stiffly in a blaze of heat, sand, limbs the color of slate. The sound of the curious voice had become Eastern, the look in the insolent black eyes Eastern. There seemed to be an odd intoxication in the face, pale, impassive, and unrighteous, as if the effects of a drug were beginning to steal upon the senses. And the white, square-nailed hands beat gently upon the piano till many people, unconsciously, began to sway ever so little to and fro. An angry look came into Millie Deans's eyes, and when the last drum throb died away and the little girl of Tombouctou slept for ever in the sand, slain by her Prince of Darkness, for a reason that seemed absurdly inadequate to the British composer who was a prop of the provincial festivals, but quite adequate to almost every woman in the room, her mouth set in a hardness that was almost menacing.
After ten minutes' conversation an English soprano sang Bach's Heart Ever Faithful. Variety was always welcomed at the parties in Cadogan Square.
"Glorious, old chap!" said the British composer. "We've come up into God's air now."
The critic swung his right arm like a man who enjoyed bowling practice at the nets.
"Lung exercise! Lung exercise!" he breathed. "And that drop at the end! What a stroke of genius!"
Mrs. Shiffney had disappeared with Rades. She loved Bach—in the supper room. In the general movement which took place when the soprano had left the dais, escorted by Max Elliot, to have a glass of something, Charmian found herself beside Margot Drake, the girl with the laurel leaves.
Margot and her sister Kit were extremely well known in London. Their father was a very rich iron-master, a self-made man, who had been created a Baronet and had married an ultra-aristocratic woman, the beautiful Miss Enid Blensover, related to half the Peerage. The blend had resulted in the two girls, who were certainly anything rather than ordinary. They were half Blensovers and half Drakes: delicate, languid, hot-house plants; shrewd, almost coarse, and pushing growths, hardy and bold, and inclined to be impudent. In appearance they resembled their mother, and they had often much of her enervated and almost decaying manner. Her beauty was of the dropping-to-pieces type, bound together by wonderful clothes of a fashion peculiar to herself and very effective. But they had the energy, the ruthlessness, and the indifference to opinion of their father, and loved to startle the world he had won for himself. They were shameless, ultra-smart, with a sort of half-condescending passion for upper Bohemia. And as neither their mother nor they cared about anybody's private life or morals, provided the sinner was celebrated, lovely, or amusing, they knew intimately, even to calling by Christian names, all sorts of singers, actresses, dancers, sculptors, writers, and painters, who were never received in any sort of good society on the Continent or in America. London's notorious carelessness in such matters was led gaily by their mother and by them. Their house in Park Lane was popularly known as "the ragbag," and they were perpetually under the spell of some rage of the moment. Now they were twin Bacchantes, influenced by a Siberian dancer at the Palace; now curiously Eastern, captured by a Nautch girl whom they had come to know in Paris. For a time they were Japanese, when the Criterion opened its doors to a passionate doll from Yokohama, who became their bosom friend. Italy touched them with the lovely hands of La Divina Carlotta, our lady of tears from a slum of Naples. The Sicilians turned them to fire and the Swedish singers to snow. At this moment Margot was inclined to be classic, caught by a plastic poseuse from Athens, who, attired solely in gold-leaf, was giving exhibitions at the Hippodrome to the despair of Mrs. Grundy. And Kit was waiting for a new lead and marking time in the newest creations from Paris.
"Charmian, come and sit down for just a moment! Run away and play, Lord Mark!"
"With whom?" said a handsome boy plaintively.
"With Jenny Smythe, with Lady Dolly, anyone who can play pretty. Come back in ten minutes and I'll be bothered with you again—perhaps. Let's sit here, Charmian. Wasn't the Fille too perfect? But the Bach was like the hewing of wood and the drawing of water. Max shouldn't have allowed it. What do you think of my gold gown?"
"It's lovely!"
"The Greeks knew everything and we know nothing. This dress hangs in such a calm way that one can't be anything but classic in it. Since I've known the Persephone I've learnt how to live. You must go to the Hippodrome. But what's all this about your going yachting with the Adelaide and an extraordinary Cornish genius? What's the matter?"
The last words came out in a suddenly business-like and almost self-made voice, and Margot's deep eyes, full hitherto of a conscious calm, supposed to be Greek, abruptly darted questioning fires which might have sprung from a modern hussy.
"D'you like him so much?" continued Margot, before Charmian had time to answer.
"You're making a great mistake," said Charmian, with airy dignity. "I was only surprised to hear that Claude Heath was coming. I didn't know it. I understood he had refused to come. He always refuses everything. How did you hear of him?"
"The Adelaide has been talking about him. She says he's a genius who hates the evil world, and will only know her and your mother, and that he's going with her and you and Max Elliot to the Greek Isles on one condition—that nobody else is to be asked and that he is to be introduced to no one. If it's really the Greek Isles, I think I ought to be taken. I told the Adelaide so, but she said Claude Heath would rather die than have a girl like me with him on the yacht."
"So he really has accepted?"
"Evidently. Now you don't look pleased."
"Mr. Heath's Madretta's friend, not mine," said Charmian.
"Really? Then your mother should go to Greece. Why did the Adelaide ask you?"
"I can't imagine."
"Now, Charmian!"
"I assure you, Margot, I was amazed at being asked."
"But you accepted."
"I wanted to get out of this weather."
"With a Cornish genius?"
"Mr. Heath only looks at middle-aged married women," said Charmian. "I think he has a horror of girls. He and I don't get on at all."
"What is he like?"
"Plain and gaunt."
"Is his music really so wonderful?"
"I've never heard a note of it."
"Hasn't your mother?"
With difficulty Charmian kept a displeased look out of her face as she answered sweetly:
"Once, I think. But she has said very little about it."
At this moment the tragic mask of Miss Deans was seen in a doorway, and Margot got up quickly.
"There's that darling Millie from Paris!"
"Who? Where?"
"Millie Deans, the only real actress on the operatic stage. Until you've seen her in Crêpe de Chine you've never seen opera as it ought to be. Millie! Millie!"
She went rather aggressively toward Miss Deans, forgetting her calm gown for the moment.
So Claude Heath had accepted. Charmian concluded this from Margot Drake's remarks. No doubt Mrs. Shiffney had received his answer that day. She loved giving people the impression that she was adventurous
