Part 6 (1/2)

”This year I have been three times--to 'Faust,' 'Tosca,' and--” Was it ”Tannhouser” or ”Tannhoyser”? Better not risk the word.

Margaret disliked ”Tosca” and ”Faust.” And so, for one reason and another, they walked on in silence, chaperoned by the voice of Mrs.

Munt, who was getting into difficulties with her nephew.

”I do in a WAY remember the pa.s.sage, Tibby, but when every instrument is so beautiful, it is difficult to pick out one thing rather than another.

I am sure that you and Helen take me to the very nicest concerts. Not a dull note from beginning to end. I only wish that our German friends had stayed till it finished.”

”But surely you haven't forgotten the drum steadily beating on the low C, Aunt Juley?” came Tibby's voice. ”No one could. It's unmistakable.”

”A specially loud part?” hazarded Mrs. Munt. ”Of course I do not go in for being musical,” she added, the shot failing. ”I only care for music--a very different thing. But still I will say this for myself--I do know when I like a thing and when I don't. Some people are the same about pictures. They can go into a picture gallery--Miss Conder can--and say straight off what they feel, all round the wall. I never could do that. But music is so different from pictures, to my mind. When it comes to music I am as safe as houses, and I a.s.sure you, Tibby, I am by no means pleased by everything. There was a thing--something about a faun in French--which Helen went into ecstasies over, but I thought it most tinkling and superficial, and said so, and I held to my opinion too.”

”Do you agree?” asked Margaret. ”Do you think music is so different from pictures?”

”I--I should have thought so, kind of,” he said.

”So should I. Now, my sister declares they're just the same. We have great arguments over it. She says I'm dense; I say she's sloppy.”

Getting under way, she cried: ”Now, doesn't it seem absurd to you? What is the good of the Arts if they 're interchangeable? What is the good of the ear if it tells you the same as the eye? Helen's one aim is to translate tunes into the language of painting, and pictures into the language of music. It's very ingenious, and she says several pretty things in the process, but what's gained, I'd like to know? Oh, it's all rubbish, radically false. If Monet's really Debussy, and Debussy's really Monet, neither gentleman is worth his salt--that's my opinion.”

Evidently these sisters quarrelled.

”Now, this very symphony that we've just been having--she won't let it alone. She labels it with meanings from start to finish; turns it into literature. I wonder if the day will ever return when music will be treated as music. Yet I don't know. There's my brother--behind us. He treats music as music, and oh, my goodness! He makes me angrier than any one, simply furious. With him I daren't even argue.”

An unhappy family, if talented.

”But, of course, the real villain is Wagner. He has done more than any man in the nineteenth century towards the muddling of the arts. I do feel that music is in a very serious state just now, though extraordinarily interesting. Every now and then in history there do come these terrible geniuses, like Wagner, who stir up all the wells of thought at once. For a moment it's splendid. Such a splash as never was. But afterwards--such a lot of mud; and the wells--as it were, they communicate with each other too easily now, and not one of them will run quite clear. That's what Wagner's done.”

Her speeches fluttered away from the young man like birds. If only he could talk like this, he would have caught the world. Oh, to acquire culture! Oh, to p.r.o.nounce foreign names correctly! Oh, to be well informed, discoursing at ease on every subject that a lady started! But it would take one years. With an hour at lunch and a few shattered hours in the evening, how was it possible to catch up with leisured women, who had been reading steadily from childhood? His brain might be full of names, he might have even heard of Monet and Debussy; the trouble was that he could not string them together into a sentence, he could not make them ”tell,” he could not quite forget about his stolen umbrella.

Yes, the umbrella was the real trouble. Behind Monet and Debussy the umbrella persisted, with the steady beat of a drum. ”I suppose my umbrella will be all right,” he was thinking. ”I don't really mind about it. I will think about music instead. I suppose my umbrella will be all right.” Earlier in the afternoon he had worried about seats. Ought he to have paid as much as two s.h.i.+llings? Earlier still he had wondered, ”Shall I try to do without a programme?” There had always been something to worry him ever since he could remember, always something that distracted him in the pursuit of beauty. For he did pursue beauty, and, therefore, Margaret's speeches did flutter away from him like birds.

Margaret talked ahead, occasionally saying, ”Don't you think so? don't you feel the same?” And once she stopped, and said, ”Oh, do interrupt me!” which terrified him. She did not attract him, though she filled him with awe. Her figure was meagre, her face seemed all teeth and eyes, her references to her sister and her brother were uncharitable. For all her cleverness and culture, she was probably one of those soulless, atheistical women who have been so shown up by Miss Corelli. It was surprising (and alarming) that she should suddenly say, ”I do hope that you'll come in and have some tea. We should be so glad. I have dragged you so far out of your way.”

They had arrived at Wickham Place. The sun had set, and the backwater, in deep shadow, was filling with a gentle haze. To the right the fantastic sky-line of the flats towered black against the hues of evening; to the left the older houses raised a square-cut, irregular parapet against the grey. Margaret fumbled for her latch-key. Of course she had forgotten it. So, grasping her umbrella by its ferrule, she leant over the area and tapped at the dining-room window.

”Helen! Let us in!”

”All right,” said a voice.

”You've been taking this gentleman's umbrella.”

”Taken a what?” said Helen, opening the door. ”Oh, what's that? Do come in! How do you do?”

”Helen, you must not be so ramshackly. You took this gentleman's umbrella away from Queen's Hall, and he has had the trouble of coming round for it.”

”Oh, I am so sorry!” cried Helen, all her hair flying. She had pulled off her hat as soon as she returned, and had flung herself into the big dining-room chair. ”I do nothing but steal umbrellas. I am so very sorry! Do come in and choose one. Is yours a hooky or a n.o.bbly? Mine's a n.o.bbly--at least, I THINK it is.”

The light was turned on, and they began to search the hall, Helen, who had abruptly parted with the Fifth Symphony, commenting with shrill little cries.

”Don't you talk, Meg! You stole an old gentleman's silk top-hat. Yes, she did, Aunt Juley. It is a positive fact. She thought it was a m.u.f.f.

Oh, heavens! I've knocked the In-and-Out card down. Where's Frieda?