by AEW Mason
Thus it happened that as Willoughby rose from loosening the painter, he saw Mrs. Adair's disappointed eyes gazing into his. Mrs. Adair called to Ethne, who stood by Captain Willoughby, and came down the bank to them.
"I noticed you cross the lawn from the drawing-room window," she said.
"Yes?" answered Ethne, and she said no more. Mrs. Adair, however, did not move away, and an awkward pause followed. Ethne was forced to give in.
"I was talking to Captain Willoughby," and she turned to him. "You do not know Mrs. Adair, I think?"
"No," he replied, as he raised his hat. "But I know Mrs. Adair very well by name. I know friends of yours, Mrs. Adair—Durrance, for instance; and of course I knew—"
A glance from Ethne brought him abruptly to a stop. He began vigorously to push the nose of his boat from the sand.
"Of course, what?" asked Mrs. Adair, with a smile.
"Of course I knew of you, Mrs. Adair."
Mrs. Adair was quite clear that this was not what Willoughby had been on the point of saying when Ethne turned her eyes quietly upon him and cut him short. He was on the point of adding another name. "Captain Willoughby," she repeated to herself. Then she said:—
"You belong to Colonel Durrance's regiment, perhaps?"
"No, I belong to the North Surrey," he answered.
"Ah! Mr. Feversham's old regiment," said Mrs. Adair, pleasantly. Captain Willoughby had fallen into her little trap with a guilelessness which provoked in her a desire for a closer acquaintanceship. Whatever Willoughby knew it would be easy to extract. Ethne, however, had disconcerting ways which at times left Mrs. Adair at a loss. She looked now straight into Mrs. Adair's eyes and said calmly:—
"Captain Willoughby and I have been talking of Mr. Feversham." At the same time she held out her hand to the captain. "Good-bye," she said.
Mrs. Adair hastily interrupted.
"Colonel Durrance has gone home, but he dines with us to-night. I came out to tell you that, but I am glad that I came, for it gives me the opportunity to ask your friend to lunch with us if he will."
Captain Willoughby, who already had one leg over the bows of his boat, withdrew it with alacrity.
"It's awfully good of you, Mrs. Adair," he began.
"It is very kind indeed," Ethne continued, "but Captain Willoughby has reminded me that his leave is very short, and we have no right to detain him. Good-bye."
Captain Willoughby gazed with a vain appeal upon Miss Eustace. He had travelled all night from London, he had made the scantiest breakfast at Kingsbridge, and the notion of lunch appealed to him particularly at that moment. But her eyes rested on his with a quiet and inexorable command. He bowed, got ruefully into his boat, and pushed off from the shore.
"It's a little bit rough on me too, perhaps, Miss Eustace," he said. Ethne laughed, and returned to the terrace with Mrs. Adair. Once or twice she opened the palm of her hand and disclosed to her companion's view a small white feather, at which she laughed again, and with a clear and rather low laugh. But she gave no explanation of Captain Willoughby's errand. Had she been in Mrs. Adair's place she would not have expected one. It was her business and only hers.
Chapter XVII - The Musoline Overture
*
Mrs. Adair, on her side, asked for no explanations. She was naturally, behind her pale and placid countenance, a woman of a tortuous and intriguing mind. She preferred to look through a keyhole even when she could walk straight in at the door; and knowledge which could be gained by a little maneuvering was always more desirable and precious in her eyes than any information which a simple question would elicit. She avoided, indeed, the direct question on a perverted sort of principle, and she thought a day very well spent if at the close of it she had outwitted a companion into telling her spontaneously some trivial and unimportant piece of news which a straightforward request would have at once secured for her at breakfast-time.
Therefore, though she was mystified by the little white feather upon which Ethne seemed to set so much store, and wondered at the good news of Harry Feversham which Captain Willoughby had brought, and vainly puzzled her brains in conjecture as to what in the world could have happened on that night at Ramelton so many years ago, she betrayed nothing whatever of her perplexity all through lunch; on the contrary, she plied her guest with conversation upon indifferent topics. Mrs. Adair could be good company when she chose, and she chose now. But it was not to any purpose.
"I don't believe that you hear a single word I am saying!" she exclaimed.
Ethne laughed and pleaded guilty. She betook herself to her room as soon as lunch was finished, and allowed herself an afternoon of solitude. Sitting at her window, she repeated slowly the story which Willoughby had told to her that morning, and her heart thrilled to it as to music divinely played. The regret that he had not come home and told it a year ago, when she was free, was a small thing in comparison with the story itself. It could not outweigh the great gladness which that brought to her—it had, indeed, completely vanished from her thoughts. Her pride, which had never recovered from the blow which Harry Feversham had dealt to her in the hall at Lennon House, was now quite restored, and by the man who had dealt the blow. She was aglow with it, and most grateful to Harry Feversham for that he had, at so much peril to himself, restored it. She was conscious of a new exhilaration in the sunlight, of a quicker pulsation in her blood. Her youth was given back to her upon that August afternoon.
Ethne unlocked a drawer in her dressing-case, and took from it the portrait which alone of all Harry Feversham's presents she had kept. She rejoiced that she had kept it. It was the portrait of some one who was dead to her—that she knew very well, for there was no thought of disloyalty toward Durrance in her breast—but the some one was a friend. She looked at it with a great happiness and contentment, because Harry Feversham had needed no expression of faith from her to inspire him, and no encouragement from her to keep him through the years on the level of his high inspiration. When she put it back again, she laid the white feather in the drawer with it and locked the two things up together.
She came back to her window. Out upon the lawn a light breeze made the shadows from the high trees dance, the sunlight mellowed and reddened. But Ethne was of her county, as Harry Feversham had long ago discovered, and her heart yearned for it at this moment. It was the month of August. The first of the heather would be out upon the hillsides of Donegal, and she wished that the good news had been brought to her there. The regret that it had not was her crumpled rose-leaf. Here she was in a strange land; there the brown mountains, with their outcroppings of granite and the voices of the streams, would have shared, she almost thought, in her new happiness. Great sorrows or great joys had this in common for Ethne Eustace, they both drew her homewards, since there endurance was more easy and gladness more complete.
She had, however, one living tie with Donegal at her side, for Dermod's old collie dog had become her inseparable companion. To him she made her confidence, and if at times her voice broke in tears, why, the dog would not tell. She came to understand much which Willoughby had omitted, and which Feversham had never told. Those three years of concealment in the small and crowded city of Suakin, for instance, with the troops marching out to battle, and returning dust-strewn and bleeding and laurelled with victory. Harry Feversham had to slink away at their approach, lest some old friend of his—Durrance, perhaps, or Willoughby, or Trench—should notice him and penetrate his disguise. The panic which had beset him when first he saw the dark brown walls of Berber, the night in the ruined acres, the stumbling search for the well amongst the shifting sandhills of Obak,—Ethne had vivid pictures of these incidents, and as she thought of each she asked herself: "Where was I then? What was I doing?"
She sat in a golden mist until the lights began to change upon the still water of the creek, and the rooks wheeled noisily out from the tree-tops to sort themselves for the night, and warned her of evening.
She brought to the dinner-table that night
a buoyancy of spirit which surprised her companions. Mrs. Adair had to admit that seldom had her eyes shone so starrily, or the colour so freshly graced her cheeks. She was more than ever certain that Captain Willoughby had brought stirring news; she was more than ever tortured by her vain efforts to guess its nature. But Mrs. Adair, in spite of her perplexities, took her share in the talk, and that dinner passed with a freedom from embarrassment unknown since Durrance had come home to Guessens. For he, too, threw off a burden of restraint; his spirits rose to match Ethne's; he answered laugh with laugh, and from his face that habitual look of tension, the look of a man listening with all his might that his ears might make good the loss of his eyes, passed altogether away.
"You will play on your violin to-night, I think," he said with a smile, as they rose from the table.
"Yes," she answered, "I will—with all my heart."
Durrance laughed and held open the door. The violin had remained locked in its case during these last two months. Durrance had come to look upon that violin as a gauge and test. If the world was going well with Ethne, the case was unlocked, the instrument was allowed to speak; if the world went ill, it was kept silent lest it should say too much, and open old wounds and lay them bare to other eyes. Ethne herself knew it for an indiscreet friend. But it was to be brought out to-night.
Mrs. Adair lingered until Ethne was out of ear-shot.
"You have noticed the change in her to-night?" she said.
"Yes. Have I not?" answered Durrance. "One has waited for it, hoped for it, despaired of it."
"Are you so glad of the change?"
Durrance threw back his head. "Do you wonder that I am glad? Kind, friendly, unselfish—these things she has always been. But there is more than friendliness evident to-night, and for the first time it's evident."
There came a look of pity upon Mrs. Adair's face, and she passed out of the room without another word. Durrance took all of that great change in Ethne to himself. Mrs. Adair drew up the blinds of the drawing-room, opened the window, and let the moonlight in; and then, as she saw Ethne unlocking the case of her violin, she went out on to the terrace. She felt that she could not sit patiently in her company. So that when Durrance entered the drawing-room he found Ethne alone there. She was seated in the window, and already tightening the strings of her violin. Durrance took a chair behind her in the shadows.
"What shall I play to you?" she asked.
"The Musoline Overture," he answered. "You played it on the first evening when I came to Ramelton. I remember so well how you played it then. Play it again to-night. I want to compare."
"I have played it since."
"Never to me."
They were alone in the room; the windows stood open; it was a night of moonlight. Ethne suddenly crossed to the lamp and put it out. She resumed her seat, while Durrance remained in the shadow, leaning forward, with his hands upon his knees, listening—but with an intentness of which he had given no sign that evening. He was applying, as he thought, a final test upon which his life and hers should be decided. Ethne's violin would tell him assuredly whether he was right or no. Would friendship speak from it or the something more than friendship?
Ethne played the overture, and as she played she forgot that Durrance was in the room behind her. In the garden the air was still and summer-warm and fragrant; on the creek the moonlight lay like a solid floor of silver; the trees stood dreaming to the stars; and as the music floated loud out across the silent lawn, Ethne had a sudden fancy that it might perhaps travel down the creek and over Salcombe Bar and across the moonlit seas, and strike small yet wonderfully clear like fairy music upon the ears of a man sleeping somewhere far away beneath the brightness of the southern stars with the cool night wind of the desert blowing upon his face.
"If he could only hear!" she thought. "If he could only wake and know that what he heard was a message of friendship!"
And with this fancy in her mind she played with such skill as she had never used before; she made of her violin a voice of sympathy. The fancy grew and changed as she played. The music became a bridge swung in mid-air across the world, upon which just for these few minutes she and Harry Feversham might meet and shake hands. They would separate, of course, forthwith, and each one go upon the allotted way. But these few minutes would be a help to both along the separate ways. The chords rang upon silence. It seemed to Ethne that they declaimed the pride which had come to her that day. Her fancy grew into a belief. It was no longer "If he should hear," but "He must hear!" And so carried away was she from the discretion of thought that a strange hope suddenly sprang up and enthralled her.
"If he could answer!"
She lingered upon the last bars, waiting for the answer; and when the music had died down to silence, she sat with her violin upon her knees, looking eagerly out across the moonlit garden.
And an answer did come, but it was not carried up the creek and across the lawn. It came from the dark shadows of the room behind her, and it was spoken through the voice of Durrance.
"Ethne, where do you think I heard that overture last played?"
Ethne was roused with a start to the consciousness that Durrance was in the room, and she answered like one shaken suddenly out of sleep.
"Why, you told me. At Ramelton, when you first came to Lennon House."
"I have heard it since, though it was not played by you. It was not really played at all. But a melody of it and not even that really, but a suggestion of a melody, I heard stumbled out upon a zither, with many false notes, by a Greek in a bare little whitewashed café, lit by one glaring lamp, at Wadi Halfa."
"This overture?" she said. "How strange!"
"Not so strange after all. For the Greek was Harry Feversham."
So the answer had come. Ethne had no doubt that it was an answer. She sat very still in the moonlight; only had any one bent over her with eyes to see, he would have discovered that her eyelids were closed. There followed a long silence. She did not consider why Durrance, having kept this knowledge secret so long, should speak of it now. She did not ask what Harry Feversham was doing that he must play the zither in a mean café at Wadi Halfa. But it seemed to her that he had spoken to her as she to him. The music had, after all, been a bridge. It was not even strange that he had used Durrance's voice wherewith to speak to her.
"When was this?" she asked at length.
"In February of this year. I will tell you about it."
"Yes, please, tell me."
And Durrance spoke out of the shadows of the room.
Chapter XVIII - The Answer to the Overture
*
Ethne did not turn towards Durrance or move at all from her attitude. She sat with her violin upon her knees, looking across the moonlit garden to the band of silver in the gap of the trees; and she kept her position deliberately. For it helped her to believe that Harry Feversham himself was speaking to her, she was able to forget that he was speaking through the voice of Durrance. She almost forgot that Durrance was even in the room. She listened with Durrance's own intentness, and anxious that the voice should speak very slowly, so that the message might take a long time in the telling, and she gather it all jealously to her heart.
"It was on the night before I started eastward into the desert—for the last time," said Durrance, and the deep longing and regret with which he dwelt upon that "last time" for once left Ethne quite untouched.
"Yes," she said. "That was in February. The middle of the month, wasn't it? Do you remember the day? I should like to know the exact day if you can tell me."
"The fifteenth," said Durrance; and Ethne repeated the date meditatively.
"I was at Glenalla all February," she said. "What was I doing on the fifteenth? It does not matter."
She had felt a queer sort of surprise all the time while Willoughby was telling his story that morning, that she had not known, by some instinct, of these incidents at the actual moment of their occurrence. The surprise returned to her now. It was strange that she s
hould have had to wait for this August night and this summer garden of moonlight and closed flowers before she learned of the meeting between Feversham and Durrance on February 15 and heard the message. And remorse came to her because of that delay. "It was my own fault," she said to herself. "If I had kept my faith in him I should have known at once. I am well punished." It did not at all occur to her that the message could convey any but the best of news. It would carry on the good tidings which she had already heard. It would enlarge and complete, so that this day might be rounded to perfection. Of this she was quite sure.
"Well?" she said. "Go on!"
"I had been busy all that day in my office finishing up my work. I turned the key in the door at ten o'clock, thinking with relief that for six weeks I should not open it, and I strolled northward out of Wadi Halfa along the Nile bank into the little town of Tewfikieh. As I entered the main street I saw a small crowd—Arabs, negroes, a Greek or two, and some Egyptian soldiers, standing outside the café, and lit up by a glare of light from within. As I came nearer I heard the sound of a violin and a zither, both most vilely played, jingling out a waltz. I stood at the back of the crowd and looked over the shoulders of the men in front of me into the room. It was a place of four bare whitewashed walls; a bar stood in one corner, a wooden bench or two were ranged against the walls, and a single unshaded paraffin lamp swung and glared from the ceiling. A troupe of itinerant musicians were playing to that crowd of negroes and Arabs and Egyptians for a night's lodging and the price of a meal. There were four of them, and, so far as I could see, all four were Greeks. Two were evidently man and wife. They were both old, both slatternly and almost in rags; the man a thin, sallow-faced fellow, with grey hair and a black moustache; the woman fat, coarse of face, unwieldy of body. Of the other two, one it seemed must be their daughter, a girl of seventeen, not good-looking really, but dressed and turned out with a scrupulous care, which in those sordid and mean surroundings lent her good looks. The care, indeed, with which she was dressed assured me she was their daughter, and to tell the truth, I was rather touched by the thought that the father and mother would go in rags so that she at all costs might be trim. A clean ribbon bound back her hair, an untorn frock of some white stuff clothed her tidily; even her shoes were neat. The fourth was a young man; he was seated in the window, with his back towards me, bending over his zither. But I could see that he wore a beard. When I came up the old man was playing the violin, though playing is not indeed the word. The noise he made was more like the squeaking of a pencil on a slate; it set one's teeth on edge; the violin itself seemed to squeal with pain. And while he fiddled, and the young man hammered at his zither, the old woman and girl slowly revolved in a waltz. It may sound comic to hear about, but if you could have seen! ... It fairly plucked at one's heart. I do not think that I have ever in my life witnessed anything quite so sad. The little crowd outside, negroes, mind you, laughing at the troupe, passing from one to the other any sort of low jest at their expense, and inside the four white people—the old woman, clumsy, heavy-footed, shining with heat, lumbering round slowly, panting with her exertions; the girl, lissom and young; the two men with their discordant, torturing music; and just above you the great planets and stars of an African sky, and just about you the great silent and spacious dignity of the moonlit desert. Imagine it! The very ineptness of the entertainment actually hurt one."