The Ghost: A Modern Fantasy Part 3

"He isn't in love with Rosa, is he?" she demanded brusquely.

"In love with Rosa? Of course he isn't, my pet!" said Sullivan.

The wife glared at her husband as if angry, and Sullivan made a comic gesture of despair with his hands.

"Is he?" Mrs. Sullivan persisted, waiting for Smart's reply.

"I never thought of that," said Sir Cyril simply. "No; I should say not, decidedly not.... He may be, after all. I don't know. But if he were, that oughtn't to depress him. Even Rosa ought to be flattered by the admiration of a man like Alresca. Besides, so far as I know, they've seen very little of each other. They're too expensive to sing together often. There's only myself and Conried of New York who would dream of putting them in the same bill. I should say they hadn't sung together more than two or three times since the death of Lord Clarenceux; so, even if he has been making love to her, she's scarcely had time to refuse him--eh?"

"If he has been making love to Rosa," said Mrs. Sullivan slowly, "whether she has refused him or not, it's a misfortune for him, that's all."

"Oh, you women! you women!" Sullivan smiled. "How fond you are of each other."

Mrs. Sullivan disdained to reply to her spouse.

"And, let me tell you," she added, "he has been making love to her."

The talk momentarily ceased, and in order to demonstrate that I was not tongue-tied in the company of these celebrities, I ventured to inquire what Lord Clarenceux, whose riches and eccentricities had reached even the Scottish newspapers, had to do with the matter.

"Lord Clarenceux was secretly engaged to Rosa in Vienna," Sir Cyril replied. "That was about two and a half years ago. He died shortly afterwards. It was a terrible shock for her. Indeed, I have always thought that the shock had something to do with her notorious quarrel with us. She isn't naturally quarrelsome, so far as I can judge, though really I have seen very little of her."

"By the way, what was the real history of that quarrel?" said Sullivan. "I only know the beginning of it, and I expect Carl doesn't know even that, do you, Carl?"

"No," I murmured modestly. "But perhaps it's a State secret."

"Not in the least," Sir Cyril said, turning to me. "I first heard Rosa in Genoa--the opera-house there is more of a barn even than this, and a worse stage than this used to be, if that's possible. She was nineteen. Of course, I knew instantly that I had met with the chance of my life. In my time I have discovered eleven stars, but this was a sun. I engaged her at once, and she appeared here in the following July. She sang twelve times, and--well, you know the sensation there was. I had offered her twenty pounds a night in Genoa, and she seemed mighty enchanted.

"After her season here I offered her two hundred pounds a night for the following year; but Lord Clarenceux had met her then, and she merely said she would think it over. She wouldn't sign a contract. I was annoyed. My motto is, 'Never be annoyed,' but I was. Next to herself, she owed everything to me. She went to Vienna to fulfil an engagement, and Lord Clarenceux after her. I followed. I saw her, and I laid myself out to arrange terms of peace.

"I have had difficulties with prime donne before, scores of times.

Yes; I have had experience." He laughed sardonically. "I thought I knew what to do. Generally a prima donna has either a pet dog or a pet parrot--sopranos go in for dogs, contraltos seem to prefer parrots. I have made a study of these agreeable animals, and I have found that through them their mistresses can be approached when all other avenues are closed. I can talk doggily to poodles in five languages, and in the art of administering sugar to the bird I am, I venture to think, unrivalled. But Rosa had no pets. And after a week's negotiation, I was compelled to own myself beaten. It was a disadvantage to me that she wouldn't lose her temper. She was too polite; she really was grateful for what I had done for her. She gave me no chance to work on her feelings. But beyond all this there was something strange about Rosa, something I have never been able to fathom. She isn't a child like most of 'em. She's as strong-headed as I am myself, every bit!"

He paused, as if inwardly working at the problem.

"Well, and how did you make it up?" Sullivan asked briskly.

(As for me, I felt as if I had come suddenly into the centre of the great world.)

"Oh, nothing happened for a time. She sang in Paris and America, and took her proper place as the first soprano in the world. I did without her, and managed very well. Then early this spring she sent her agent to see me, and offered to sing ten times for three thousand pounds.

They can't keep away from London, you know. New York and Chicago are all very well for money, but if they don't sing in London people ask 'em why. I wanted to jump at the offer, but I pretended not to be eager. Up till then she had confined herself to French operas; so I said that London wouldn't stand an exclusively French repertoire from any one, and would she sing in 'Lohengrin.' She would. I suggested that she should open with 'Lohengrin,' and she agreed. The price was stiffish, but I didn't quarrel with that. I never drive bargains. She is twenty-two now, or twenty-three; in a few more years she will want five hundred pounds a night, and I shall have to pay it."

"And how did she meet you?"

"With just the same cold politeness. And I understand her less than ever."

"She isn't English, I suppose?" I put in.

"English!" Sir Cyril e.j.a.c.u.l.a.t.ed. "No one ever heard of a great English soprano. Unless you count Australia as England, and Australia wouldn't like that. No. That is another of her mysteries. No one knows where she emerged from. She speaks English and French with absolute perfection. Her Italian accent is beautiful. She talks German freely, but badly. I have heard that she speaks perfect Flemish,--which is curious,--but I do not know."

"Well," said Sullivan, nodding his head, "give me the theatrical as opposed to the operatic star. The theatrical star's bad enough, and mysterious enough, and awkward enough. But, thank goodness, she isn't polite--at least, those at the Diana aren't. You can speak your mind to 'em. And that reminds me, Smart, about that costume of Effie's in the first act of 'My Queen.' Of course you'll insist--"

"Don't talk your horrid shop now, Sullivan," his wife said; and Sullivan didn't.

The prelude to the third act was played, and the curtain went up on the bridal chamber of Elsa and Lohengrin. Sir Cyril Smart rose as if to go, but lingered, eying the stage as a general might eye a battle-field from a neighboring hill. The music of the two processions was heard approaching from the distance. Then, to the too familiar strains of the wedding march, the ladies began to enter on the right, and the gentlemen on the left. Elsa appeared amid her ladies, but there was no Lohengrin in the other crowd. The double chorus proceeded, and then a certain excitement was visible on the stage, and the conductor made signs with his left hand.

"Smart, what's wrong? Where's Alresca?" It was Sullivan who spoke.

"He'll sail in all right," Sir Cyril said calmly. "Don't worry."

The renowned impresario had advanced nearer to the front of our box, and was standing immediately behind my chair. My heart was beating violently with apprehension under my shirt-front. Where was Alresca?

It was surely impossible that he should fail to appear! But he ought to have been on the stage, and he was not on the stage. I stole a glance at Sir Cyril's face. It was Napoleonic in its impa.s.sivity.

And I said to myself:

"He is used to this kind of thing. Naturally slips must happen sometimes."

Still, I could not control my excitement.

Emmeline's hand was convulsively clutching at the velvet-covered bal.u.s.trade of the box.

"It'll be all right," I repeated to myself.

But when the moment came for the king to bless the bridal pair, and there was no Lohengrin to bless, even the impa.s.sive Sir Cyril seemed likely to be disturbed, and you could hear murmurs of apprehension from all parts of the house. The conductor, however, went doggedly on, evidently hoping for the best.

At last the end of the procession was leaving the stage, and Elsa was sitting on the bed alone. Still no Lohengrin. The violins arrived at the muted chord of B flat, which is Lohengrin's cue. They hung on it for a second, and then the conductor dropped his baton. A bell rang.

The curtain descended. The lights were turned up, and there was a swift loosing of tongues in the house. People were pointing to Sir Cyril in our box. As for him, he seemed to be the only unmoved person in the audience.

"That's never occurred before in my time," he said. "Alresca was not mistaken. Something has happened. I must go."

But he did not go. And I perceived that, though the calm of his demeanor was unimpaired, this unprecedented calamity had completely robbed him of his power of initiative. He could not move. He was nonplussed.

The door of the box opened, and an official with a blazing diamond in his shirt-front entered hurriedly.

"What is it, Nolan?"

"There's been an accident to Monsieur Alresca, Sir Cyril, and they want a doctor."

It was the chance of a lifetime! I ought to have sprung up and proudly announced, "I'm a doctor." But did I? No! I was so timid, I was so unaccustomed to being a doctor, that I dared not for the life of me utter a word. It was as if I was almost ashamed of being a doctor. I wonder if my state of mind will be understood.

"Carl's a doctor," said Sullivan.

How I blushed!

"Are you?" said Sir Cyril, suddenly emerging from his condition of suspended activity. "I never guessed it. Come along with us, will you?"

"With pleasure," I answered as briskly as I could.