change came over Lady Caroline Sellwood. She drew her chair a little nearer, and she favoured Claude Lafont with a kindlier glance than he had had from her since Easter.
"Something may have happened," whispered Lady Caroline hopefully.
"That's just it. Something must have happened."
"But something dreadful! Only last season there was a man killed in the Row! Was he – a very rough diamond, Claude?"
"Very."
Lady Caroline sighed complacently.
"But you can't help liking him," hastily added Claude, "and I hope to goodness nothing serious is the matter!"
"Of course, so do I. That goes without saying."
"Nor is he at all a likely man to be thrown. He has lived his life in the saddle. By the way, he brought his own old bush-saddle with him, and it appears that he insisted on riding out in that too."
"You see, Claude, it's a pity you didn't leave him in the bush; he's evidently devoted to it still."
"He is – that's the trouble; he has already spoken of bolting back there. My fear is that he may even now be suiting the action to the word."
"Don't tell me that," said Lady Caroline, whose head was still full of her first theory.
"It's what I fear; he's just the sort of fellow to go back by the first boat, if the panic took him. He showed signs of a panic last night. You see, he's only just beginning to realise what his position here will mean. And it frightens him; it may have frightened him out of our sight once and for all."
Lady Caroline shook her head.
"My fear is that he has broken his neck! And if he has, depend upon it, sad as it would be, it would still be for the best. That's what I always say: everything is for the best," repeated Lady Caroline, pensively gazing at Claude's handsome head. "However," she added, as the door opened, "here's Olivia; go and ask her what she thinks. I am prepared for the worst. And pray stop, dear Claude, and let us talk the matter over after the others have gone. We may know the worst by that time. And we have seen nothing of you this season!"
Olivia looked charming. She was also kind to Claude. But she entirely declined to embrace her mother's dark view of the Duke's disappearance. On the other hand, she was inconveniently inquisitive about his looks and personality, and Claude had to say many words for his cousin before he could get in one for himself. However, he did at length contrive to speak of his new volume of poems. It was just out. He was having a copy of the exceedingly limited large-paper edition specially bound in vellum for Olivia's acceptance. Olivia seemed pleased, and apart from his anxiety Claude had not felt so happy for weeks. They were allowed to talk to each other until the rooms began to fill.
It was a very good Wednesday; but then the season was at its height. The gathering comprised the usual measure of interesting and interested persons, and the former had made their names upon as many different fields as ever. Claude had a chat with his friend, Edmund Stubbs, a young man with an unhealthy skin and a vague reputation for immense cleverness. They spoke of the poems. Stubbs expressed a wish to see the large-paper edition, which was not yet for sale, as did Ivor Llewellyn, the impressionist artist, who was responsible for the "decorations" in most volumes of contemporary minor verse, Claude's included. Claude was injudicious enough to invite both men to his rooms that night. The Impressionist was the most remarkable-looking of all Lady Caroline's guests. He wore a curled fringe and a flowing tie, and pince-nez attached to his person by a broad black ribbon. His pale face was prematurely drawn, and he showed his gums in a deathly grin at the many hard things which Stubbs muttered at the expense of all present whom he knew by sight. Claude had a high opinion of both these men, but for once he was scarcely in tune for their talk, which was ever at a sort of artistic-intellectual concert-pitch. The Duke was to be forgotten in the society of Olivia only. Claude therefore edged away, trod on the skirts of a titled divorcée, got jammed between an Irish member and a composer of comic songs, and was finally engaged in conversation by the aged police magistrate, Sir Joseph Todd.
Sir Joseph had lowered his elephantine form into a chair beside the tea-table, where he sat, with his great cane between his enormous legs, munching cake like a school-boy and winking at his friends. He winked at Claude. The magistrate had been a journalist, and a scandalous Bohemian, so he said, in his young days; he had given Claude introductions and advice when the latter took to his pen. He, also, inquired after the new book, but rather grimly, and expressed himself with the rough edge of his tongue on the subject of modern "poets" and "poetry": the inverted commas were in his voice.
"You young spring poets," said he, "are too tender by half; you're all white meat together. You may say that's no reason why I should have my knife in you. Why didn't you say it? A bad joke would be a positive treat from you precious young fellows of to-day. And you give us bad lyrics instead, in limited editions; that's the way it takes you now."
Claude laughed; he was absurdly good-humoured under hostile criticism, a quality of which some of his literary friends were apt to take advantage. On this occasion, however, his unconcern was partly due to inattention. While listening to his old friend he was thinking still of the Duke.
"I'm sorry you would be a poet, Claude," the magistrate continued. "The price of poets has gone down since my day. And you'd have done so much better in the House – by which, of course, I mean the House we all thought you were bound for. Has he – has he turned up yet?"
"Oh yes; he's in England," replied Claude, with discretion.
Sir Joseph pricked his ears, but curbed his tongue. Of all the questions that gathered on his lips, only one was admissible, even in so old a friend as himself.
"A family man?"
"No; a bachelor."
"Capital! We shall see some fun, eh?" chuckled Sir Joseph, gobbling the last of his last slice. "What a quarry – what a prize! I was reminded of him only this morning, Claude. I had an Australian up before me – a most astounding fellow! An escaped bush-ranger, I should call him; looked as if he'd been cut straight out of a penny dreadful; never saw such a man in my life. However – "
Claude was not listening; his preoccupation was this time palpable. The mouth of him was open, and his eyes were fixed; the police magistrate followed their lead, with double eye-glasses in thick gold frames; and then his mouth opened too.
Her guests were making way for Lady Caroline Sellwood, who was leading towards the tea-table, by his horny hand, none other than the ninth Duke of St. Osmund's himself. Her Ladyship's face was radiant with smiles; yet the Duke was just as he had been the day before, as unkempt, as undressed (his Crimean shirt had a flannel collar, but no tie), as round-shouldered; with his nose and ears still flayed by the sun; and the notorious wideawake tucked under his arm.
"He has come straight from the bush," her Ladyship informed everybody (as though she meant some shrub in the Square garden), "and just as he is. I call it so sweet of him! You know you'll never look so picturesque again, my dear Duke!"
Olivia followed with the best expression her frank face could muster. Claude took his cousin's hand in a sudden hush.
"Where in the world have you been?" broke from him before them all.
"Been? I've been run in," replied the Duke, with a smack of his bearded grinning lips.
"Tea or coffee, Duke?" said Lady Caroline, all smiling tolerance. "Tea? A cup of tea for the Duke of St. Osmund's. And where do you say you have been?"
"Locked
