loved and in which he was at home to this other world of decent behaviour.

“More like a thousand times,” he said and simply, and directly left the room.

There was a somewhat awkward pause. Mr. Challoner was seriously angry with his ill-behaved son; Lady Sunningdale was disgusted at being deprived of her music, and Stella, with a natural eye for drama, was immensely interested. It seemed to her there might be a good deal of drama behind this little incident. Then, luckily perhaps, Lady Sunningdale remembered that she was, so to speak on a mission to the dark ignorance of Mr. Challoner, that savage in matters of art, on behalf of Martin, and she put her disgust in her pocket.

“It was charming of you to have come over to see me,” she said to him, with her easy-natured charm.{50} “Yes, I suppose Martin wastes a terrible lot of time at the piano when he should be doing Greek history. Demosthenes! How fascinating! Stella dearest, do see what Suez Canal is doing, and slap him. And will you tell us when tea is ready? Do you know, Mr. Challoner, Martin plays remarkably,—really remarkably?”

Stella, as she was wont to do, strolled out through the window by which catastrophe had entered, leaving the two others alone.

“Yes, it is that incessant waste of time that distresses me,” said Mr. Challoner. “But the piano at the parsonage is so old that he hardly cares to play on it. But, first, I must apologise to you, Lady Sunningdale, for the extremely rude way in which Martin behaved to you. I promise you he shall make his apologies in person.”

For a moment her irritation mastered her.

“He apologise?” she cried. “It ought to be you. Dear Mr. Challoner, how rude I am! Pray forgive me. But you don’t know, you can’t know, what music is to Martin. You don’t know what divine, glorious mood in him you shattered. It was like throwing a brick at an iridescent soap-bubble. I suppose Brahms is a name to you like Smith or Jones.”

Then she recalled diplomacy again.

“So difficult to understand Brahms, is it not?” she said. “That is the fascination of it. But I assure you it is worth thinking over. Martin is wonderful. He has improved so enormously, too. He is not second-rate or third-rate, but first-rate. What have you been doing to him?”

“You mean at playing the piano?” asked Mr. Challoner, as if he had said “sweeping a crossing.”{51}

Lady Sunningdale longed for Sahara to bite him.

“Yes, at playing the piano,” she said, swallowing her irritation again. “He ought to study, you know. He is wasting his time, that is quite true, but not at the piano. I am dreadfully impertinent, am I not? But Flints is an old friend and Martin is his nephew, and music is music, so I feel it very strongly. Of course it is only natural that you, Mr. Challoner, with your earnest nature and your serious aims and all that,—you were too interesting last night, I lay awake for hours thinking over what you had said,—should consider poor Martin very frivolous, but he is an artist to his finger-tips. It is his nature. Mon Dieu! what finger-tips, too! You know he was playing, and playing, I assure you, with consummate ease when you interrup—when you came in, a thing that really great pianists require to practice for months!”

“You are too kind to take such an interest in my lazy son,” said Mr. Challoner, still very stiffly,—so stiffly, in fact, that Lady Sunningdale looked hastily at the fireplace, thinking he must have swallowed the tongs.

“I assure you it is not kindness that prompts me at all,” she said. “It is mere justice and mere economy. I am very economical. Ask Sunningdale. The world cannot afford to lose a talent like that. If he is like that when he is practically uneducated, to what may not he grow? Heaven knows, the world is so very stupid that we should hoard and save every grain of talent that exists. It is like what you so beautifully said to me last night about the ten talents in a napkin.”

“Surely not,” said Mr. Challoner, a faint smile breaking his gravity.{52}

“Well, the one talent, then. I have no head for numbers. And poor Martin’s talent seems to me to be put in a very damp napkin, except now and then when somebody like me lifts up a corner of it and lets the sparkle of gold appear.”

It happened very rarely that Lady Sunningdale was stirred into such coherence and earnestness. As a rule, her multifarious little interests were like children playing “King of the Castle,” rapidly pulling each other down from their momentary pre-eminence, first one and then another perching precariously on the summit. But certainly the most long-lived “King” there was music, and Martin’s future, with the rain-storm of Chopin and the mad frolic of Brahms still in her ears, was very securely throned.

“Think me impertinent, my dear Mr. Challoner,” she went on. “Think me what you will, only do give your most serious attention to what I say. Martin devoting his fingers, his brain, the power of his extraordinary artistic nature to ancient history is a thing to make Julius C?sar weep. The pity of it when he might be starting us all on a new chapter in music! Really I believe that to be possible. And really I am in earnest; and when, as I hope, you know me better, and see how completely scatter-brained I usually am, you will appreciate how deeply I feel this.”

“You mean that my son should devote the most useful, the most active years of his life to playing the piano?” he asked.

“Playing the piano?” she cried, feeling it was almost hopeless to try to make him understand. “That is, of course, a thread in the golden garment of music; but to take piano-playing as synonymous with music{53} would be the same as calling the baptism of those of riper years the same thing as Christianity. Music—music, that must be his life. Flints told me this morning that you found him slack, lazy. So would you be if you had to learn scales, just as he may be—I am sure he is—at classical studies.”

“What do you propose, then?” he asked, inwardly rather rebelling at the consideration he felt somehow forced to give to her eagerness. For, in spite of her discursiveness, it was clearly impossible not to recognise the surprising quickness and intuition of her mental processes.

“Why, just what I have been telling you. First let him throw his dictionaries and histories into the fire.”

“I have an immense, a vital belief in the educating power of the classics,” said Mr. Challoner.

“For everybody? You cannot mean it! Can you tell from looking at a picture if the artist knew Latin? Or pick me a piece of Greek out of ‘Tristan und Isolde.’ In any case, Martin has spent some ten years at them, he tells me, and what is the result? He fails to pass his examinations. Whether they are a criterion of education, or whether they are an instrument, he or they have failed. He is second-rate at that, third-rate,—it is all one. There is first-rate, and—the rest of the world. What is the good of turning another second-rate person into the sheepfold of the second-rate, particularly when on other lines that person has all the appearance, anyhow, of being first-rate? Well, that is what I think. How kind of you to let me talk so. Where are my angels? Is it not tea-time?”

Lady Sunningdale’s unparalleled effort in concentration{54} of thought here broke completely down, and a whole tribe of clamouring competitors invaded the castle of her mind, dethroning the “King.”

“Yes, Martin really was playing too divinely,” was the “King’s” expiring cry. “So like a great artist, too, to bang down the piano lid when he was interrupted. Beethoven did it too, you know, and shouted, ‘I play no more to such swine.’ So delicious of him. And Helen, how is she? You must bring her over. Frank Yorkshire is dying, if not dead, to see her. He is one of those people, you know, who does nothing and appreciates so much. So infinitely better than doing a great deal rather badly, and not recognizing the first-rate when you see it. And are you going to preach on Sunday? I should have been so happy if I had been a man, to have lived in a country-place like this and just spend my days in doing a little good among these simple people. How beautiful it must be! I abhor London,—so shallow. Yes. You really must preach on Sunday, Mr. Challoner; otherwise I shall stay at home and read improper novels. You would not like to have that on your conscience, would you? People are growing terribly slack about Sunday, are they not? Yes, shall we try to find some tea? Talking makes one so hungry.”