better, for it was equally obvious to her mind that Olga was a pretender to the throne she had occupied for so long. It was time to mobilise, and she had first to state her views and her plan of campaign to the chief of her staff.
“No, we did not quite like our evening, Peppino and I, did we, caro?” she went on. “And Mr Cortese! His appearance! He is like a huge hairdresser. His touch on the piano. If you can imagine a wild bull butting at the keys, you will have some idea of it. And above all, his Italian! I gathered that he was a Neapolitan, and we all know what Neapolitan dialect is like. Tuscans and Romans, who between them I believe—Lingua Toscano in Bocca Romana, you remember—know how to speak their own tongue, find Neapolitans totally unintelligible. For myself, and I speak for mio sposo as well, I do not want to understand what Romans do not understand. La bella lingua is sufficient for me.”
“I hear that Olga could understand him quite well,” said Georgie betraying his complete knowledge of all that had happened.
“That may be so,” said Lucia. “I hope she understood his English too, and his music. He had not an ‘h’ when he spoke English, and I have not the slightest doubt in my own mind that his Italian was equally illiterate. It does not matter; I do not see that Mr Cortese’s linguistic accomplishments concern us. But his music does, if poor Miss Bracely, with her lovely notes, is going to study it, and appear as Lucretia. I am sorry if that is so. Any news?”
Really it was rather magnificent, and it was war as well; of that there could not be the slightest doubt. All Riseholme, by this time, knew that Lucia and Peppino had not been able to understand a word of what Cortese had said, and here was the answer to the back-biting suggestion, vividly put forward by Mrs Weston on the green that morning, that the explanation was that Lucia and Peppino did not know Italian. They could not reasonably be expected to know Neapolitan dialect; the language of Dante satisfied their humble needs. They found it difficult to understand Cortese when he spoke English, but that did not imply that they did not know English. Dante’s tongue and Shakespeare’s tongue sufficed them….
“And what were the words of the libretto like?” asked Georgie.
Lucia fixed him with her beady eyes, ready and eager to show how delighted she was to bestow approbation wherever it was deserved.
“Wonderful!” she said. “I felt, and so did Peppino, that the words were as utterly wasted on that formless music as was poor Miss Bracely’s voice. How did it go, Peppino? Let me think!”
Lucia raised her head again with the far-away look.
“Amore misterio!” she said. “Amore profondo! Amore profondo del vasto mar.” “Ah, there was our poor bella lingua again. I wonder who wrote the libretto.”
“Mr Cortese wrote the libretto,” said Georgie.
Lucia did not hesitate for a moment, but gave her silvery laugh.
“Oh, dear me, no,” she said. “If you had heard him talk you would know he could not have. Well, have we not had enough of Mr Cortese and his works? Any news? What did you do last night, when Peppino and I were in our purgatorio?”
Georgie was almost equally glad to get off the subject of Italian. The less said in or of Italian the better.
“I was dining with Mrs Quantock,” he said. “She had a very interesting Russian woman staying with her, Princess Popoffski.”
Lucia laughed again.
“Dear Daisy!” she said. “Tell me about the Russian princess. Was she a Guru? Dear me, how easily some people are taken in! The Guru! Well, we were all in the same boat there. We took the Guru on poor Daisy’s valuation, and I still believe he had very remarkable gifts, curry-cook or not. But Princess Popoffski now—”
“We had a seance,” said Georgie.
“Indeed! And Princess Popoffski was the medium?”
Georgie grew a little dignified.
“It is no use adopting that tone, cara,” he said, relapsing into Italian. “You were not there; you were having your purgatory at Olga’s. It was very remarkable. We touched hands all round the table; there was no possibility of fraud.”
Lucia’s views on psychic phenomena were clearly known to Riseholme; those who produced them were fraudulent, those who were taken in by them were dupes. Consequently there was irony in the baby-talk of her reply.
“Me dood!” she said. “Me very dood, and listen carefully. Tell Lucia!”
Georgie recounted the experiences. The table had rocked and tapped out names. The table had whirled round, though it was a very heavy table. Georgie had been told that he had two sisters, one of whom in Latin was a bear.
“How did the table know that?” he asked. “Ursa, a bear, you know. And then, while we were sitting there, the Princess went off into a trance. She said there was a beautiful spirit present, who blessed us all. She called Mrs Quantock Margarita, which, as you may know, is the Italian for Daisy.”
Lucia smiled.
“Thank you for explaining, Georgino,” she said.
There was no mistaking the irony of that, and Georgie thought he would be ironical too.
“I didn’t know if you knew,” he said. “I thought it might be Neapolitan dialect.”
“Pray, go on!” said Lucia, breathing through her nose.
“And she said I was Georgie,” said Georgie, “but that there was another Georgie not far off. That was odd, because Olga’s house, with Mr Shuttleworth, were so close. And then the Princess went into very deep trance, and the spirit that was there took possession of her.”
“And who was that?” asked Lucia.
“His name was Amadeo. She spoke in Amadeo’s voice, indeed it was Amadeo who was speaking. He was a Florentine and knew Dante quite well. He materialised; I saw him.”
A bright glorious vision flashed upon Lucia. The Dante-class might not, even though it was clearly understood that Cortese spoke unintelligible Neapolitan, be a complete success, if the only attraction was that she herself taught Dante, but it would be quite a different proposition if Princess Popoffski, controlled by Amadeo, Dante’s friend, was present. They might read a Canto first, and then hold a seance of which Amadeo—via Princess Popoffski—would take charge. While this was simmering in her mind, it was important to drop all irony and be extremely sympathetic.
“Georgino! How wonderful!” she said. “As you know, I am sceptical by nature, and want all evidence carefully sifted. I daresay I am too critical, and that is a fault. But fancy getting in touch with a friend of Dante’s! What would one not give? Tell me: what is this Princess like? Is she the sort of person one could ask to dinner?”
Georgie was still sore over the irony to which he had been treated. He had, moreover, the solid fact behind him that Daisy Quantock (Margarita) had declared that in no circumstances would she permit Lucia to annex her Princess. She had forgiven Lucia for annexing the Guru (and considering that she had only annexed a curry-cook, it was not so difficult) but she was quite determined to run her Princess herself.
“Yes, you might ask her,” he said. If irony was going about, there was no reason why he should not have a share.
Lucia
