Fair Margaret Part 41

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

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

'Hm!' e.j.a.c.u.l.a.t.ed Lushington. 'Pity, I suppose?'

'Not a bit of it. How rude you are! I should have pitied you at the time, then. But I didn't, not the least bit. I laughed at you.

Afterwards I cried because I had been such a beast as to laugh, and I wished that somebody would come and beat me! I a.s.sure you, it was entirely out of disgust with myself that I cried, and not in the least out of pity for you!'

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

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

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

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

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

CHAPTER XIX

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

Jones, and Mr. Robinson, in private life, must be purely a matter of imagination.

But theatrical reputation is a different matter, and its rise affects the professional barometer beforehand. The people who train great singers and great actors know what they are about and foresee the result, as no publisher can foresee it with regard to a new writer.

There is a right way and a wrong way of singing, one must sing in tune unless one sings out of tune, there are standards of comparison in the persons of the great singers who are still at their best. It is not easy to be mistaken, where so much is a matter of certainty and so little depends on chance, and the facts become known very easily. The first-rate second-rate artists, climbing laboriously in the wake of the real first-rates, and wishing that these would die and get out of the way, feel a hopeless sinking at the heart as they hear behind them the rush of another coming genius. The tired critics sleep less soundly in the front row of the stalls, the fine and frivolous ladies who come to the opera to talk the whole evening are told that for once they will have to be silent, the reporters put on little playful airs of mystery to say that they have been allowed to a.s.sist at a marvellous rehearsal or have been admitted to see the future diva putting on her cloak after a final interview with Schreiermeyer, whose att.i.tude before her is described as being that of the donor of the picture in an old Italian altar-piece.

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

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

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

The English servant who opened the door was in distress of mind when he saw her, for since he had served in Mrs. Rushmore's very proper household he had never seen anything like Madame Bonanni as she stood there asking for Miss Donne, and evidently not in a mood to be patient.

He was very much inclined to tell her that she had mistaken the house, and to shut the door in her face. There were people coming to luncheon, and it was just possible that she might be one of them; but if she was not, and if the others came and found such a person there, how truly awful it would be! Thus the footman reflected as he stood in the doorway, listening to Madame Bonanni's voluble French speech.

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

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

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

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

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

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

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

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

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

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

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

Little Miss Donne--ah! here she is!'

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

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

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

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

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

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

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

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

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

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

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

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

'How good you are!' Margaret cried.

'Good!'

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

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

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

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

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