Part 44 (2/2)

And to prove the truth of the remark, she ran up the path with Brian after her. He had a long chase of it, for Madge was nimble and better acquainted with the garden than he was but at last he caught her just as she was running up the steps into the house, and then--history repeats itself.

They went into the drawing-room and found that Mr. Frettlby had gone up to his study, and did not want to be disturbed. Madge sat down to the piano, but before she struck a note, Brian took both her hands prisoners.

”Madge,” he said, gravely, as she turned round, ”what did your father say when you made that mistake?”

”He was very angry,” she answered. ”Quite cross; I'm sure I don't know why.”

Brian sighed as he released her hands, and was about to reply when the visitor's bell sounded, they heard the servant answer it, and then someone was taken upstairs to Mr. Frettlby's study.

When the footman came in to light the gas, Madge asked who it was that had come to the door.

”I don't know, miss,” he answered; ”he said he wanted to see Mr.

Frettlby particularly, so I took him up to the study.”

”But I thought that papa said he was not to be disturbed?”

”Yes, miss, but the gentleman had an appointment with him.”

”Poor papa,” sighed Madge, turning again to the piano. ”He has always got such a lot to do.”

Left to themselves, Madge began playing Waldteufel's last new valse, a dreamy, haunting melody, with a touch of sadness in it, and Brian, lying lazily on the sofa, listened. Then she sang a gay little French song about Love and a b.u.t.terfly, with a mocking refrain, which made Brian laugh.

”A memory of Offenbach,” he said, rising and coming over to the piano.

”We certainly can't approach the French in writing these airy trifles.”

”They're unsatisfactory, I think,” said Madge, running her fingers over the keys; ”they mean nothing.”

”Of course not,” he replied, ”but don't you remember that De Quincy says there is no moral either big or little in the Iliad.”

”Well, I think there's more music in Barbara Allan than all those frothy things,” said Madge, with fine scorn. ”Come and sing it.”

”A five-act funeral, it is,” groaned Brian, as he rose to obey; ”let's have Garry Owen instead.”

Nothing else however would suit the capricious young person at the piano, so Brian, who had a pleasant voice, sang the quaint old ditty of cruel Barbara Allan, who treated her dying love with such disdain.

”Sir John Graham was an a.s.s,” said Brian, when he had finished; ”or, instead of dying in such a silly manner, he'd have married her right off, without asking her permission.”

”I don't think she was worth marrying,” replied Madge, opening a book of Mendelssohn's duets; ”or she wouldn't have made such a fuss over her health not being drunk.”

”Depend upon it, she was a plain woman,” remarked Brian, gravely, ”and was angry because she wasn't toasted among the rest of the country belles. I think the young man had a narrow escape--she'd always have reminded him about that unfortunate oversight.”

”You seem to have a.n.a.lysed her nature pretty well,” said Madge, a little dryly; ”however, we'll leave the failings of Barbara Allan alone, and sing this.”

This was Mendelssohn's charming duet, ”Would that my Love,” which was a great favourite of Brian's. They were in the middle of it when suddenly Madge stopped, as she heard a loud cry, evidently proceeding from her father's study. Recollecting Dr. Chinston's warning, she ran out of the room, and upstairs, leaving Brian rather puzzled by her unceremonious departure, for though he had heard the cry, yet he did not attach much importance to it.

Madge knocked at the study door, and then she tried to open it, but it was locked.

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