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?"