Chapter 18

But at the end of his first month in London, John had no more to his account than this, that he had begun but had not completed a music-hall sketch, that he had begun but had not made much progress with a tragedy, that he had tried to obtain employment on the staff of the _Daily Sensation_ and had failed to do so, and, worst of all, that he had fallen in love with Eleanor Moore but could not find her anywhere. His novel supplied the one element of hope that lightened his thoughts on his month's work. He wished now that he had asked Hinde to read it before it had been sent to the publisher. Perhaps it would redeem the month from its dismal state.

THE FOURTH CHAPTER

I

It was Hinde who brought the good news to John. Mr. Clotworthy, the editor of the _Daily Sensation_, had met Hinde in Tudor Street that afternoon and when he had heard that John and Hinde were living together, he said, "Tell him I'll take him on the staff if he'll promise to keep the Truth well under control!" and had named the following morning for an appointment.

"It's a queer thing," said Hinde as he related the news to John, "that I'm advising you to take the job when I was telling you the other night that journalism's no work for a man; but that only shows what a journalist I am. No stability ... carried off my feet by any excitement. And mebbe the life'll disgust you and you'll go home again!..."

"With my tail between my legs?" John demanded. "No, I'll not do that. I'd be ashamed to go home and admit I hadn't done what I set out to do. What time does Mr. Clotworthy want me?"

Hinde told him.

"I'll write to my mother at once," said John, "and tell her he's sent for me. That'll impress her. Shell be greatly taken, with the notion that he sent for me instead of me running after him!..."

"The great fault in an Ulsterman," said Hinde, "is his silly pride that won't let him acknowledge his mistake when he's made one. You'll get into a lot of bother, John MacDermott, if you go about the world letting on you've done right when you've done wrong, and pretending a mistake is not a mistake!"

"I'll run the risk of that," John replied.

II

Mr. Clotworthy spoke very sharply to him. "You understand," he said, "that you're here to write what we want you to write, and not to write what you think. If you start any of your capering about Truth and Reforming the world, I'll fire you into the street the minute I catch you at it. You're here to interest people. That's all. You're not here to elevate their minds or teach them anything. You're here to keep up our sales and increase them if you can. D'you understand me?"

"I do," said John.

"Well?"

"I'll try the job for a while and see how I like it!"

Mr. Clotworthy sat back in his chair and rubbed his glasses with his handkerchief. "You've a great nerve," he said, smiling. "I don't know whether you talk like that because you're sure of yourself or just stupid!"

"I always knew my own mind," John replied.

Mr. Clotworthy turned him over to Mr. Tarleton, the news-editor, who was instructed to give him hints on his work and introduce him to other members of the staff.

For two days John did very little in the office, beyond finding his way about, but on the third day of his employment, Tarleton suddenly called him into his room and told him that the musical critic had telephoned to say he was unwell and would not be able to attend a concert at the Albert Hall that evening.

"You'll have to go instead," said Tarleton.

"But I don't know anything about music," John protested.

"What's that got to do with it?"

"Well, I thought one was supposed to know something about music before you wrote a criticism of it!"

"Look here, young fellow," said Tarleton. "Let me give you a piece of advice. Never admit that there's anything in this world that you don't know. A _Daily Sensation_ man knows everything! ..."

"But I have no ear for music. I hardly know a minim from a semi-quaver!..."

"Well, that doesn't matter. Get a programme. Mark on it the songs and pieces that get the most applause. Those are the best things. See? Anybody can criticise music when he knows a tip or two like that. If the singer is a celebrated person, like Melba or Tetrazzini, you say she was in her usual brilliant form. If the singer isn't celebrated, just say that she shows promise of development!..."

"But supposing I don't like her?"

"Then say nothing about her. If we can't praise people on this paper, we ignore them. Get your stuff in before eleven, will you? Here's the ticket!"

Tarleton thrust the card into John's hand and, a little dazed and a little excited, John went out of the room. This was his first important job. Words that he had written would appear in print in the morning, and hundreds of thousands of people would read them. The _Daily Sensation_ had an enormous circulation ... a million people bought it every morning, so Tarleton said, and that meant, he explained, that about three or four million people read it. Each copy of a paper was probably seen by several persons. The thought that some judgment of his would be read by a million men and women in the morning caused John to feel tremendously responsible. He must be careful to give his praise judiciously. All of the persons present at the concert that night, but more especially the singers and instrumentalists, would turn first of all to his notice. There might be a great political crisis or a sensational murder reported in the morning's news, but these people would turn first to his notice to see what he had said about the music. And it would not do to let them have a wrong impression about the concert. Tarleton had told him not to dispraise anything ... "it'll be cut out if you do" ... but at all events he would take care that his praise was justly given. He would send copies of the papers, marked with blue pencil, to his mother and Mr. McCaughan and Mr. Cairnduff. He could imagine the talk there would be in Ballyards about his criticism of the concert. The minister and the schoolmaster would be greatly impressed when they realised that the paper with the largest circulation in the world had asked him to say what he thought of Madame Tetrazzini. Mr. McCaughan had never heard anything greater than a cantata sung by the church choir in the church room, and he had been deeply impressed by the statements made about it by a reporter from the _North Down Herald_ who declared that the rendering of the sacred work reflected great credit on all concerned in it, but particularly on the Reverend Mr. McCaughan to whose sterling instruction in the principles of true religion, the young people engaged in singing the cantata clearly owed the sincerity and fervour with which they sang their parts. If he were so greatly impressed by a report in the _North Down Herald_, would he not be overwhelmed by the fact that one of his congregation had been chosen to pronounce judgment on the greatest singer in the world in the greatest newspaper in the world ... for John was now satisfied that the _Daily Sensation_ was enormously more important than any other paper that was published. He went to a tea-shop in Fleet Street where he knew he could hope to meet Hinde, and found him sitting in a corner with a friend who, soon after John's arrival, went away.

"You needn't go to the concert if you're not desperately keen on it," Hinde said when John had told him of his job. "You can write your notice now!..."

"Write it now! ... But I haven't been to the concert!"

"I wouldn't give much for the man who couldn't write a criticism of a concert without going to it," Hinde contemptuously replied. "Say that Tetrazzini's wonderful voice enthralled the audience and that there were scenes of unparalleled enthusiasm as the diva graciously responded to the clamorous demands for encores. Add a few words about the man who played her accompaniments and the number of floral tributes she received, and there you are. That's all that's necessary!"

"I couldn't do it," said John. It wouldn't be honest!"

"Don't be a prig," Hinde exclaimed.

"Prig! Is it being a prig to do your work fairly?"

"No, but it's being a prig to treat a thing as important that isn't important at all. I wanted you to come to a music-hall with me to-night!"

"I'm sorry," John replied stiffly, "I'd like to go with you, but I couldn't think of doing such a thing as you suggest to me!"

"I wonder how long you'll feel like that, Mac?" Hinde laughed.

"All my life, I hope!"

"Well, have it your own way, then. But you're wasting your time!"

"And another thing," John continued, "I want to hear the woman singing. I've never heard anybody great at the music yet!"

III

He entered the great circular hall, and sat, very solemnly, in his seat on the ground floor. He felt nervous and uneasy and certain that he would not be able to write adequately of the concert. He tried to think of suitable words to great music, but it seemed to him that he could not think at all. He glanced about the Hall, hoping that perhaps he would find inspiration in the ceiling, but there was no inspiration there. He could see wires stretched across the roof from side to side, and there were great pieces of canvas radiating from the central cluster of lights in the dome. He wondered why the wires were there. Blondin, he remembered, had walked across a wire, as thin-looking as those, which was stretched high up in the roof of the Exhibition at the Old Linen Hall in Belfast; but he could scarcely believe that these wires were intended for tight-rope performances. He turned to a man at his side. "Would you mind telling me what those things are for?" he asked, pointing to them.

"To break the echoes," the man replied, entering into an involved account of acoustics. "It's all humbug really," he added. "They don't break the echoes at all, but we all imagine that they do, and so we're quite happy!"

The warm, comfortable look of the red-curtained boxes in the softened electric light pleased him, and he liked the effect of the tiers rising up to the high roof, and the great spread of floor, and the gigantic magnificence of the organ.

"How many people does this place hold?" he demanded of his neighbour.

"About ten thousand," his neighbour answered, glancing at him quizzically. "Is this the first time you've been here?"

"Yes. I'm new to London. They must take a great deal of money in a night at a place like this. An immense amount!"

"They do. It's part of the Albert Memorial, this hall. The other part is in the Park across the road. Have you seen it?"

"No," said John. "Is it any good?"

"Well," said the stranger, "we've tried to overlook it ... but unfortunately it's too big. There are some excellent bits in it, but the whole effect!... Poor dear Queen Victoria ... she was a little woman, and so, of course, she believed in magnitude. She liked Bigness. She's out of fashion, nowadays ... people titter behind their hands when they speak of her ... and there's a tendency to regard her as a somewhat foolish and sentimental old woman ... but really, she was a very capable old girl in her narrow way, and there was nothing soft about her. She was as hard as nails ... almost a cruel woman ... she'd compel her maids-of-honour to stand in her presence until the poor girls fainted with fatigue.... I'm sure she'd have made Queen Elizabeth feel uncomfortable in some ways. This hall is a memorial to her husband."

"Yes," said John. "There's a Memorial in Belfast to him. What did he do?"

"He was Queen Victoria's husband!"

"I suppose," said John, "it wasn't much fun being her man?"

"Fun!" exclaimed the stranger. "Well, of course, it depends on what you call fun!"

There was a bustling sound from the platform and some applause, and then a dark-looking man emerged from the sloping gangway underneath the organ and sat down at the piano. He played Mascagni's _Pavana delle Maschere_, and while he played it, John took some writing paper from his pocket and prepared to note down his opinions of the evening's entertainment.

"Hilloa," said the stranger in a whisper, "are you a critic?"

John, feeling extraordinarily important, nodded his head and continued to listen to the music. It sounded quite pleasant, but it conveyed nothing to him. All he could think of was the contortions of the pianist as he played his piece, and he wished that all pianists could be concealed behind screens so that their grimaces and gyrations should not be seen. He ought to say something about the man, but he had no idea of what was fitting!... The solo ended and was followed by another one, and then the pianist stood up to acknowledge the applause.

"What do you think of it?" the stranger respectfully asked, and John, aware of the respect in his voice and conscious that he did not know what to think of it, murmured, "Um-m-m! Not bad!"

"Coldish, I think," the stranger continued. "Technically skilful, but hardly any feeling!"

John considered for a moment or two, and then answered very judicially. "Yes! Yes, I think that's a fair description of him!"

He waited until the stranger was engaged in reading the programme, and then he jotted down on his writing-paper, "Mr. Pietro Mancinelli played Mascagni's _Pavana delle Maschere_ with great technical ability, but with hardly any emotional quality!"

"I'm very glad I sat down beside this chap," he murmured to himself, as the accompanist played the opening bars of Handel's _Droop not, young lover_, and then he settled down to listen to the man who sang it. He was happier here, for singing was more easy to judge than instrumental music. Either a song was well sung, he told himself, or it was not well sung, and the gentleman who was singing _Droop not, young lover_ certainly had a voice that sounded well in that great hall.... He wrote in his report that "Mr. Albert Luton's magnificent voice was heard to great advantage in Handel's charming aria..." and was exceedingly glad that he had lately read some musical notices in one of the newspapers, and could remember some of the phrases that had been used in them.

"Now for a treat," said the stranger, as a burst of hearty applause opened out from the platform and went all round the hall.

John glanced towards the passage leading to the artist's room and saw a smiling, plump lady, with very bright, dark eyes and dark hair come on to the platform. She was clad in white that made her Italian looks more pronounced.

"Tetrazzini!" the stranger whispered in John's ear.

The applause died down, and the singer stood rigidly in front of the platform while the pianist played the opening of Verdi's _Caro nome_. Then her voice sounded very clear and bell-like in the deep silence of the great hall. ... She sang _Solveig's Song_ by Greig and _A Pastoral_ by Veracini, and then the satiated audience allowed her to retire from the platform.

John sat back in his seat in a dazed fashion. All round him were applauding men and women ... and he could not applaud. There was a buzz of admiring talk, and he could hear the words "wonderful" and "magnificent" ... and he had not been moved at all. The great voice had not caused him to feel any thrill or emotion whatever. It was wonderful, indeed, but that was all that it was. There was no generous glow in her music; she did not cause him to feel any emotion other than that of astonishment at the perfection of her vocal organs. He had imagined that the great singer's voice would compel him to jump out of his seat and wave his hands wildly and shout and cheer ... but instead he had sat still and wondered at the marvellous way in which her throat functioned.

"Well?" said his neighbour, in the tone of one who would say that only words of an extremely adulatory character were conceivable after such a performance.

"She's a very remarkable woman," John replied.

"Remarkable!" his neighbour indignantly exclaimed. "She's a miracle!..."

John disregarded his ecstatics. "I kept on thinking of a clever machine," he said. "The wheels went round without a hitch. She's a grand invention, that woman! She can sing her pieces without thinking about them. She hardly knows the notes are coming out of her mouth ... she doesn't know where they come from or why they come at all, and I don't suppose it matters to her where they go. There's a grand machine in our place that prints the papers. You put a big roll of white paper on to it, and you turn a wee handle, and the machine sends the roll spinning round and round until it's done, and a lot of folded papers, nicely printed, come tumbling out in counted batches, all ready to be taken away and sold in the shops and streets. It's a wonderful machine ... but it can't read its own printing and it doesn't know what's in the papers after it's done with them. That's what she's like; a wonderful machine!..."

"My dear sir," the stranger exclaimed, but John prevented him from saying any more.

"That's my opinion anyway," he went on, "and I can only think the things I think. I can't think what other people think!"

"A limitation," said the stranger. "A distinct limitation!"

"Mebbe it is, but I don't see what that matters!"

After Tetrazzini had left the platform and the applause of her admirers had died away, there was a violin solo, and then came an interval of fifteen minutes. John determined to write part of his notice in the vestibule of the Hall, and he got up from his seat to do so. He mounted the stairs that led to the first tier of boxes, and as he approached them, he saw Eleanor Moore sitting in the box nearest the exit through which he was about to pass. There were other people in the box ... girls, he thought ... but he hardly saw them. As he came nearer to her, she raised her eyes from her programme and looked straight at him, and for a few moments neither of them averted their eyes. Then she looked away, and he passed through the curtained exit.

IV

He had found her again! She had not flown away from London ... she was not ill, as he had so alarmingly imagined, nor, as he had horribly imagined for one dreadful moment, was she dead. She lived ... she was well ... she was here in this very hall, separated from him only by a thin partition of wood ... and she had looked at him without fear in her eyes. He mounted the short flight of stairs leading to the corridor on to which the doors of the boxes opened, and read the name written on the card underneath the number painted on the door of the box in which Eleanor was sitting. "The Viscountess Walbrook." The name puzzled him, and he turned to an attendant, a lugubrious man in a dingy frock-coat looking extraordinarily like a dejected image of Albert the Good, and asked for an explanation.

"It means that she owns that box," he explained. "Lots of the seats and boxes 'ere belong to private people. That one belongs to the Viscountess Walbrook. She in'erited it from 'er father. Very kind-'earted woman ... always gives 'er box to orphans and widders and people like that!"

"Then the ladies in the box now are not friends of hers?" John asked, meaning by "friends," relatives.

"I shouldn't think so," the attendant answered. "I noticed the party comin' in. They come in a 'ired carriage. No, they're orphans or widders or somethin'. There's always a lot of orphans an' widders about this 'All, partic'lar on a Sunday afternoon when they're doin' 'Andel's _Messiar_. And the _Elijiar_, too! You know! Mendelssohn's bit! Reg'lar fascination for orphans an' widders that 'as. I call it depressin' meself, but some 'ow it seems to fit in with orphans an' widders!..."

John thanked the attendant and moved down the corridor. He must not lose sight of Eleanor now that he had found her again. If only he could discover where she lived ... He stood where he could see the door of the Viscountess Walbrook's box, and brooded over the chances of discovering Eleanor's home. He must not lose sight of her ... that was imperative. The luckiest thing in the world had brought him into her company again, and he might never have such an opportunity again if he let this one slip away from him. He could look round every now and then from his seat to assure himself that she was still in the box, but supposing she were to go away in the interval between his assuring glances? Even if he were to see her leaving the box, he would have some difficulty in getting to her in time to keep her in sight!... No, no, he must not run the risk of losing her again. He must stay in some place from which he could immediately see her leaving the box and from which he could easily follow her without ever missing her. He looked about him, and felt inclined to sit down in the corridor and wait there until Eleanor emerged from the Viscountess Walbrook's private property! But the corridor was a draughty and conspicuous and depressing place in which to loiter, and he felt that the cheerless attendant might suspect him of some felonious or other criminal intent if he were to stay there during the whole of the second part of the programme. He peered through the curtains which separated the corridor from the auditorium and saw an empty seat on the opposite side of the gangway to that on which Lady Walbrook's box was situated; and when the interval was ended and the violinist began to play the first movement of Beethoven's _Romance in G_, he slipped into the seat, and sat so that he could see every movement that Eleanor made. How very beautiful she looked! She seemed more beautiful to him in her blue evening dress even than she had seemed on the first day that he saw her. Until he had come to London, he had never seen a woman in evening dress, except in photographs and in illustrated papers, and when, for the first time, he had seen real women in real evening clothes in a theatre, the sight of their bare white shoulders and bosoms had appeared to him both beautiful and improper. Eleanor's shoulders were bare, and as he looked at her, he could see her bosom very gently rising and falling with her breathing, but he felt no confusion in seeing her in that bare state. She was beautiful ... he could think of nothing else but her beauty. Her shapely head was perfectly poised upon her strong neck, and he was aware instantly of the graceful line of her shoulders. If she had not been in those pretty evening clothes, he would not have known that her neck and shoulders were so beautiful. Her soft, dark hair, loosely dressed over her ears, glowed with loveliness, and the narrow golden band that bound it was no brighter than her eyes. How lovely she is, he said to himself, indifferent to the applause that was offered to the violinist, and then he fell to admiring the way in which she clapped her gloved hands together, slowly but firmly. Her applause was not languid applause, neither was it without discrimination. She seemed to John to be telling the violinist that he had played well, but might have played better....

"She's the great wee girl," he said to himself.