The Project Gutenberg EBook of Far-away Stories, by William J. Locke This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Far-away Stories Author: William J. Locke Release Date: November 18, 2015 [EBook #50479] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK FAR-AWAY STORIES *** Produced by Al Haines FAR-AWAY STORIES BY WILLIAM J. LOCKE AUTHOR OF "THE ROUGH ROAD," "THE RED PLANET," "THE WONDERFUL YEAR," "THE BELOVED VAGABOND," ETC. NEW YORK: JOHN LANE COMPANY LONDON: JOHN LANE, THE BODLEY HEAD TORONTO: S. B. GUNDY MCMXIX COPYRIGHT, 1919, BY JOHN LANE COMPANY THE PLIMPTON PRESS NORWOOD, MASS. U.S.A. TO THE READER DEAR SIR OR MADAM:— Good wine needs no bush, but a collection of mixed vintages does. And this book is just such a collection. Some of the stories I do not want to remain buried for ever in the museum files of dead magazine-numbers—an author's not unpardonable vanity; others I have resuscitated from the same vaults in the hope that they still may please you. The title of a volume of short stories is always a difficult matter. It ought to indicate frankly the nature of the book so that the unwary purchaser shall have no grievance (except on the score of merit, which is a different affair altogether) against either author or publisher. In my title I have tried to solve the problem. But why "Far-away?" Well, the stories cover a long stretch of years, and all, save one, were written in calm days far-away from the present convulsion of the world. Anyhow, no one will buy the book under the impression that it is a novel, and, finding that it isn't, revile me as a cheat. And so I have the pleasure of offering it for your perusal with a clear conscience. You, Dear Sir or Madam, have given me, this many a year, an indulgence beyond my deserts. Till now, I have had no opportunity of thanking you. I do now with a grateful heart, and to you I dedicate the two stories that I love the best, hoping that they may excuse those for which you may not so much care, and that they may win continuance of that which is to me, both as a writer and as a human being, my most cherished possession, namely, your favourable regard for Your most humble and obedient Servant to command, W. J. LOCKE June, 1919 CONTENTS THE SONG OF LIFE LADIES IN LAVENDER STUDIES IN BLINDNESS I. AN OLD-WORLD EPISODE II. THE CONQUEROR III. A LOVER'S DILEMMA IV. A WOMAN OF THE WAR THE PRINCESS'S KINGDOM THE HEART AT TWENTY THE SCOURGE MY SHADOW FRIENDS THE SONG OF LIFE Non cuivis homini contingit adire Corinthum. It is not everybody's good fortune to go to Corinth. It is also not everybody's good fortune to go to Peckham—still less to live there. But if you were one of the favoured few, and were wont to haunt the Peckham Road and High Street, the bent figure of Angelo Fardetti would have been as familiar to you as the vast frontage of the great Emporium which, in the drapery world, makes Peckham illustrious among London suburbs. You would have seen him humbly threading his way through the female swarms that clustered at the plate-glass windows—the mere drones of the hive were fooling their frivolous lives away over ledgers in the City—the inquiry of a lost dog in his patient eyes, and an unconscious challenge to Philistia in the wiry bush of white hair that protruded beneath his perky soft felt hat. If he had been short, he might have passed unregarded; but he was very tall—in his heyday he had been six foot two—and very thin. You smile as you recall to mind the black frock-coat, somewhat white at the seams, which, tightly buttoned, had the fit of a garment of corrugated iron. Although he was so tall one never noticed the inconsiderable stretch of trouser below the long skirt. He always appeared to be wearing a truncated cassock. You were inclined to laugh at this queer exotic of the Peckham Road until you looked more keenly at the man himself. Then you saw an old, old face, very swarthy, very lined, very beautiful still in its regularity of feature, maintaining in a little white moustache with waxed ends a pathetic braggadocio of youth; a face in which the sorrows of the world seemed to have their dwelling, but sorrows that on their way thither had passed through the crucible of a simple soul. Twice a day it was his habit to walk there; shops and faces a meaningless confusion to his eyes, but his ears alert to the many harmonies of the orchestra of the great thoroughfare. For Angelo Fardetti was a musician. Such had he been born; such had he lived. Those aspects of life which could not be interpreted in terms of music were to him unintelligible. During his seventy years empires had crumbled, mighty kingdoms had arisen, bloody wars had been fought, magic conquests been made by man over nature. But none of these convulsive facts had ever stirred Angelo Fardetti's imagination. Even his country he had well-nigh forgotten; it was so many years since he had left it, so much music had passed since then through his being. Yet he had never learned to speak English correctly; and, not having an adequate language (save music) in which to clothe his thoughts, he spoke very little. When addressed he smiled at you sweetly like a pleasant, inarticulate old child. Though his figure was so familiar to the inhabitants of Peckham, few knew how and where he lived. As a matter of fact, he lived a few hundred yards away from the busy High Street, in Formosa Terrace, at the house of one Anton Kirilov, a musician. He had lodged with the Kirilovs for over twenty years—but not always in the roomy splendour of Formosa Terrace. Once Angelo was first violin in an important orchestra, a man of mark, while Anton fiddled away in the obscurity of a fifth-rate music-hall. Then the famous violinist rented the drawing-room floor of the Kirilovs' little house in Clapham, while the Kirilovs, humble folk, got on as best they could. Now things had changed. Anton Kirilov was musical director of a London theatre, but Angelo, through age and rheumatism and other infirmities, could fiddle in public no more; and so it came to pass that Anton Kirilov and Olga, his wife, and Sonia, their daughter (to whom Angelo had stood godfather twenty years ago), rioted in spaciousness, while the old man lodged in tiny rooms at the top of the house, paying an infinitesimal rent and otherwise living on his scanty savings and such few shillings as he could earn by copying out parts and giving lessons to here and there a snub-nosed little girl in a tradesman's back parlour. Often he might have gone without sufficient nourishment had not Mrs. Kirilov seen to it; and whenever an extra good dish, succulent and strong, appeared at her table, either Sonia or the servant carried a plateful upstairs with homely compliments. "You are making of me a spoiled child, Olga," he would say sometimes, "and I ought not to eat of the food for which Anton works so hard." And she would reply with a laugh: "If we did not keep you alive, Signor Fardetti, how should we have our quatuors on Sunday afternoons?" You see, Mrs. Kirilov, like the good Anton, had lived all her life in music too—she was a pianist; and Sonia also was a musician—she played the 'cello in a ladies' orchestra. So they had famous Sunday quatuors at Formosa Terrace, in which Fardetti was well content to play second fiddle to Anton's first. You see, also, that but for these honest souls to whom a musician like Fardetti was a sort of blood-brother, the evening of the old man's days might have been one of tragic sadness. But even their affection and his glad pride in the brilliant success of his old pupil, Geoffrey Chase, could not mitigate the one great sorrow of his life. The violin, yes; he had played it well; he had not aimed at a great soloist's fame, for want of early training, and he had never dreamed such unrealisable dreams; but other dreams had he dreamed with passionate intensity. He had dreamed of being a great composer, and he had beaten his heart out against the bars that shut him from the great mystery. A waltz or two, a few songs, a catchy march, had been published and performed, and had brought him unprized money and a little hateful repute; but the compositions into which he had poured his soul remained in dusty manuscript, despised and rejected of musical men. For many years the artist's imperious craving to create and hope and will kept him serene. Then, in the prime of his days, a tremendous inspiration shook him. He had a divine message to proclaim to the world, a song of life itself, a revelation. It was life, indestructible, eternal. It was the seed that grew into the tree; the tree that flourished lustily, and then grew bare and stark and perished; the seed, again, of the tree that rose unconquerable into the laughing leaf of spring. It was the kiss of lovers that, when they were dead and gone, lived immortal on the lips of grandchildren. It was the endless roll of the seasons, the majestic, triumphant rhythm of existence. It was a cosmic chant, telling of things as only music could tell of them, and as no musician had ever told of them before. He attempted the impossible, you will say. He did. That was the pity of it. He spent the last drop of his heart's blood over his sonata. He wrote it and rewrote it, wasting years, but never could he imprison within those remorseless ruled lines the elusive sounds that shook his being. An approximation to his dream reached the stage of a completed score. But he knew that it was thin and lifeless. The themes that were to be developed into magic harmonies tinkled into commonplace. The shell of this vast conception was there, but the shell alone. The thing could not live without the unseizable, and that he had not seized. Angelo Fardetti, broken down by toil and misery, fell very sick. Doctors recommended Brighton. Docile as a child, he went to Brighton, and there a pretty lady who admired his playing at the Monday Popular Concerts at St. James's Hall, got hold of him and married him. When she ran away, a year later, with a dashing young stockbroker, he took the score of the sonata that was to be the whole interpretation of life from its half-forgotten hiding-place, played it through on the piano, burst into a passion of tears, in the uncontrollable Italian way, sold up his house, and went to lodge with Anton Kirilov. To no son or daughter of man did he ever show a note or play a bar of the sonata. And never again did he write a line of music. Bravely and humbly he faced life, though the tragedy of failure made him prematurely old. And all through the years the sublime message reverberated in his soul and haunted his dreams; and his was the bitter sorrow of knowing that never should that message be delivered for the comforting of the world. The loss of his position as first violin forced him, at sixty, to take more obscure engagements. That was when he followed the Kirilovs to Peckham. And then he met the joy of his old age—his one pupil of genius, Geoffrey Chase, an untrained lad of fourteen, the son of a well-to-do seed merchant in the High Street. "His father thinks it waste of time," said Mrs. Chase, a gentle, mild-eyed woman, when she brought the boy to him, "but Geoffrey is so set on it—and so I've persuaded his father to let him have lessons." "Do you, too, love music?" he asked. Her eyes grew moist, and she nodded. "Poor lady! He should not let you starve. Never mind," he said, patting her shoulder. "Take comfort. I will teach your boy to play for you." And he did. He taught him for three years. He taught him passionately all he knew, for Geoffrey, with music in his blood, had the great gift of the composer. He poured upon the boy all the love of his lonely old heart, and dreamed glorious dreams of his future. The Kirilovs, too, regarded Geoffrey as a prodigy, and welcomed him into their circle, and made much of him. And little Sonia fell in love with him, and he, in his boyish way, fell in love with the dark-haired maiden who played on a 'cello so much bigger than herself. At last the time came when Angelo said: "My son, I can teach you no more. You must go to Milan." "My father will never consent," said Geoffrey. "We will try to arrange that," said Angelo. So, in their simple ways, Angelo and Mrs. Chase intrigued together until they prevailed upon Mr. Chase to attend one of the Kirilovs' Sunday concerts. He came in church-going clothes, and sat with irreconcilable stiffness on a straight-backed chair. His wife sat close by, much agitated. The others played a concerto arranged as a quintette; Geoffrey first violin, Angelo second, Sonia 'cello, Anton bass, and Mrs. Kirilov at the piano. It was a piece of exquisite tenderness and beauty. "Very pretty," said Mr. Chase. "It's beautiful," cried his wife, with tears in her eyes. "I said so," remarked Mr. Chase. "And what do you think of my pupil?" Angelo asked excitedly. "I think he plays very nicely," Mr. Chase admitted. "But, dear heavens!" cried Angelo. "It is not his playing! One could pick up fifty better violinists in the street. It is the concerto—the composition." Mr. Chase rose slowly to his feet. "Do you mean to tell me that Geoffrey made up all that himself?" "Of course. Didn't you know?" "Will you play it again?" Gladly they assented. When it was over he took Angelo out into the passage. "I'm not one of those narrow-minded people who don't believe in art, Mr. Fardetti," said he. "And Geoff has already shown me that he can't sell seeds for toffee. But if he takes up music, will he be able to earn his living at it?" "Beyond doubt," replied Angelo, with a wide gesture. "But a good living? You'll forgive me being personal, Mr. Fardetti, but you yourself——" "I," said the old man humbly, "am only a poor fiddler—but your son is a great musical genius." "I'll think over it," said Mr. Chase. Mr. Chase thought over it, and Geoffrey went to Milan, and Angelo Fardetti was once more left desolate. On the day of the lad's departure he and Sonia wept a little in each other's arms, and late that night he once more unearthed the completed score of his sonata, and scanned it through in vain hope of comfort. But as the months passed comfort came. His beloved swan was not a goose, but a wonder among swans. He was a wonder at the Milan Conservatoire, and won prize after prize and medal after medal, and every time he came home he bore his blushing honours thicker upon him. And he remained the same frank, simple youth, always filled with gratitude and reverence for his old master, and though on familiar student terms with all conditions of cosmopolitan damsels, never faithless to the little Anglo-Russian maiden whom he had left at home. In the course of time his studies were over, and he returned to England. A professorship at the Royal School of Music very soon rendered him financially independent. He began to create. Here and there a piece of his was played at concerts. He wrote incidental music for solemn productions at great London theatres. Critics discovered him, and wrote much about him in the newspapers. Mr. Chase, the seed merchant, though professing to his wife a man-of-the-world's indifference to notoriety, used surreptitiously to cut out the notices and carry them about in his fat pocket-book, and whenever he had a new one he would lie in wait for the lean figure of Angelo Fardetti, and hale him into the shop and make him drink Geoffrey's health in sloe gin, which Angelo abhorred, but gulped down in honour of the prodigy. One fine October morning Angelo Fardetti missed his walk. He sat instead by his window, and looked unseeingly at the prim row of houses on the opposite side of Formosa Terrace. He had not the heart to go out—and, indeed, he had not the money; for these walks, twice daily, along the High Street and the Peckham Road, took him to and from a queer little Italian restaurant which, with him apparently as its only client, had eked out for years a mysterious and precarious existence. He felt very old—he was seventy-two, very useless, very poor. He had lost his last pupil, a fat, unintelligent girl of thirteen, the daughter of a local chemist, and no one had sent him any copying work for a week. He had nothing to do. He could not even walk to his usual sparrow's meal. It is sad when you are so old that you cannot earn the right to live in a world which wants you no longer. Looking at unseen bricks through a small window-pane was little consolation. Mechanically he rose and went to a grand piano, his one possession of price, which, with an old horsehair sofa, an oval table covered with a maroon cloth, and a chair or two, congested the tiny room, and, sitting down, began to play one of Stephen Heller's Nuits Blanches. You see, Angelo Fardetti was an old-fashioned musician. Suddenly a phrase arrested him. He stopped dead, and remained staring out over the polished plane of the piano. For a few moments he was lost in the chain of associated musical ideas. Then suddenly his swarthy, lined face lit up, and he twirled his little white moustache and began to improvise, striking great majestic chords. Presently he rose, and from a pile of loose music in a corner drew a sheet of ruled paper. He returned to the piano, and began feverishly to pencil down his inspiration. His pulses throbbed. At last he had got the great andante movement of his sonata. For an hour he worked intensely; then came the inevitable check. Nothing more would come. He rose and walked about the room, his head swimming. After a quarter of an hour he played over what he had written, and then, with a groan of despair, fell forward, his arms on the keys, his bushy white head on his arms. The door opened, and Sonia, comely and shapely, entered the room, carrying a tray with food and drink set out on a white cloth. Seeing him bowed over the piano, she put the tray on the table and advanced. "Dear godfather," she said gently, her hand on his shoulder. He raised his head and smiled. "I did not hear you, my little Sonia." "You have been composing?" He sat upright, and tore the pencilled sheets into fragments, which he dropped in a handful on the floor. "Once, long ago, I had a dream. I lost it. To-day I thought that I had found it. But do you know what I did really find?" "No, godfather," replied Sonia, stooping, with housewifely tidiness, to pick up the litter. "That I am a poor old fool," said he. Sonia threw the paper into the grate and again came up behind him. "It is better to have lost a dream than never to have had one at all. What was your dream?" "I thought I could write the Song of Life as I heard it—as I hear it still." He smote his forehead lightly. "But no! God has not considered me worthy to sing it. I bow my head to His—to His"—he sought for the word with thin fingers—"to His decree." She said, with the indulgent wisdom of youth speaking to age: "He has given you the power to love and to win love." The old man swung round on the music-stool and put his arm round her waist and smiled into her young face. "Geoffrey is a very fortunate fellow." "Because he's a successful composer?" He looked at her and shook his head, and Sonia, knowing what he meant, blushed very prettily. Then she laughed and broke away. "Mother has had seventeen partridges sent her as presents this week, and she wants you to help her eat them, and father's offered a bargain in some good Beaujolais, and won't decide until you tell him what you think of it." Deftly she set out the meal, and drew a chair to the table. Angelo Fardetti rose. "That I should love you all," said he simply, "is only human, but that you should so much love me is more than I can understand." You see, he knew that watchful ears had missed his usual outgoing footsteps, and that watchful hearts had divined the reason. To refuse, to hesitate, would be to reject love. So there was no more to be said. He sat down meekly, and Sonia ministered to his wants. As soon as she saw that he was making headway with the partridge and the burgundy, she too sat by the table. "Godfather," she said, "I've had splendid news this morning." "Geoffrey?" "Of course. What other news could be splendid? His Symphony in E flat is going to be given at the Queen's Hall." "That is indeed beautiful news," said the old man, laying down knife and fork, "but I did not know that he had written a Symphony in E flat." "That was why he went and buried himself for months in Cornwall—to finish it," she explained. "I knew nothing about it. Aie! aie!" he sighed. "It is to you, and no longer to me, that he tells things." "You silly, jealous old dear!" she laughed. "He had to account for deserting me all the summer. But as to what it's all about, I'm as ignorant as you are. I've not heard a note of it. Sometimes Geoff is like that, you know. If he's dead certain sure of himself, he won't have any criticism or opinions while the work's in progress. It's only when he's doubtful that he brings one in. And the doubtful things are never anything like the certain ones. You must have noticed it." "That is true," said Angelo Fardetti, taking up knife and fork again. "He was like that since he was a boy." "It is going to be given on Saturday fortnight. He'll conduct himself. They've got a splendid programme to send him off. Lembrich's going to play, and Carli's going to sing—just for his sake. Isn't it gorgeous?" "It is grand. But what does Geoffrey say about it? Come, come, after all he is not the sphinx." He drummed his fingers impatiently on the table. "Would you really like to know?" "I am waiting." "He says it's going to knock 'em!" she laughed. "Knock 'em?" "Those were his words." "But——" She interpreted into purer English. Geoffrey was confident that his symphony would achieve a sensational success. "In the meanwhile," said she, "if you don't finish your partridge you'll break mother's heart." She poured out a glass of burgundy, which the old man drank; but he refused the food. "No, no," he said, "I cannot eat more. I have a lump there—in my throat. I am too excited. I feel that he is marching to his great triumph. My little Geoffrey." He rose, knocking his chair over, and strode about the confined space. "Sacramento! But I am a wicked old man. I was sorrowful because I was so dull, so stupid that I could not write a sonata. I blamed the good God. Mea maxima culpa. And at once he sends me a partridge in a halo of love, and the news of my dear son's glory——" Sonia stopped him, her plump hands on the front of his old corrugated frock-coat. "And your glory, too, dear godfather. If it hadn't been for you, where would Geoffrey be? And who realises it more than Geoffrey? Would you like to see a bit of his letter? Only a little bit—for there's a lot of rubbish in it that I would be ashamed of anybody who thinks well of him to read—but just a little bit." Her hand was at the broad belt joining blouse and skirt. Angelo, towering above her, smiled with an old man's tenderness at the laughing love in her dark eyes, and at the happiness in her young, comely face. Her features were generous, and her mouth frankly large, but her lips were fresh and her teeth white and even, and to the old fellow she looked all that man could dream of the virginal mother-to-be of great sons. She fished the letter from her belt, scanned and folded it carefully. "There! Read." And Angelo Fardetti read: "I've learned my theory and technique, and God knows what—things that only they could teach me—from professors with world-famous names. But for real inspiration, for the fount of music itself, I come back all the time to our dear old maestro, Angelo Fardetti. I can't for the life of me define what it is, but he opened for me a secret chamber behind whose concealed door all these illustrious chaps have walked unsuspectingly. It seems silly to say it because, beyond a few odds and ends, the dear old man has composed nothing, but I am convinced that I owe the essentials of everything I do in music to his teaching and influence." Angelo gave her back the folded letter without a word, and turned and stood again by the window, staring unseeingly at the prim, semi-detached villas opposite. Sonia, having re-hidden her treasure, stole up to him. Feeling her near, he stretched out a hand and laid it on her head. "God is very wonderful," said he—"very mysterious. Oh, and so good!" He fumbled, absently and foolishly, with her well-ordered hair, saying nothing more. After a while she freed herself gently and led him back to his partridge. A day or two afterwards Geoffrey came to Peckham, and mounted with Sonia to Fardetti's rooms, where the old man embraced him tenderly, and expressed his joy in the exuberant foreign way. Geoffrey received the welcome with an Englishman's laughing embarrassment. Perhaps the only fault that Angelo Fardetti could find in the beloved pupil was his uncompromising English manner and appearance. His well-set figure and crisp, short fair hair and fair moustache did not sufficiently express him as a great musician. Angelo had to content himself with the lad's eyes—musician's eyes, as he said, very bright, arresting, dark blue, with depths like sapphires, in which lay strange thoughts and human laughter. "I've only run in, dear old maestro, to pass the time of day with you, and to give you a ticket for my Queen's Hall show. You'll come, won't you?" "He asks if I will come! I would get out of my coffin and walk through the streets!" "I think you'll be pleased," said Geoffrey. "I've been goodness knows how long over it, and I've put into it all I know. If it doesn't come off, I'll——" He paused. "You will commit no rashness," cried the old man in alarm. "I will. I'll marry Sonia the very next day!" There was laughing talk, and the three spent a happy little quarter of an hour. But Geoffrey went away without giving either of the others an inkling of the nature of his famous symphony. It was Geoffrey's way. The fateful afternoon arrived. Angelo Fardetti, sitting in the stalls of the Queen's Hall with Sonia and her parents, looked round the great auditorium, and thrilled with pleasure at seeing it full. London had thronged to hear the first performance of his beloved's symphony. As a matter of fact, London had also come to hear the wonderful orchestra give Tchaikowsky's Fourth Symphony, and to hear Lembrich play the violin and Carli sing, which they did once in a blue moon at a symphony concert. But in the old man's eyes these ineffectual fires paled before Geoffrey's genius. So great was his suspense and agitation that he could pay but scant attention to the first two items on the programme. It seemed almost like unmeaning music, far away. During the interval before the Symphony in E flat his thin hand found Sonia's, and held it tight, and she returned the pressure. She, too, was sick with anxiety. The great orchestra, tier upon tier, was a-flutter with the performers scrambling into their places, and with leaves of scores being turned over, and with a myriad moving bows. Then all having settled into the order of a vast machine, Geoffrey appeared at the conductor's stand. Comforting applause greeted him. Was he not the rising hope of English music? Many others beside those four to whom he was dear, and the mother and father who sat a little way in front of them, felt the same nervous apprehension. The future of English music was at stake. Would it be yet one more disappointment and disillusion, or would it rank the young English composer with the immortals? Geoffrey bowed smilingly at the audience, turned and with his baton gave the signal to begin. Although only a few years have passed since that memorable first performance, the modestly named Symphony in E flat is now famous and Geoffrey Chase is a great man the wide world over. To every lover of music the symphony is familiar. But only those who were present at the Queen's Hall on that late October afternoon can realise the wild rapture of enthusiasm with which the symphony was greeted. It answered all longings, solved all mysteries. It interpreted, for all who had ears to hear, the fairy dew of love, the burning depths of passion, sorrow and death, and the eternal Triumph of Life. Intensely modern and faultless in technique, it was new, unexpected, individual, unrelated to any school. The scene was one of raging tumult; but there was one human being who did not applaud, and that was the old musician, forgotten of the world, Angelo Fardetti. He had fainted. All through the piece he had sat, bolt upright, his nerves strung to breaking-point, his dark cheeks growing greyer and greyer, and the stare in his eyes growing more and more strange, and the grip on the girl's hand growing more and more vice-like, until she, for sheer agony, had to free herself. And none concerned themselves about him; not even Sonia, for she was enwrapped in the soul of her lover's music. And even between the movements her heart was too full for speech or thought, and when she looked at the old man, she saw him smile wanly and nod his head as one who, like herself, was speechless with emotion. At the end the storm burst. She rose with the shouting, clapping, hand- and handkerchief-waving house, and suddenly, missing him from her side, glanced round and saw him huddled up unconscious in his stall. The noise and movement were so great that few noticed the long lean old figure being carried out of the hall by one of the side doors fortunately near. In the vestibule, attended by the good Anton and his wife and Sonia, and a commissionaire, he recovered. When he could speak, he looked round and said: "I am a silly old fellow. I am sorry I have spoiled your happiness. I think I must be too old for happiness, for this is how it has treated me." There was much discussion between his friends as to what should be done, but good Mrs. Kirilov, once girlishly plump, when Angelo had first known her, now florid and fat and motherly, had her way, and, leaving Anton and Sonia to see the hero of the afternoon, if they could, drove off in a cab to Peckham with the over-wrought old man and put him to bed and gave him homely remedies, invalid food and drink, and commanded him to sleep till morning. But Angelo Fardetti disobeyed her. For Sonia, although she had found him meekly between the sheets when she went up to see him that evening, heard him later, as she was going to bed—his sitting-room was immediately above her —playing over, on muted strings, various themes of Geoffrey's symphony. At last she went up to his room and put her head in at the door, and saw him, a lank, dilapidated figure in an old, old dressing-gown, fiddle and bow in hand. "Oh! oh!" she rated. "You are a naughty, naughty old dear. Go to bed at once." He smiled like a guilty but spoiled child. "I will go," said he. In the morning she herself took up his simple breakfast and all the newspapers folded at the page on which the notices of the concert were printed. The Press was unanimous in acclamation of the great genius that had raised English music to the spheres. She sat at the foot of the bed and read to him while he sipped his coffee and munched his roll, and, absorbed in her own tremendous happiness, was content to feel the glow of the old man's sympathy. There was little to be said save exclamatory pæans, so overwhelming was the triumph. Tears streamed down his lined cheeks, and between the tears there shone the light of a strange gladness in his eyes. Presently Sonia left him and went about her household duties. An hour or so afterwards she caught the sound of his piano; again he was recalling bits of the great symphony, and she marvelled at his musical memory. Then about half-past eleven she saw him leave the house and stride away, his head in the air, his bent shoulders curiously erect. Soon came the clatter of a cab stopping at the front door, and Geoffrey Chase, for whom she had been watching from her window, leaped out upon the pavement. She ran down and admitted him. He caught her in his arms and they stood clinging in a long embrace. "It's too wonderful to talk about," she whispered. "Then don't let us talk about it," he laughed. "As if we could help it! I can think of nothing else." "I can—you," said he, and kissed her again. Now, in spite of the spaciousness of the house in Formosa Terrace, it had only two reception-rooms, as the house- agents grandiloquently term them, and these, dining-room and drawing-room, were respectively occupied by Anton and Mrs. Kirilov engaged in their morning lessons. The passage where the young people stood was no fit place for lovers' meetings. "Let us go up to the maestro's. He's out," said Sonia. They did as they had often done in like circumstances. Indeed, the old man, before now, had given up his sitting- room to them, feigning an unconquerable desire to walk abroad. Were they not his children, dearer to him than anyone else in the world? So it was natural that they should make themselves at home in his tiny den. They sat and talked of the great victory, of the playing of the orchestra, of passages that he might take slower or quicker next time, of the ovation, of the mountain of congratulatory telegrams and letters that blocked up his rooms. They talked of Angelo Fardetti and his deep emotion and his pride. And they talked of the future, of their marriage which was to take place very soon. She suggested postponement. "I want you to be quite sure. This must make a difference." "Difference!" he cried indignantly. She waved him off and sat on the music-stool by the piano. "I must speak sensibly. You are one of the great ones of the musical world, one of the great ones of the world itself. You will go on and on. You will have all sorts of honours heaped on you. You will go about among lords and ladies, what is called Society—oh, I know, you'll not be able to help it. And all the time I remain what I am, just a poor little common girl, a member of a twopenny-halfpenny ladies' band. I'd rather you regretted having taken up with me before than after. So we ought to put it off." He answered her as a good man who loves deeply can only answer. Her heart was convinced; but she turned her head aside and thought of further argument. Her eye fell on some music open on the rest, and mechanically, with a musician's instinct, she fingered a few bars. The strange familiarity of the theme startled her out of preoccupation. She continued the treble, and suddenly with a cold shiver of wonder, crashed down both hands and played on. Geoffrey strode up to her. "What's that you're playing?" She pointed hastily to the score. He bent over and stared at the faded manuscript. "Why, good God!" he cried, "it's my symphony." She stopped, swung round and faced him with fear in her eyes. "Yes. It's your symphony." He took the thick manuscript from the rest and looked at the brown-paper cover. On it was written: "The Song of Life. A Sonata by Angelo Fardetti. September, 1878." There was an amazed silence. Then, in a queer accusing voice, Sonia cried out: "Geoffrey, what have you done?" "Heaven knows; but I've never known of this before. My God! Open the thing somewhere else and see." So Sonia opened the manuscript at random and played, and again it was an echo of Geoffrey's symphony. He sank on a chair like a man crushed by an overwhelming fatality, and held his head in his hands. "I oughtn't to have done it," he groaned. "But it was more than me. The thing overmastered me, it haunted me so that I couldn't sleep, and the more it haunted me the more it became my own, my very own. It was too big to lose." Sonia held him with scared eyes. "What are you talking of?" she asked. "The way I came to write the Symphony. It's like a nightmare." He rose. "A couple of years ago," said he, "I bought a bundle of old music at a second-hand shop. It contained a collection of eighteenth-century stuff which I wanted. I took the whole lot, and on going through it, found a clump of old, discoloured manuscript partly in faded brown ink, partly in pencil. It was mostly rough notes. I tried it out of curiosity. The composition was feeble and the orchestration childish—I thought it the work of some dead and forgotten amateur—but it was crammed full of ideas, crammed full of beauty. I began tinkering it about, to amuse myself. The more I worked on it the more it fascinated me. It became an obsession. Then I pitched the old score away and started it on my own." "The maestro sold a lot of old music about that time," said Sonia. The young man threw up his hands. "It's a fatality, an awful fatality. My God," he cried, "to think that I of all men should have stolen Angelo Fardetti's music!" "No wonder he fainted yesterday," said Sonia. It was catastrophe. Both regarded it in remorseful silence. Sonia said at last: "You'll have to explain." "Of course, of course. But what must the dear old fellow be thinking of me? What else but that I've got hold of this surreptitiously, while he was out of the room? What else but that I'm a mean thief?" "He loves you, dear, enough to forgive you anything." "It's the Unforgivable Sin. I'm wiped out. I cease to exist as an honest man. But I had no idea," he cried, with the instinct of self-defence, "that I had come so near him. I thought I had just got a theme here and there. I thought I had recast all the odds and ends according to my own scheme." He ran his eye over a page or two of the score. "Yes, this is practically the same as the old rough notes. But there was a lot, of course, I couldn't use. Look at that, for instance." He indicated a passage. "I can't read it like you," said Sonia. "I must play it." She turned again to the piano, and played the thin, uninspired music that had no relation to the Symphony in E flat, and her eyes filled with tears as she remembered poignantly what the old man had told her of his Song of Life. She went on and on until the music quickened into one of the familiar themes; and the tears fell, for she knew how poorly it was treated. And then the door burst open. Sonia stopped dead in the middle of a bar, and they both turned round to find Angelo Fardetti standing on the threshold. "Ah, no!" he cried, waving his thin hands. "Put that away. I did not know I had left it out. You must not play that. Ah, my son! my son!" He rushed forward and clasped Geoffrey in his arms, and kissed him on the cheeks, and murmured foolish, broken words. "You have seen it. You have seen the miracle. The miracle of the good God. Oh, I am happy! My son, my son! I am the happiest of old men. Ah!" He shook him tremulously by both shoulders, and looked at him with a magical light in his old eyes. "You are really what our dear Anton calls a prodigy. I have thought and you have executed. Santa Maria!" he cried, raising hands and eyes to heaven. "I thank you for this miracle that has been done!" He turned away. Geoffrey, in blank bewilderment, made a step forward. "Maestro, I never knew——" But Sonia, knowledge dawning in her face, clapped her hand over his mouth—and he read her conjecture in her eyes, and drew a great breath. The old man came again and laughed and cried and wrung his hand, and poured out his joy and wonder into the amazed ears of the conscience-stricken young musician. The floodgates of speech were loosened. "You see what you have done, figlio mio. You see the miracle. This—this poor rubbish is of me, Angelo Fardetti. On it I spent my life, my blood, my tears, and it is a thing of nothing, nothing. It is wind and noise; but by the miracle of God I breathed it into your spirit and it grew—and it grew into all that I dreamed—all that I dreamed and could not express. It is my Song of Life sung as I could have sung it if I had been a great genius like you. And you have taken my song from my soul, from my heart, and all the sublime harmonies that could get no farther than this dull head you have put down in immortal music." He went on exalted, and Sonia and Geoffrey stood pale and silent. To undeceive him was impossible. "You see it is a miracle?" he asked. "Yes," replied Geoffrey in a low voice. "You never saw this before. Ha! ha!" he laughed delightedly. "Not a human soul has seen it or heard it. I kept it locked up there, in my little strong-box. And it was there all the time I was teaching you. And you never suspected." "No, maestro, I did not," said the young man truthfully. "Now, when did you begin to think of it? How did it come to you—my Song of Life? Did it sing in your brain while you were here and my brain was guiding yours, and then gather form and shape all through the long years?" "Yes," said Geoffrey. "That was how it came about." Angelo took Sonia's plump cheeks between his hands and smiled. "Now you understand, my little Sonia, why I was so foolish yesterday. It was emotion, such emotion as a man has never felt before in the world. And now you know why I could not speak this morning. I thought of the letter you showed me. He confessed that old Angelo Fardetti had inspired him, but he did not know how. I know. The little spark flew from the soul of Angelo Fardetti into his soul, and it became a Divine Fire. And my Song of Life is true. The symphony was born in me—it died in me—it is re-born so gloriously in him. The seed is imperishable. It is eternal." He broke away, laughing through a little sob, and stood by the window, once more gazing unseeingly at the opposite villas of Formosa Terrace. Geoffrey went up to him and fell on his knees—it was a most un-English thing to do —and took the old hand very reverently. "Padre mio," said he. "Yes, it is true. I am your father," said the old man in Italian, "and we are bound together by more than human ties." He laid his hand on the young man's head. "May all the blessings of God be upon you." Geoffrey rose, the humblest man in England. Angelo passed his hand across his forehead, but his face bore a beautiful smile. "I feel so happy," said he. "So happy that it is terrible. And I feel so strange. And my heart is full. If you will forgive me, I will lie down for a little." He sank on the horse-hair sofa and smiled up in the face of the young man. "And my head is full of the andante movement that I could never write, and you have made it like the harmonies before the Throne of God. Sit down at the piano and play it for me, my son." So Geoffrey took his seat at the piano, and played, and as he played, he lost himself in his music. And Sonia crept near and stood by him in a dream while the wonderful story of the passing of human things was told. When the sound of the last chords had died away she put her arms round Geoffrey's neck and laid her cheek against his. For a while time stood still. Then they turned and saw the old man sleeping peacefully. She whispered a word, he rose, and they began to tiptoe out of the room. But suddenly instinct caused Sonia to turn her head again. She stopped and gripped Geoffrey's hand. She caught a choking breath. "Is he asleep?" They went back and bent over him. He was dead. Angelo Fardetti had died of a happiness too great for mortal man. For to which one of us in a hundred million is it given to behold the utter realisation of his life's dream? LADIES IN LAVENDER I As soon as the sun rose out of the sea its light streamed through a white-curtained casement window into the whitest and most spotless room you can imagine. It shone upon two little white beds, separated by the width of the floor covered with straw-coloured matting; on white garments neatly folded which lay on white chairs by the side of each bed; on a white enamelled bedroom suite; on the one picture (over the mantel-piece) which adorned the white walls, the enlarged photograph of a white-whiskered, elderly gentleman in naval uniform; and on the white, placid faces of the sleepers. It awakened Miss Ursula Widdington, who sat up in bed, greeted it with a smile, and forthwith aroused her sister. "Janet, here's the sun." Miss Widdington awoke and smiled too. Now to awake at daybreak with a smile and a childlike delight at the sun when you are over forty-five is a sign of an unruffled conscience and a sweet disposition. "The first glimpse of it for a week," said Miss Widdington. "Isn't it strange," said Miss Ursula, "that when we went to sleep the storm was still raging?" "And now—the sea hasn't gone down yet. Listen." "The tide's coming in. Let us go out and look at it," cried Miss Ursula, delicately getting out of bed. "You're so impulsive, Ursula," said Miss Widdington. She was forty-eight, and three years older than her sister. She could, therefore, smile indulgently at the impetuosity of youth. But she rose and dressed, and presently the two ladies stole out of the silent house. They had lived there for many years, perched away on top of a projecting cliff on the Cornish coast, midway between sea and sky, like two fairy princesses in an enchanted bit of the world's end, who had grown grey with waiting for the prince who never came. Theirs was the only house on the wind-swept height. Below in the bay on the right of their small headland nestled the tiny fishing village of Trevannic; below, sheer down to the left, lay a little sandy cove, accessible farther on by a narrow gorge that split the majestic stretch of bastioned cliffs. To that little stone weatherbeaten house their father, the white-whiskered gentleman of the portrait, had brought them quite young when he had retired from the navy with a pension and a grievance—an ungrateful country had not made him an admiral—and there, after his death, they had continued to lead their remote and gentle lives, untouched by the happenings of the great world. The salt-laden wind buffeted them, dashed strands of hair stingingly across their faces and swirled their skirts around them as they leaned over the stout stone parapet their father had built along the edge of the cliff, and drank in the beauty of the morning. The eastern sky was clear of clouds and the eastern sea tossed a fierce silver under the sun and gradually deepened into frosted green, which changed in the west into the deep ocean blue; and the Atlantic heaved and sobbed after its turmoil of the day before. Miss Ursula pointed to the gilt-edged clouds in the west and likened them to angels' thrones, which was a pretty conceit. Miss Widdington derived a suggestion of Pentecostal flames from the golden flashes of the sea-gulls' wings. Then she referred to the appetite they would have for breakfast. To this last observation Miss Ursula did not reply, as she was leaning over the parapet intent on something in the cove below. Presently she clutched her sister's arm. "Janet, look down there—that black thing—what is it?" Miss Widdington's gaze followed the pointing finger. At the foot of the rocks that edged the gorge sprawled a thing checkered black and white. "I do believe it's a man!" "A drowned man! Oh, poor fellow! Oh, Janet, how dreadful!" She turned brown, compassionate eyes on her sister, who continued to peer keenly at the helpless figure below. "Do you think he's dead, Janet?" "The sensible thing would be to go down and see," replied Miss Widdington. It was by no means the first dead man cast up by the waves that they had stumbled upon during their long sojourn on this wild coast, where wrecks and founderings and loss of men's lives at sea were commonplace happenings. They were dealing with the sadly familiar; and though their gentle hearts throbbed hard as they made for the gorge and sped quickly down the ragged, rocky path, they set about their task as a matter of course. Miss Ursula reached the sand first, and walked over to the body which lay on a low shelf of rock. Then she turned with a glad cry. "Janet. He's alive. He's moaning. Come quickly." And, as Janet joined her: "Did you ever see such a beautiful face in your life?" "We should have brought some brandy," said Miss Widdington. But, as she bent over the unconscious form, a foolish moisture gathered in her eyes which had nothing to do with forgetfulness of alcohol. For indeed there lay sprawling anyhow in catlike grace beneath them the most romantic figure of a youth that the sight of maiden ladies ever rested on. He had long black hair, a perfectly chiselled face, a preposterously feminine mouth which, partly open, showed white young teeth, and the most delicate, long-fingered hands in the world. Miss Ursula murmured that he was like a young Greek god. Miss Widdington sighed. The fellow was ridiculous. He was also dank with sea water, and moaned as if he were in pain. But as gazing wrapt in wonder and admiration at young Greek gods is not much good to them when they are half-drowned, Miss Widdington despatched her sister in search of help. "The tide is still low enough for you to get round the cliff to the village. Mrs. Pendered will give you some brandy, and her husband and Luke will bring a stretcher. You might also send Joe Gullow on his bicycle for Dr. Mead." Miss Widdington, as behoved one who has the charge of an orphaned younger sister, did not allow the sentimental to weaken the practical. Miss Ursula, though she would have preferred to stay by the side of the beautiful youth, was docile...