The First Violin Part 13

"Certainly. I believe that is what she wishes to do, in case--if necessary."

"She may teach, but she may not act," said he, reflectively. "So be it, then! Only," he added as if making a last effort, "I would just mention that, apart from artistic considerations, while a lady may wear herself out as a poorly paid teacher, a _prima donna_--"

Miss Hallam smiled with calm disdain.

"It is not of the least use to speak of such a thing. You and I look at the matter from quite different points of view, and to argue about it would only be to waste time."

Von Francius, with a sarcastic, ambiguous smile, turned to me:

"And you, _mein Fraulein_?"

"I--no. I agree with Miss Hallam," I murmured, not really having found myself able to think about it at all, but conscious that opposition was useless. And, besides, I did shrink away from the ideas conjured up by that word, the "stage."

"So!" said he, with a little bow and a half smile. "Also, I must try to make the round man fit into the square hole. The first thing will be another trial of your voice; then I must see how many lessons a week you will require, and must give you instructions about practicing. You must understand that it is not pleasure or child's play which you are undertaking. It is a work in order to accomplish which you must strain every nerve, and give up everything which in any way interferes with it."

"I don't know whether I shall have time for it," I murmured, looking doubtfully toward Miss Hallam.

"Yes, May; you will have time for it," was all she said.

"Is there a piano in the house?" said von Francius. "But, yes, certainly. Fraulein Sartorius has one; she will lend it to us for half an hour. If you were at liberty, _mein Fraulein_, just now--"

"Certainly," said I, following him, as he told Miss Hallam that he would see her again.

As he knocked at the door of Anna's sitting-room she came out, dressed for walking.

"_Ach, Fraulein!_ will you allow us the use of your piano for a few minutes?"

"_Bitte!_" said she, motioning us into the room. "I am sorry I have an engagement, and must leave you."

"Do not let us keep you on any account," said he, with touching politeness; and she went out.

"_Des...o...b..sser!_" he observed, shrugging his shoulders.

He pulled off his gloves with rather an impatient gesture, seated himself at the piano, and struck some chords, in an annoyed manner.

"Who is that old lady?" he inquired, looking up at me. "Any relation of yours?"

"No--oh, no! I am her companion."

"So! And you mean to let her prevent you from following the career you have a talent for?"

"If I do not do as she wishes, I shall have no chance of following any career at all," said I. "And, besides, how does any one know that I have a talent--for--for--what you say?"

"I know it; that is why I said it. I wish I could persuade that old lady to my way of thinking!" he added. "I wish you were out of her hands and in mine. _Na!_ we shall see!"

It was not a very long "trial" that he gave me; we soon rose from the piano.

"To-morrow at eleven I come to give you a lesson," said he. "I am going to talk to Miss Hallam now. You please not come. I wish to see her alone; and I can manage her better by myself, _nicht wahr_!"

"Thank you," said I in a subdued tone.

"You must have a piano, too," he added; "and we must have the room to ourselves. I allow no third person to be present in my private lessons, but go on the principle of Paul Heyse's hero, Edwin, either in open lecture, or _unter vier Augen_."

With that he held the door open for me, and as I turned into my room, shook hands with me in a friendly manner, bidding me expect him on the morrow.

Certainly, I decided, Herr von Francius was quite unlike any one I had ever seen before; and how awfully cool he was and self-possessed. I liked him well, though.

The next morning Herr von Francius gave me my first lesson, and after that I had one from him nearly every day. As teacher and as acquaintance he was, as it were, two different men. As teacher he was strict, severe, gave much blame and little praise; but when he did once praise me, I remember, I carried the remembrance of it with me for days as a ray of sunshine. He seemed never surprised to find how much work had been prepared for him, although he would express displeasure sometimes at its quality. He was a teacher whom it was impossible not to respect, whom one obeyed by instinct. As man, as acquaintance, I knew little of him, though I heard much--idle tales, which it would be as idle to repeat.

They chiefly related to his domineering disposition and determination to go his own way and disregard that of others. In this fashion my life became busy enough.

CHAPTER X.

"LOHENGRIN."

As time went on, the image of Eugen Courvoisier, my unspoken of, unguessed at, friend, did not fade from my memory. It grew stronger. I thought of him every day--never went out without a distinct hope that I might see him; never came in without vivid disappointment that I had not seen him. I carried three thalers ten groschen so arranged in my purse that I could lay my hand upon them at a moment's notice, for as the days went on it appeared that Herr Courvoisier had not made up his accounts, or if he had, had not chosen to claim that part of them owed by me.

I did not see him. I began dismally to think that after all the whole thing was at an end. He did not live at Elberthal--he had certainly never told me that he did, I reminded myself. He had gone about his business and interests--had forgotten the waif he had helped one spring afternoon, and I should never see him again. My heart fell and sunk with a reasonless, aimless pang. What did it, could it, ought it to matter to me whether I ever saw him again or not? Nothing, certainly, and yet I troubled myself about it a great deal. I made little dramas in my mind of how he and I were to meet, and how I would exert my will and make him to take the money. Whenever I saw an unusually large or handsome house, I instantly fell to wondering if it were his, and sometimes made inquiries as to the owner of any particularly eligible residence. I heard of Brauns, Mullers, Piepers, Schmidts, and the like, as owners of the same--never the name Courvoisier. He had disappeared--I feared forever.

Coming in weary one day from the town, where I had been striving to make myself understood in shops, I was met by Anna Sartorius on the stairs.

She had not yet ceased to be civil to me--civil, that is, in her way--and my unreasoning aversion to her was as great as ever.

"This is the last opera of the season," said she, displaying a pink ticket. "I am glad you will get to see one, as the theater closes after to-night."

"But I am not going."

"Yes, you are. Miss Hallam has a ticket for you. I am going to chaperon you."

"I must go and see about that," said I, hastily rushing upstairs.

The news, incredible though it seemed, was quite true. The ticket lay there. I picked it up and gazed at it fondly. Stadttheater zu Elberthal.

Parquet, No. 16. As I had never been in a theater in my life, this conveyed no distinct idea to my mind, but it was quite enough for me that I was going. The rest of the party, I found, were to consist of Vincent, the Englishman, Anna Sartorius, and the Dutch boy, Brinks.

It was Friday evening, and the opera was "Lohengrin." I knew nothing, then, about different operatic styles, and my ideas of operatic music were based upon duets upon selected airs from "La Traviata," "La Somnambula," and "Lucia." I thought the story of "Lohengrin," as related by Vincent, interesting. I was not in the least aware that my first opera was to be a different one from that of most English girls. Since, I have wondered sometimes what would be the result upon the musical taste of a person who was put through a course of Wagnerian opera first, and then turned over to the Italian school--leaving Mozart, Beethoven, Gluck, to take care of themselves, as they may very well do--thus exactly reversing the usual (English) process.

Anna was very quiet that evening. Afterward I knew that she must have been observing me. We were in the first row of the parquet, with the orchestra alone between us and the stage. I was fully occupied in looking about me--now at the curtain hiding the great mystery, now behind and above me at the boxes, in a youthful state of ever-increasing hope and expectation.

"We are very early," said Vincent, who was next to me, "very early, and very near," he added, but he did not seem much distressed at either circ.u.mstance.

Then the gas was suddenly turned up quite high. The bustle increased cheerfully. The old, young, and middle-aged ladies who filled the _Logen_ in the _Erster Rang_--hardened theater-goers, who came as regularly every night in the week during the eight months of the season as they ate their breakfasts and went to their beds, were gossiping with the utmost violence, exchanging nods and odd little old-fashioned bows with other ladies in all parts of the house, leaning over to look whether the parquet was well filled, and remarking that there were more people in the _Balcon_ than usual. The musicians were dropping into the orchestra. I was startled to see a fair face I knew--that pleasant-looking young violinist with the brown eyes, whose name I had heard called out at the eye hospital. They all seemed very fond of him, particularly a man who struggled about with a violoncello, and who seemed to have a series of jokes to relate to Herr Helfen, exploding with laughter, and every now and then shaking the loose thick hair from his handsome, genial face. Helfen listened to him with a half smile, s.c.r.e.w.i.n.g up his violin and giving him a quiet look now and then. The inspiring noise of tuning up had begun, and I was on the very tiptoe of expectation.

As I turned once more and looked round, Vincent said, laughing, "Miss Wedderburn, your hat has. .h.i.t me three times in the face." It was, by the by, the brown hat which had graced my head that day at Koln.

"Oh, has it? I beg your pardon!" said I, laughing too, as I brought my eyes again to bear on the stage. "The seats are too near toge--"