Fair Margaret Part 6

A few moments later Margaret and Logotheti were in the street. The noonday air was warm and bright and she drew in deep breaths of it, as she had done in the morning. Logotheti looked at her from under the brim of his Panama hat.

'We shall find a cab in a minute,' he said, in an indifferent tone.

'Yes.'

They walked a few steps in silence.

'I hope you don't really mean to do what Madame Bonanni asked of you,'

Margaret said, rather awkwardly. 'I mean, about my _debut_, if it really comes off.'

Logotheti laughed lightly.

'She always talks in that way,' he said. 'She thinks I can do anything, but as a matter of fact I have no influence to speak of, and money has nothing to do with an artist's success. I shall certainly be there on your first night, and you will not object to my splitting my gloves in applauding you?'

'Oh no!' Margaret laughed, too. 'You are welcome to do that! There is a cab.'

She held up her parasol to attract the driver's attention, and Logotheti made a few steps forward and called him.

'Where shall I tell the man to take you?' Logotheti asked, as she got in.

'To the Saint Lazare station, please. Thank you very much!'

She smiled pleasantly and nodded as she drove away. He stood still a moment on the pavement, looking after her, and then turned in the opposite direction, lighting a cigarette as he walked.

He was a Greek, and an educated one, and as he sauntered along on the shady side of the Avenue Hoche, the cigarette twitched oddly in his mouth, as if he were talking to himself. From four and twenty centuries away, in the most modern city of the world, broken lines of an ode of Anacreon came ringing to his ears, and his lips formed the words noiselessly:

'I wish I were the zone that lies Warm to thy breast, and feels its sighs ...

Oh, anything that touches thee!

Nay, sandals for those fairy feet ...'

That, at least, is the English for it, according to Thomas Moore.

CHAPTER IV

Margaret was not quite sure how she could find her way to Madame Bonanni's dressing-room at the Opera, but she had no intention of missing the appointment. The most natural and easy way of managing matters would be to ask her teacher to go with her, and she could then spend the night at the latter's house. She accordingly stopped there before she went to the station.

The elderly artist burst into tears on hearing the result of the interview with Madame Bonanni, and fell upon Margaret's neck.

'I knew it,' she said. 'I was sure of it, but I did not dare to tell you so!'

Margaret was very happy, but she was a little nervous about her frock and wondered whether tears stained, as sea water does. The old singer was of a very different type from Madame Bonanni, and had never enjoyed such supremacy as the latter, even for a few months. But she had been admired for her perfect method, her good acting, and her agreeable voice, and for having made the most of what nature had given her; and when she had retired from the stage comparatively young, as the wife of the excellent Monsieur Durand, she had already acquired a great reputation as a model for young singers, and she soon consented to give lessons. Unfortunately, Monsieur Durand had made ducks and drakes of her earnings in a few years, by carefully mis-investing every penny she possessed; but as he had then lost no time in destroying himself by the over-use of antidotes to despair, such as absinthe, his widow had soon re-established the equilibrium of her finances by hard work and was at the present time one of the most famous teachers of singers for the stage. Madame Durand was a Neapolitan by birth and had been known to modest fame on the stage as Signora De Rosa, that being her real name; for Italian singers seem to be the only ones who do not care for high-sounding pseudonyms. She was a voluble little person, over-flowing with easy feeling which made her momentarily intensely happy, miserable, or angry, as the case might be. Whichever it might be, she generally shed abundant tears.

Margaret went back to Versailles feeling very happy, but determined to say nothing of what had happened except to Mrs. Rushmore, who need only know that Madame Bonanni had spoken in an encouraging way and wished to see her at the theatre. For the girl herself found it hard to believe half of what the prima donna had told her, and was far from believing that she was on the eve of signing her first engagement.

Madame Bonanni had breakfasted at half-past eleven, but Mrs. Rushmore lunched at half-past one, and Margaret found her at table with Lushington and three or four other people who had dropped in. There was an English officer who had got his Victoria Cross in South Africa and was on his way to India, with a few days to spare by the way; there was a middle-aged French portrait-painter who had caressing ways and an immense reputation; there was a woman of the world whose husband was an Austrian and was in the diplomatic service; and there was a young archaeologist just from Crete, who foregathered with Lushington.

They were at the end of luncheon when Margaret came in, they were sipping fine wine from very thin gla.s.ses, they were all saying their second-best things, because each one was afraid that if he said his very best before dinner one of the others would steal it; and Mrs.

Rushmore was in her element.

Margaret came in with her hat on and sat down in her place, which was opposite Mrs. Rushmore. The men subsided again into their chairs and looked at her. Lushington was next to her, but she smiled at the others first, nodding quietly and answering their greetings.

'You seem pleased,' Lushington said, when he saw that she would hear him.

'Do I?' She smiled again.

'That sort of answer always means a secret,' Lushington replied.

'Happiness for one, don't you know?'

'By the way,' asked the English officer on her other side, 'was not your father the famous army coach?'

'No,' Margaret replied. 'I'm often asked that.'

'What is an army coach?' inquired the French painter, who spoke some English. 'Is it not an ambulance? But I do not understand.'

Mrs. Rushmore began to explain in an undertone.

'Miss Donne's father was an Oxford don,' observed Lushington, rather stiffly.

At this quite unintentional pun the French painter laughed so much that every one turned and looked at him. He had once painted a famous man in Oxford, and knew what a don was.

'Make the next one in Greek,' said Margaret to Lushington, with a smile.

'There are some very bad puns in Aristophanes,' observed the archaeologist thoughtfully. 'Why don't you go to Crete?' he inquired very suddenly of Mrs. Rushmore.

Mrs. Rushmore, who did not happen to have heard of the recent discoveries yet, felt a little as if the young man had asked her why she did not go to Jericho. But she concealed her feelings, being quite sure that no offence to her dignity was meant.

'It is so far,' she answered with a vague smile.

'It's a beastly hole,' observed the soldier. 'I was there when that row was going on.'

'The discoveries have all been made since then,' answered the archaeologist, who could think of nothing else. 'You have no idea what those paintings are,' he continued, talking to the table. 'I have been there several weeks and I'm going back next month. Logotheti is going to take a party of us in his big yacht.'

'Who is Logotheti?' inquired Margaret, with great calm.

'A financier,' put in Lushington.

'A millionaire,' said the artist. 'I have painted his portrait.'

'He seems to be interested in discoveries,' Margaret said to the archaeologist. 'I suppose you know him very well?'

'Oh yes! He is a most interesting person, a Greek of Constantinople by birth, but a real Greek at heart, who knows his own literature, and loves his country, and spends immense sums in helping archaeology. He really cares for nothing but art! Finance amuses him now and then for a while, and he has been tremendously lucky. They consider him one of the important men in the money market, don't they?'

The question was directed to the French artist.