The papers next morning, with one accord, were almost unanimous in their praise ofHoneysuckle. Will’s operetta didn’t set the Thames on fire, to be sure—a first work seldom does—but it secured such an amount of modest success as decided him to change his plans largely for the future. It was certain, now, that he might take himself seriously as a musical purveyor. So he began to drop off to some extent from the hack work of journalism, and devote his energies in earnest to his new task in life as a playwright and composer. Rue had nothing to pay for her guarantee ofHoneysuckle; on the contrary, Will received a very solid sum for his royalties on the run through the remainder of that season. He never knew, indeed, how much he had been indebted to the pretty American’s not wholly disinterested act of kindness; for Mr Blades kept his word; and, in spite of what he said, Rue’s timely intervention had decided him not a little in accepting that first piece by an unknown author.
Thus, during the next few years, as things turned out, Will’s position and prospects improved very rapidly. He was regarded as one of our most rising composers; critics spoke of him as the sole representative and restorer of the serious English poetical opera. Monetary troubles no longer oppressed his soul; he had leisure to write—and to write, if he would, the thing that pleased him. His position was secured—so much so, indeed, that judicious mammas gave him frequent invitations to their gayest At Homes and garden parties. But he successfully avoided all snares so set for him. Many people expressed no little surprise that so nice a young man—and a poet to boot—with a position like his, and such excellent Principles, should refrain from marriage. Society expects that every man will do his duty; it intends him to marry as soon as he has means to relieve it becomingly of one among its many superfluous daughters. But, in spite of Society, Will still remained single, and met all the casual feelers of interested acquaintances as to the reasons which induced him so to shirk his duty as a British citizen with a quiet smile of self-contained resolution.
Rue came to London now for each succeeding season. Will was much at her house, and a very real friendship existed between them. Busybodies wondered, indeed, that those two young people, who were so thick together, didn’t stop scandal’s mouth by marrying as they ought to do. The busybodies could see no just cause or impediment why they should not at once be joined together in holy matrimony. The young woman was rich; the young man was a genius. She was “mad for him,” every one said, in every one’s usual exaggerated phraseology; and as for him, though perhaps he wasn’t quite so wildly in love, yet he liked her so well, and was so often in her company, that it would surely be better to avoid whispers at once by marrying her offhand, like the earl in the “Bab Ballads,” “quite reg’lar, at St George’s!” The busybodies were surprised he didn’t see it so himself; it really was almost somebody’s duty, they thought, to suggest the idea to him. But perhaps Mrs Palmer’s money was strictly tied up; in which case, of course—Society broke off short, and shrugged its sapient shoulders.
To some extent, in fact, Will agreed with them himself. He almost fancied he would have proposed to Rue—if he wasn’t so fond of her. As he sat with her one evening by the drawing-room fire at Hans Place, before the lights were turned on, during blind-man’s holiday, he said to her suddenly, after a long, deep pause, “I daresay, Rue, you sometimes wonder why it is I’ve never tried to ask you to marry me.”
Rue gave a little start of half-tremulous surprise. He could see how the colour mounted fast to her cheek by the glow of the firelight. She gave a faint gasp as she answered candidly, with American frankness, “Well, to tell you the truth, Will, I’ve fancied once or twice you were just going to do it.”
Will looked across at her kindly. She was very charming. “I won’t be cruel enough, Rue,” he said, leaning forward to her like a brother, “to ask you what answer you meant to give, if I’d done as you expected. I hope you won’t think me conceited if I say I half believe I know it already. And that’s just why I want to tell you now the reason that has prevented me from ever asking you. If your nature were a little less deep, and a little less womanly than it really is, I might have asked you long ago. But, Rue, you know—I feel sure you know—how deeply I loved that other woman. I love her still, and I won’t pretend to deny it. I’ve waited and wondered whether in time her image might fade out of my heart; but it never has faded. She’s another man’s wife, and probably I shall never see her again; yet I love her as dearly and regret her as much as I did on the day when I first heard she’d thrown herself away for life upon Andreas Hausberger.”
“I’ve felt sure you did,” Rue answered, with downcast eyes. “I’vefelt it, Will—and for that very reason, I’ve wondered all the less you didn’t ask me.”
Will looked across at her again. She was beautiful as she sat there with the glow of the fire on her pensive features. “Dear Rue,” he said, softly, “you and I are no mere children. We know our own minds. We’re grown man and woman. We can venture to talk freely to one another of these things, without the foolish, childish nonsense of false shame or false blushes. In spite of Linnet, I’d have asked you long ago to be my wife—if I hadn’t respected and admired you so deeply. But I feel you’re not a woman who could ever put up with half a man’s heart, or half a man’s confidence; and half my heart is all I could give you. I love Linnet still, and I shall always love her. I never shall cease to feel an undying regret thatIdidn’t marry her, instead of that fellow Hausberger. Now, there are women not a few I might still have asked to marry me, in spite of that regret; butyou’renot one of them. I love you better than I ever have loved anyone else on this earth—anyone else, but Linnet; and, therefore, I don’t ask you to marry a man who could give you a second place only in his affections.”
The tears stood dim in Rue’s swimming eyes. She looked at him steadily, and let them trickle one by one down her cheeks, unheeded. “Dear Will,” she answered him back, with equal frankness, “it was kind of you to speak, and I’m glad you’ve spoken. It’ll make our relations all the easier in future! I guessed how you felt; I guessed it all long ago; but I’m glad, all the same, to have heard from your own lips the actual facts of it. And, Will, you quite rightly interpret my feelings. I’m an American at heart, and, you know, we Americans are very exacting in matters of affection. Some savage strain of monopoly exists in us still. I can’t help it. I acknowledge it. I won’t deny to you”—and she stretched out her hand quite frankly, and let him hold it in his own for a few brief moments—“I won’t deny that I’m very very fond indeed of you. If you could have given me your whole heart, I would have accepted it gratefully. I admired you with a deep admiration from the very first day I ever met you. I loved you from the time we sat together on the Lanser Kopf that afternoon at Innsbruck. I’m not ashamed to tell you so—nay, rather, dear, I’m proud of it; for, Will, you’re a man any woman might be proud to waste her love upon. But much as I love you, much as I admire you, I never could accept you if you feel like that. As an American born, with my monopolist instincts, I must have a whole man to myself all alone—or I won’t have any of him.”
“I knew it,” Will answered, caressing her hand with his fingers, and bending over it chivalrously. “And that’s why I never have ventured to ask you. But I’ve loved you all the same, Rue—as one loves the woman who stands best of all . . . save one . . . in one’s affections.”
Rue withdrew her hand gently. Her tears were falling faster. “Well, now,” she said, with a quiet sigh, “we can be friends in future—all the better, I hope, for this little explanation. I’m rich, of course, Will; and a great many men, circumstanced as you were, would have been glad to marry me for the sake of my money. I liked you all the more, I like you the more to-day, in thatthathas never counted for one moment with you. If you’d been a mercenary man, you’d have dissembled and pretended; you need never have let me see how much you loved that girl; or, if you had, you might have led me to suppose you had gradually forgotten her. . . . Dear friend”—and she turned to him once more with a sudden burst of uncontrollable feeling—“we are man and woman, as you say, not boy and girl; so why should I be ashamed to open my whole heart to you? You’ve told me the truth, like a man; why shouldn’t I tell you the truth, in return, like a woman? I will. I can’t help it. I have waited and watched and thought often to myself, ‘In time, he must surely, surely get over it. He must cease to love her; he can never really have loved her so much as he imagines; he must turn at last to me, when he forgets all about her.’ So I waited and watched, and, month after month, I thought at last you must surely begin to forget her. But, month after month, I have seen you loved her still; and while you loved her still, . . . Will, Will, dear Will, I didn’t want you to ask me.”
Will seized her hand once more, and kissed it tenderly. “Oh, how good you are!” he cried, in a very melting voice. “Rue, do you know, when you talk like that, you make me love you!”
“But not better thanher?” Rue murmured, softly.
Will couldn’t lie to her. “No; not better than her,” he answered slowly, in a very low voice. “If it were otherwise, I’d have asked you this very minute, dear sister.”
Rue rose and faced him. The firelight flickered red on her soft white dress; he could see by its bright glow the tears still trickling slow down those full round cheeks of hers. “After this, Will, I must go,” she said. “Don’t come again to-morrow. Next week, you may call if you like, some afternoon, casually; but for Heaven’s sake, please, don’t refer to this interview. I have only one thing to say, and when I’ve said it, I must run from you. Remember, I’m a woman; my pride is fighting hard against my love to-night—and, if I let love win, I should for ever despise myself. As long as you live, don’t speak to me of this matter again, unless you speak to say, ‘Rue, Rue, I’ve forgotten her.’ If ever that day comes—” and she flushed rosy red—“you have my answer already; you know you can claim me.”
She moved over to the door, with hurried step and beating heart, hardly able to trust herself. With a true sense of delicacy, Will abstained from opening it. He stood on the hearth-rug, irresolute, and just watched her depart; he felt, in the circumstances, that course was the more respectful.
With her fingers on the handle, Rue paused, and looked round again. “I wouldn’t have said so much, even now,” she faltered, “if it weren’t for this—that I feel you’re the one man I’ve ever met in my life to whom the question of my money was as dust in the balance. You speak the truth, and I know I can trust you. If ever you can say to me, ‘I love you better now, Rue, than I ever loved anyone,’ I am yours: then, take me! But till that day comes, if come it ever does, let us only be friends. Never speak to me again, for Heaven’s sake, never speak, as we have spoken this evening.”
She opened the door and passed out, all tremulous. Will waited a moment, and then, with a throbbing heart, went slowly down the stairs. As he did so, something moist fell suddenly on his hand that grasped the bannister. To his immense surprise, he found it was a tear from his own eyelids—for he too was crying. Poet that he was, he felt more than half-inclined, while he stood there, hesitating, to rush after her as she went, and seize her in his strong arms, and cover her with warm kisses that very minute. For a poet is a man even more than the rest of us. But could he tell her with truth he had quite forgotten Linnet? Oh, no, no, no; Linnet’s image on his heart remained graven, even then, quite as deeply as ever. We men are built so.
A week or two later, one bright spring afternoon, Will was strolling by himself down the sunny side of Bond Street. All the world was there—for the world was in town—and the pavements were crowded. But Will moved through the stream of well-dressed dawdlers, seeing and hearing little. In the midst of all that idle throng, his head was full of melodies; he was working up rhymes to ready-made tunes, undisturbed by the hubbub and din of London. Of a sudden, somebody stopped and stood straight in front of him. “Mr Deverill, I believe!” a tuneful voice said, brusquely. Will’s eyes returned at once from heaven to earth, and saw standing before them—a tall young man, of somewhat defiant aspect, dressed in the black frock coat and shiny silk hat of Metropolitan respectability.
Will paused, and surveyed him. He was a good-looking young man, with much swagger in his air, and a black moustache on his upper lip; but his face seemed somehow strangely familiar to Will, while his voice stirred at once some latent chord in the dim depths of his memory. But he wasn’t one of Will’s fine London acquaintances—the poet saw that much at once by the cheap pretentiousness of his coat and hat, the flaring blue of his made-up silk tie, the obtrusive glitter of the false diamond pin which adorned its centre. The stranger’s get-up, indeed, was redolent of the music halls. Yet he was handsome for all that, with a certain strange air of native distinction, not wholly concealed by the vulgar tone of his costume and his solicitous jewellery. Will held out his hand with that dubitative air which we all of us display in the first moment of uncertainty towards half-recognised acquaintances.
“I see you have forgotten me, zen,” the stranger said, in very decent English, drawing himself up with great dignity, and twirling his black moustache airily between one thumb and forefinger. “It is long, to be sure, since we met in ze Tyrol. And I have changed much since zen, no doubt: I have mixed with ze world; I have grown what you call in English cosmopolitan. But I see it comes back; I see you remember me now; my voice recalls it to you.”
Will grasped his hand more cordially. “Yes, perfectly, when you speak,” he said; “though you are very much changed indeed, as you say; but I see you’re Franz Lindner.”
“Yes; I’m Mr Franz Lindner,” the stranger replied, half-imperceptibly correcting him—for it was indeed the Robbler. Will scanned him from head to foot, and took him in at a glance. He was a fiery young man still, and his mien, as of old, was part fierce, part saucy. But, oh, what a difference the change of dress had made in him! No conical hat, no blackcock’s feather now, whether “turned” or otherwise. In his Tyrolese costume, with his rifle in his hand, and his cartridges at his side, Franz Lindner had looked and moved of yore a typical Alpinejäger. But, in black frock-coat and shiny tall hat, strolling like a civilised snob that he was down the flags of Bond Street, all the romance and poetry had faded utterly out of him. The glamour was gone. He looked and moved for all the world to-day like any other young man of the baser mock-swell sort, dressed up in his Sunday best to lounge and ogle and bandy vulgar chaff in Burlington Arcade with his predestined companions.
“Why, what has brought you to London, then?” Will asked, much astonished.
“Art, art,” the transfigured Robbler responded, offhand, with inimitable swagger. “You must surely zen know my stage name, zough you don’t seem to have heard me.” He pulled out a printed card, and handed it to Will with a flourish. “I am ze Signor Francesco,” he continued, “all ze world is talking about.” And he threw back his chin and cocked his head on one side, looking, even as he spoke, more pretentious than ever.
“Oh, indeed!” Will answered with a bewildered little laugh. But it was the non-committing “Oh, indeed!” of mere polite acquiescence.
Franz Lindner caught the tinge of implied non-recognition in the Englishman’s voice, and hastened to add, as if parenthetically, “I perform at ze Pavilion.”
“What, the London Pavilion at the top of the Hay market?” Will exclaimed, beginning to realise.
Franz Lindner looked hurt. “I’ve seenyourname often enough,” he said, asserting himself still more vigorously as Will seemed to know less of him; “and I sought, as you were a pillar of ze profession yourself, you would certainly have seenmine, if it were only on ze posters. I’m advertised largely. All London rings wis me. Ze County Council has even taken notice of me. I’m a public character! And I have had ze intention more zan once of looking you up, as also Mr Florian. But zere, here in London our time is so occupied! You and I, who are public men, wis professional engagements—we are ever overtaxed; we know not how to find ze leisure or ze space for ze claims of friendship.”
“Have you been long in London?” Will asked, turning down with him towards Piccadilly.
“More zan two years now,” the Robbler answered briskly, lounging on at his own pace, with a cane in his gloved hand, and staring hard, as he passed, at every pretty girl he saw on foot or in the carriages. “After I leave you at Meran, I worked my way slowly—singing, singing, ever singing—by degrees to Paris. But Paris didn’t suit me; zere is too muchblaguezere; zey go in for buffoons; zey laugh at a man of modest merit. I hateblaguemyself. So zen I came on pretty soon to London. At first I had to sing in common low music halls—sous side and zat; but talent, talent is sure to make its way in ze end. I rose very quick, and now—I am at ze head of my branch of ze profession.”
“You sing, of course?” Will interposed, restraining a smile at the Robbler’s delicious self-satisfaction. The man himself was the very same as ever, to be sure; but ’twas strange what a difference mere externals had made in him!
“Yes; I sing, and sometimes, too, I play ze zither. But mostly, I sing. It surprises me, indeed, you should not have heard of my singing.”
“And what’s the particular branch of which you’re the acknowledged head?” Will asked, still amused at the Tyroler’s complacency.
Franz Lindner held his head very high in the air, and gave a twirl to his cane, as he answered, with much importance, “My line is ze Mammoss Continental Comique; ze serio-comic foreigner; zey call me Frenchy. I sing ze well-known songs in broken English zat are in everybody’s mous—‘Mossoo Robert is my name,’ or ‘Lay-ces-terre Squarre,’ or ‘Ze leetle black dawg,’ or ‘Zat lohvely Matilda.’ I wonder you have not heard of me. ‘Mossoo Robert’ is all ze talk of London. Frank Wilkins writes songs especially for my voice. If you look in ze music shops, you will see on ze covers, ‘Written expressly for Signor Francesco.’ Signor Francesco—zat’s me!” And he tapped his breast, and swelled himself visibly.
“I remember to have seen the name, I think,” Will answered, with a slight internal shudder, well pleased, none the less, to give some tardy salve to his companion’s wounded vanity. “I’m glad you’ve got on, and delighted to find you have such kindly recollections of me.”
Franz Lindner laughed. “Oh, zat!” he said, snapping his fingers in the air very jauntily. “I was a hot young man zen; I knew little of ze world. You mustn’t sink much of what a young man did in ze days before he knew how Society is managed. I owe you no grudge. We were bose of us younger. Besides, our friend Hausberger has wiped out our old scores. I have transferred to him, entire, all my feelings in ze matter.”
“That’s well,” Will replied, anxious indeed to learn whether the Tyroler had heard anything fresh of late years about Linnet. “And Hausberger himself? What of him . . . and his wife? Have you ever knocked up against them?”
The Robbler’s brow gathered; his hand clenched his cane hard. It was clear civilisation and cosmopolitanism, however neatly veneered, hadn’t made much serious change in his underlying nature. “Zat rascal!” he exclaimed, bringing his stick down on the pavement with a noisy little thud; “zat rogue; zat liar! If ever Ihadcome across him, it would be bad for his head. Sousand devils, what a man! . . . Here, we’re close to ze Cri; will you come and have a drink? We can talk zis over afterward. I like to offer somesing to a friend new discovered.”
“It’s not much in my line,” Will answered, smiling; “but still, for old times’ sake, I’ll go in and have a glass with you.” To say the truth, he was so eager to find out what Franz might have to communicate that he stretched a point for once, and broke through his otherwise invariable rule never to drink anything anywhere except at meal times.
Franz stalked along Piccadilly, and strode airily into the Criterion like one who knew his way well about the London restaurants. “What’ll you take?” he asked of Will in an assured tone, which showed the question in English was a very familiar one to him.
“Whatever you take yourself,” Will answered, much amused, for the Tyroler was far more at home than himself in a London bar, and far more at his ease with the London barmaid.
“Two half porters and two small Scotch, miss,” the Robbler cried briskly to the tousely-haired young woman who attended to his call. “You’ll find it a very good mixture for zis time of day, Mr Deverill. I always take it myself. It softens ze organ.”
The young woman fulfilled the order with unwonted alacrity—Franz was a favourite at the bar, and gave his commands leaning across it with the arch smile of anhabitué—and Will then discovered that the mixture in question consisted of a glass of Dublin stout, well fortified with a thimbleful of Highland whisky. He also observed, what he had not at first sight noticed, that Franz Lindner’s face, somewhat redder than of old, bore evidence, perhaps, of too frequent efforts for the softening of the organ. Franz nodded to the barmaid.
“Here’s our meeting!” he said to Will. “Shall we step a little aside here? We can talk wisout overhearing.”
They drew aside to a round table for their unfinished gossip. “You’re not in town often, I suppose,” the Tyroler began, scanning his companion from head to foot with a critical scrutiny.
“Why, I live here,” Will answered, taken aback—“in Craven Street, Strand; I’ve always lived here.”
“Oh, indeed,” the Robbler responded, with a somewhat superior air; “I sought from your costume you’d just come up from ze country.”
Will smiled good-humouredly. He was wearing, in point of fact, a soft slouch hat and a dusty brown suit of somewhat poetical cut, which contrasted in more ways than one with the music-hall singer’s too elaborate parody of the glossy silk chimney-pot and regulation frock-coat of the orthodox Belgravian.
Then Franz came back at a bound to the subject he had quitted on the flags of Piccadilly. He explained, with much circumlocution and many needless expletives, how he had heard from time to time, through common friends at St Valentin, that Andreas Hausberger and his wife had fluctuated of late years between summer at Munich, Leipzig, Stuttgart, and winter at Milan, Florence, Naples, Venice. Linnet got on with him very well—oh, very well indeed—yes; Linnet, you know, was just the sort of girl to get on very well with pretty nearly anyone. No doubt by this time she’d settled down into tolerably amicable relations with Andreas Hausberger! Any children? Oh dear, no; Hausberger’d take care of that; a public singer’s time is far too valuable to be wasted on the troubles of a growing young family. Had she come out yet? Well, yes; that is to say, from time to time she’d sung at concerts in Munich, Florence, and elsewhere. Successfully? Of course; she’d a very good voice, as voices go, for her sort, and training was sure to do something at least for it. Franz had heard rumours she was engaged next season for San Carlo at Naples; you might count upon Hausberger’s doing his very best, now he’d invested his savings in preparing her for the stage, to make money out of his bargain.
Through all Franz said, however, there ran still, as of yore, one constant thread of undying hatred to the man who had outwitted him at Meran and St Valentin. “Then you haven’t forgiven him yet?” Will inquired at last, after one such spiteful allusion to Andreas’s meanness.
The Robbler’s hand moved instinctively of itself to his left breast pocket. He had changed his coat, but not his customs. “I carry it here still,” he answered, with the same old defiant air, just defining with finger and thumb the vague outline of the knife that bulged between them through the glossy broadcloth. “It’s always ready for him. Ze day I meet him—” and he stopped short suddenly, with a face like a bulldog’s.
“You Tyrolers have long memories,” Will answered, with a little shudder. “It’s very unfashionable you know, to stab a rival in London.”
Franz showed his handsome teeth. “Unfashionable or not,” he replied, with a shrug, “it is so I was born; it is so I live ever. As we say in ze song, I am made zat way. I cannot help it. I never forget an injury. . . . Zough, mind you,” he continued, after a telling little pause, during which he drove many times an imaginary knife into an invisible enemy, “it isn’t so much now zat I grudge him Linnet. Let him keep his fine Frau. Zere are better girls in ze world, you and I have found out, zan Lina Telser—to-day Frau Hausberger. We were younger zen; we are men of ze world now; we know higher sings, I sink, zan a Zillerthalsennerin. What I feel wis him at present is not so much zat he took away ze girl, as zat he played me so mean a trick to take her.”
Will smiled to himself in silence. How strangely human feelings and ideas differ! He himself had never forgotten the beautiful alp-girl with the divine voice; in the midst of London drawing-rooms he never ceased to miss her; while Franz Lindner thought he had left Linnet far, far behind, since he became acquainted with those higher and nobler types, the music-hall stars of the London Pavilion! “There’s no accounting for tastes,” people say; oh, most inept of proverbs! surely it’s easy for anyone to account for the reasons which made Linnet appear so different now in Franz Lindner’s eyes and in her English poet’s.
But before Franz and Will parted at the Circus that afternoon, they had made mutual promises, for old acquaintance’s sake—Franz, that he would graciously accept a stall, on an off-night, at the Duke of Edinburgh’s, to see Will’s new piece,The Duchess of Modena; and Will, that he would betake himself to the London Pavilion one of these next few evenings, to hear Signor Francesco, alias the Frenchy, in his celebrated and universally encored impersonation of Mossoo Robert in Regent Street.
Three years and more had passed since Will’s visit to the Tyrol. Events had moved fast for his fortunes meanwhile. He was a well-known man now in theatrical circles. Florian Wood went about, indeed, boasting in clubs and drawing-rooms that ’twas he who had discovered and brought out Will Deverill. “It’s all very well to be a poet,” he said, “and it’s all very well to be born with a head full of rhymes and tunes, of crochets, clefs, and quavers; but what’s the use of all that, I ask you my dear fellow, without a critic to push you? A Critic is a man with a fine eye for potentialities. Before the world sees, he sees; before the world hears, he listens. He sits by the world’s wayside, as it were, with open eye or ear, and catches unawares the first faint lisping notes of undeveloped genius. He divines in the bud the exquisite aroma and perfect hue of the full-blown blossom. Long ago, I said to Deverill, ‘You have the power within you to write a good opera!’ He laughed me to scorn; but I said to him, ‘Try!’—and the outcome was,Honeysuckle. He took up a battered fiddle one day at an old inn in the Zillerthal, when we two were rusticating on the emerald bosom of those charming unsophisticated Tyrolese valleys; he struck a few notes on it of his own composing; and I said to him, ‘My dear Will, Sullivan trembles on his pedestal.’ At the time he treated it as a mere passing joke; but I made him persevere; and what was the result?—why, those exquisite airs which found their way before long to the sheep-runs of Australia, and resounded from lumberers’ camps in the backwoods of Canada! The Critic, I say, is the true prophet and sage of our modern world; he sees what is to be, and he helps to produce it.”
But whether Florian was right in attributing Will’s success to himself or not, it is certain, at least, that Will was rapidly successful. The world recognised in him a certain genuine poetical vein which has seldom been vouchsafed to the English librettist; it recognised in him, also, a certain depth and intensity of musical sense which has seldom been vouchsafed to the English dramatic composer.
One afternoon that spring, Will returned to town from a visit to the Provinces in connection with his new opera,The Lady of Llandudno, then about to be performed in several country theatres by Mr D’Arcy Clift’s operatic company. He drove almost straight from the station to Rue’s. Florian was there in great form; and Mr Joaquin Holmes, the Colorado Seer, had dropped in for afternoon tea at his fair disciple’s. In spite of Will’s ridicule, Rue continued to believe in Mr Holmes’ thought-reading and other manifestions. For the Seer had added by this time a touch of spiritualism to the general attractions of his flagging entertainments at the Assyrian Hall; and it is a mysterious dispensation of Providence that wealthy Americans, especially widows, fall a natural prey to all forms of transcendentalism or spiritualistic quackery. It seems to be one of the strange devices which Providence adopts for putting excessive or monopolised wealth into circulation.
“Mr Holmes wants me to go to the Harmony to-night,” Rue said, with a smile—“you know what it is—the new Harmony Theatre. He says there’s a piece coming out there this evening I ought to see—a pretty new piece by an American composer. You’re going to be crushed, Will. They’ve got a fresh tenor there, a very good man, whom Mr Holmes thinks a deal of. I’ve half a mind to go; will you join our party?”
“You ought to hear it,” the Seer remarked, with his oracular air, turning to Will, and looking critical. “This new tenor’s a person you should keep your eye upon; I heard him rehearse, and I said to myself at once, ‘That fellow’s the very man Mr Deverill will want to write a first part for; if he doesn’t, I’ll retire at once from the prophetic business.’ He has a magnificent voice; you should get Blades to secure him next season for the Duke of Edinburgh’s. He’s worth fifty pounds a night, if he’s worth a penny.”
“Very good trade, a tenor’s,” Florian mused philosophically. “I often regret I wasn’t brought up to it.”
“What’s his name?” Will asked with languid interest, for he had no great faith in the Seer’s musical ear and critical acumen.
“His name? Heaven knows,” the Seer answered, with a short laugh; “but hecallshimself Papadopoli—Signor Romeo Papadopoli.”
“There’s a deal in a name, in spite of that vastly overrated man, Shakespeare,” Florian murmured, musingly. “It’s my belief, if the late lamented Lord Beaconsfield had only been christened Benjamin Jacobs, or even Benjamin Israels, he never would have lived to be Prime Minister of England. But as Benjamin Disraeli—ah, what poetry, what mystery, what Oriental depth, what Venetian suggestiveness! And Romeo’s good, too; Signor Romeo Papadopoli! Why, ’twas of Romeo himself the Bard first asked, ‘What’s in a name? the rose,’ etcætera. And in the fulness of time, this singer man crops up with that very name to confute him. ‘Ah, Romeo, Romeo, wherefore art thou Romeo?’ Why, because it looks so extremely romantic in a line of the playbill, and helps to attract the British public to your theatre! Papadopoli, indeed! and his real name’s Jenkins. I don’t doubt it’s Jenkins. There’s a Palazzo Papadopoli on the Grand Canal. But this fellow was born, you may take your oath, at Haggerston or Stepney!”
“Well, your own name has floated you in life, at any rate,” Rue put in, a little mischievously.
Florian gazed at her hard—and changed the subject abruptly. “And there’s a woman in the troupe who sings well, too, I’m told,” he interposed, with airy grace—the airy grace of five feet—turning to Joaquin Holmes. “I haven’t heard her myself; I’ve been away from town—you know how engaged I am—visits, visits in the country—Lady Barnes; Lady Ingleborough. But they say she sings well; really, Will, you ought to come with us.”
“Yes; she’s not bad in her way,” the Seer admitted, with a stifled yawn, stroking his long moustache, and assuming the air of a connoisseur in female voices. “She’s got a fine rich organ, a little untrained, perhaps, but not bad for adébutante. A piquante little Italian; Signora Carlotta Casalmonte she calls herself. But Papadopoli’s the man; you should come, Mr Deverill; my friend Mr Florian has secured us a box; I dine at Mrs Palmer’s, and we all go together to the Harmony afterwards.”
“I should like to go,” Will replied with truth; for he hated to leave Rue undefended in that impostor’s clutches; “but, unfortunately, I’ve invited my sister and her husband to dine with me to-night at my rooms in Craven Street.”
“Well, wire to them at once to come on and dine here instead,” Rue suggested, with American expansiveness; “and then we can all go in a party together—the more the merrier.”
Will thought not badly of this idea; it was a capital compromise: the more so as he had asked nobody else to meet the Sartorises, and a familytête-à-têtewith Maud and Arthur wasn’t greatly to his liking. “I’ll do it,” he said, after a moment’s reflection, “if they’re at home and will answer me.”
Rue sent out a servant to the nearest office with the telegram at once; and, in due time, an answer arrived by return that Arthur and Maud would be happy to accept Mrs Palmer’s very kind invitation for this evening. It was most properly worded; Maud was nothing if not proper. Her husband had now been appointed incumbent of St Barnabas’s, Marylebone; and her dignity had received an immense accession. Indeed, she debated for ten minutes with dear Arthur whether it was really quite right for them to go at all on such hasty notice; and she was annoyed that Will, after inviting her himself, should have ventured to put her off with a vicarious dinner-party. But she went all the same, partly because she thought it would be such a good thing for Will, “and for our own dear boys, Arthur, if Will were to marry that rich bourgeoise American,” and partly because she remembered it would give her such an excellent opportunity of displaying her pretty new turquoise-blue dinner-dress among the best company, in a box at the Harmony. Besides, a first night is a thing never to be despised by the wise man or woman; it looks so well to see next day in the Society papers, “Mrs Palmer’s box contained, amongst others, Mr Florian Wood, Mr W. Deverill, his sister, Mrs Sartoris, and her husband, the incumbent of St Barnabas’s, Marylebone.”
So, at half-past seven, Maud Sartoris sailed in, torquoise-blue and all, and, holding out her hand with a forgiving smile, murmured gushingly to her hostess, “We thought itsofriendly of you, dear Mrs Palmer, to invite us like that at a moment’s notice, as soon as you knew we were engaged to Will, and that Will couldn’t possibly go unless he took us with him! We want to see this new piece at the Harmony so much; a first night to us quiet clerical folks, you know, isalwayssuch a treat. We’reimmenselyobliged to you.”
Dinner went off well, as it usually did where Florian was of the party. To give Florian his due, he bubbled and sparkled, like the Apollinaris spring, with unfailing effervescence. That evening, too, he was in specially fine form; it amused him to hear Mr Joaquin Holmes discourse with an air of profound conviction on his own prophetic art, and then watch him glancing across the table under his long dark eyelashes to see between whiles how Florian took it. The follies and foibles of mankind were nuts to Florian. It gave the epicurean philosopher a calm sense of pleasure in his own superiority to see Rue and Arthur Sartoris drinking in open-mouthed the mysterious hints and self-glorificatory nonsense of the man whom he knew by his own confession to be a cheat and a humbug. Their eyes seldom met; Joaquin Holmes avoided such disconcerting experiences; but whenever they did, Florian’s were brimful of suppressed amusement, while the Seer’s had a furtive hang-dog air as of one who at once would deprecate exposure and beseech indulgence.
After dinner, the Seer kept them laughing so long at his admirable stories of the Far West of his childhood (which Arthur Sartoris received with the conventional “Ah really, now, Mr Holmes!” of forced clerical disapprobation) that they were barely in time for the beginning of the opera. As they entered, the tenor held possession of the stage. Will didn’t think so much of him; Florian, his head on one side in a critical attitude, observed oracularly, at the end of his first song, that the Papadopoli was perhaps not wholly without capabilities. That’s the sort of criticism that Florian loved best; it enables a man to hedge in accordance with the event. If the fellow turns out well in the near future, you can say you declared from the very first he had capabilities; if the public doesn’t catch on, you can remark with justice that he hasn’t developed what little promise he once showed, and that from the beginning you never felt inclined to say much for him.
Presently, from the rear of the stage, down the mimic rocks that formed the background of the scenery, a beautiful woman, entering almost unobserved, sprang lightly from boulder to boulder of the torrent bed, with the true elastic step of a mountain-bred maiden. She had a fine ripe figure, very lithe and vigorous-looking; her features were full, but extremely regular; her mouth, though large and somewhat rich in the lips, was yet rosy and attractive. Eyes full of fire, and a rounded throat, with a waxy softness of outline that recalled a nightingale’s, gave point to her beauty. She was exquisitely dressed in a pale cream bodice, with what passes on the stage for a peasant kirtle, and round her rich brown neck she wore a drooping circlet of half-barbaric-looking lance-like red coral pendants. Before she opened her mouth, her mere form and grace of movement took the house by surprise. A little storm of applause burst spontaneous at once from stalls, boxes, and gallery. The singer paused, and curtsied. She looked lovelier still as she flushed up with excitement. Every eye in the house was instinctively fixed upon her.
Will had been gazing round the boxes as the actress entered, to see what friends of his they might contain, and to nod recognition. The burst of applause recalled him suddenly to what was passing on the stage. He looked round and stared at her. For a moment he saw only a very beautiful girl, in the prime of her days, gracefully clad for her part, and most supple in her movements. At the self-same instant, before he had time to note more, the singer opened her mouth, and began to pour forth on his ear lavish floods of liquid music. Will started with surprise; in a flash of recognition, voice and face came back to him. He seized Florian by the arm. “Great God!” he cried, “it’s Linnet!”
Florian struck a little attitude. “Oh, unexpected felicity! Oh, great gain!” he murmured, in his supremest manner. “You’re right! So it is! A most undoubted Linnet!”
And Linnet it was; dressed in the impossible peasant costume of theatrical fancy; grown fuller and more beautiful about the neck and throat; with her delicate voice highly trained and developed by all that Italian or Bavarian masters could suggest to improve it; but Linnet still for all that—the same beautiful, simple, sweet Linnet as ever.
Joaquin Holmes glanced at the programme. “And this,” he murmured low, “is Signora Carlotta Casalmonte that I spoke about.”
Florian’s eyes opened wide. “Why, of course!” he exclaimed with a start. “I wonder we didn’t see it. It’s a mere translation: Casalmonte—Hausberger: Carlotta—Carolina—Lina—Linnet; there you have it!” And he turned, self-applausive of his own cleverness, to Rue, who sat beside him.
As for Rue, her first feeling was a sudden flush of pain; so this girl had come back to keep Will still apart from her! One moment later that feeling gave place with lightning speed to another; would he care for this peasant woman so much, and regret her so deeply, if he saw her here in England, another man’s wife, and an actress on the stage, dressed up in all the vulgar tinsel gew-gaws, surrounded by all the sordid disenchanting realities of theatrical existence?
But Will himself knew two things, and two things alone. That was Linnet who stood singing there—and she wore the necklet he had sent her from Innsbruck.
Yes; it was Linnet indeed! The natural chances of Will’s profession had thrown them together almost inevitably on the very first night of her appearance in London.
Linnet had looked forward to that night; she had always expected it. During those three long years that had passed since they parted, she had never yet ceased to hope and believe that Andreas would some day take her to England. And if to England, then to London, and Will Deverill. But much had happened meanwhile. She was the self-same Linnet still, in heart and in soul, yet, oh! how greatly changed in externals of every sort. Those three years and a half had made a new woman of her in art, in knowledge, in culture, in intellect. She had left the Tyrol a mere ignorant peasant-girl; she came to London now an educated lady, an accomplished vocalist, a powerful actress, a finished woman of society.
And it was Will Deverill who had first put into her head and heart the idea and the desire of attaining such perfect mastery in her chosen vocation. The capacity, the potentiality, the impulse, the instinct, were all there beforehand; no polish on earth can ever possibly turn a common stone into a gem of the first water: the beauty of colour, the delicacy of grain must be inherent from the outset, only waiting for the art of the skilful lapidary to bring them visibly out and make them publicly manifest. So Linnet had been a lady in fibre from the very first, inheriting the profound Tyrolese capacity for artistic receptiveness and artistic effort; everything that was beautiful in external Nature or human handicraft spoke straight to her heart with an immediate message—spoke so clear that Linnet could not choose but listen. Still, it was Will Deverill’s words and Will Deverill’s example that first set her soul upon the true path of development. It was he who had read her Goethe’sFauston the Küchelberg; it was he who had explained to her the rude Romanesque designs on the portal of the Rittersaal. She had treasured up those first lessons in her inmost heart: they were the key that unlocked for her the front door of culture.
Andreas Hausberger, for his part, could never have taught her so. He had taken her straight from Meran to Verona and Milan. But his soul was bounded by the one idea of music. Even in the first poignant sorrow of that hateful honeymoon, however, Linnet had found time to gaze in wonder at the great amphitheatre, still haunted by the spectral form of the legendary Dietrich; to cry like a child over the narrow tomb where Juliet never lay; to tread with silent awe the vast aisles and solemn crypt of San Zeno Maggiore. At Milan, they loitered long; Andreas set her to work at once under a famous local teacher, and took her often in the evening to hear celebrated singers on the stage of La Scala. Such elements in an artistic education he thoroughly understood, but it never would have occurred to his mind as any part of a soprano’s training to make her examine the Luinis and Borgognones of the Brera, or do homage before the exquisite Botticellis and Peruginos of the Museo Poldi-Pezzoli. To theWirthof St Valentin such excursions into the sister arts would have seemed mere waste of valuable time, for Andreas regarded music as a branch of trade, and had not that higher wisdom which understands instinctively how every form of art reflects its influence indirectly on the musician’s mind and the musician’s inspiration. That wisdom Linnet possessed, and Andreas, after a few ineffectual remonstrances, let her go her own way and live her own artistic life unchecked to the top of her bent—the more so as he perceived she sang best and most vigorously when least thwarted or worried. Moreover, many well-advised friends assured him in private it was desirable for an actress to know as much as possible of costume, of colour, of posture, and of grouping, which could best be learned by studying the works of the great early painters.
So Linnet went her way, undeterred by her husband, and educated herself in general culture at the same time that she received her strict musical training. She knew Raphael’s Sposalizio as intimately after a while as she knew her ownchâlet; she gazed on the flowing lines of Luini’s frescoes till they grew familiar to her eyes as the Stations of the Cross in the old church at St Valentin. She drank in the cathedral with an endless joy; she loved its innumerable pinnacles, its thousand statues in the marble niches: she admired the gloomy antiquity of mouldering Sant’ Ambrogio, the dim religious aisles of Santa Maria delle Grazie. Amid surroundings like these, her artistic nature expanded by degrees as naturally as a bud opens out into a flower before the summer sunshine. She revelled in the architecture, the pictures, the statuary: Milan stood to the soul of the peasant-singer as a veritable university.
It was the first time, too, that Linnet had ever found herself in a bustling, business-like, modern city. The hurry and scurry were as new as the art to her. The throng of men and women in the crowded streets, the Piazza, brilliant with the flare of glowing lamps, the great glass-roofed gallery where the gilded Lombard youth promenaded by night in twos and threes, or sipped absinthe before the doors of dazzling cafés: all these were quite fresh, and all these were, in their way, too, an element of education. There are many who can see no more in Milan than this: they know it only as the most go-ahead and modernised of Italian cities. Linnet knew better. To her it was the town of Leonardo and his disciples, of the great marble pile whose infinite detail escapes and eludes the most observant eye, of the vast and stately opera house whereOtelloandCarmenfirst unfolded their wonders of sight and sound to her ecstatic senses. Wiser in her generation, she accepted it aright as the vestibule and ante-chamber of artistic Italy.
From Milan they went on in due time to Florence. There they stopped less long, for opportunities of learning were not by any means so good as at Milan and Naples. But those few short weeks in the City of the Soul were to Linnet as a dream of some artistic Paradise; they made her half forget, for the moment at least, her lost English lover—and her husband’s presence. The Duomo, the Palazzo Vecchio, the Loggia, the Piazza, the old bridge across the Arno, the enchanted market-place; Michael Angelo’s tomb, Giotto’s crusted campanile! What hours she spent, entranced, in the endless halls of the Uffizi and the Pitti; what moments of hushed awe and rapt silence of soul before the pallid Fra Angelicos in the dim cells of San Marco. Ach, Gott, it was beautiful! Linnet gazed with the intense delight of her mountain nature at Raphael’s Madonnas and Andrea’s Holy Families; she stood spellbound before the exquisite young David of the Academia; she wandered with a strange thrill among the marvellous della Robbias and Donatellos of the Bargello. The Tyrolese temperament is before all things artistic. A new sense seemed quickened within Linnet’s soul as she trod those glorious palaces instinct with memories of the Medici and their compeers. A great thirst for knowledge possessed her heart. She read as she had never known how to read before. That Florentine time was as her freshman year in the splendid quadrangles of this Italian Oxford.
Then Rome—the Vatican, the Colosseum, the monuments, St Peter’s, the loud organs, the singing boys, the incense, the purple robes and mitres, the great guttering candles! All that could awake in unison every chord of religion and its sister art, in that simple religious artistic nature, was there to gratify her! It was glorious! it was wonderful! So her winter passed away, her first winter with Andreas; she was learning fast, both with eye and with ear, all that Italy and its masters could possibly teach her.
As spring returned, they went northward through Lombardy and the Brenner once more on their way to Munich. Her own Tyrol looked more beautiful than ever as they passed, with its unmelted snows lying thick on the mountains. But, save for a night at Innsbruck, they might not stop there. Yet, even after that short lapse of time in southern cities, oh, how different, how altered little Innsbruck seemed to her! She had thought it before such a grand big town; she thought it now so much shrunken, so old-world, so quaint, so homely. And then, no Will Deverill was there, as before, to brighten it. The mountains gazed down as of old from their precipitous crags upon the nestling town; they were Tyrolese and home-like; and therefore she loved them. But everything had a smaller and meaner air than six months earlier; the queer old High Street was just odd, not magnificent; the Anna Säule was dwarfed, the Rathhaus had grown smaller. She had only seen Milan, Florence, Rome, meanwhile; but Milan, Florence, Rome, made Innsbruck sink at once to its proper place as a mere provincial capital. While they waited for the Munich train next morning, she strolled into the Hofkirche, to see once more Maximilian’s tomb with its attendant figures. She started at the sight. After the Venus and the Laocoon it surprised her to think she could so lately have stood awestruck before those naïf bronze abortions!
That summer they spent in Germany, almost wholly at Munich. There Linnet went through a course of musical training under a well-known teacher, and there, too, she had ample opportunities, at the same time, of cultivating to the full her general artistic faculties. Next winter, back to Italy—this time to Venice, Rome, and Naples. Linnet learnt much once more; it was all so glorious; the Grand Canal, St Mark’s, the Academy, the Frari, Sorrento, Capri, Pozzuoli, the great operas at San Carlo. So she stored her brain all the time with fresh experiences of men, women, and things; with pictures of places, of architecture, of sculpture, of scenery. Everywhere her quick mind assimilated at once all that was best and most valuable in what she saw or listened to; by eye and by ear alike, she was half-unconsciously educating herself.
But that wasn’t all. She had ideas as well of still higher education. Will Deverill had given her the first key to books—and books are the gateways of the deepest knowledge. Partly to escape from the monotony of Andreas Hausberger’s conversation, partly also quite definitely to fit herself for the place in the world she was hereafter to fill—when she went to England—Linnet turned to books as new friends and companions. German literature first of all, and especially the dramatic. Andreas was wise enough in his generation to approve of that; he was aware that acquaintance with plays and with romantic works in general forms no small integral part of an opera-singer’s equipment. German literature, then, first—Goethe, Schiller, Lessing, Richter, Paul Heyse, Freiligrath—German literature first, but after it English. Andreas approved of that, too, for was there not much money to be made out of England and America? It was well Linnet should enlarge her English vocabulary; well, too, she should know the plays and novels on whichRomeo e Giulietta, andLucia di Lammermoor, andI Puritaniwere founded. But Linnet herself had other reasons of her own for wishing to study English. Though she looked upon Will Deverill as something utterly lost to her, a bright element in her life now faded away for ever, she yet cherished the memory of that one real love episode so deep in her heart that, for her Englishman’s sake, she loved England and English. She looked forward to the time when she should go to England; not so much because she thought she should ever meet Will Deverill there—Naples and Munich had taught her vaguely to appreciate the probable vastness of London—but because it was the country where Will Deverill lived, and it spoke the tongue Will had made so dear to her. So she read every English book she could easily obtain—Shakespeare, Milton, Scott, Dickens, Thackeray—and she took oral lessons in conversational English, which as Andreas justly remarked, would improve her accent, and enable her to sing better in English opera.
Thus three years passed away, and Linnet in their course saw much of the Continent. They got as far north and west at times as Leipzig, Brussels, and even Paris. But they always spent their winters in Italy; it was best for Linnet’s throat, Andreas thought; it gave her abundance of fresh air and sunshine; and besides, the Italian style of teaching was better suited, he felt sure, to her ardent, excitable Tyrolese temperament, than the colder and more learned Bavarian method.
’Twas at Naples, accordingly, that Linnet came out first as Signora Casalmonte. But after a short season there, Andreas was quite sufficiently assured of ultimate success to venture upon taking his prize at once to England. He would sell his goods, like a prudent merchant that he was, in the dearest market. When Linnet first learned she was to go to London, a certain strange thrill of joy and hope and fear coursed through her irresistibly. London! that was the place where Will Deverill lived! London! that was the place where she soon might meet him!
She clasped the little metal Madonna that still hung from her neck, convulsively. “Our Dear Frau, oh, protect me! Save me, oh, save me from the thoughts of my own heart! Help me to think of him less! Help me to try and forget him!”
She was Andreas Hausberger’s wife now, and she meant to be true to him. Love him she never could, but she could at least be true to him. Not in deed alone, but in thought and in word, as Our Dear Frau knew, she strove hard to be faithful.
Then came the first fluttering excitement and disappointment of London—that dingy Eldorado, so rich, so miserable—the dim, dank streets, the glare, the gloom, the opulence, the squalor of our fog-bound metropolis! For a week or two, thank Heaven, Linnet was too busy at arrangements and rehearsals to think of surroundings. They were the weeks during which Will was away in the Provinces, or he must almost certainly have heard of and attended the preliminary performances of the forthcoming opera. The final day arrived, and Linnet, all tremulous at the greatness of the stake, had to make her first appearance before that stolid sea of unsympathetic, hide-bound English faces. She had peeped at them from the wings before the curtain rose; oh, how her heart sank within her. The respectable sobriety of stalls and boxes, the square-jawed brutality of pit and gallery, the cynical aspect of the gentlemen of the press, in their faultless evening clothes and unruffled shirt-fronts—all contrasted so painfully with the vivid excitement and frank expectancy of the Neapolitan audiences to which alone she had hitherto been accustomed. One brighter thought, and only one, sustained her—Dear Lady, forgive her that she should think of it now! these were all Herr Will’s people, and they spoke Herr Will’s tongue; as Herr Will was kind, would not they too be kind to her?
So, plucking up heart of grace, though trembling all over, she tripped down the stage rocks with her free gait of asennerin. To her joy and surprise, a burst of applause rose responsive at once from those seemingly irresponsive dress-coated stalls, those stolidly brutal and square-faced pittites. Her mere beauty stirred them. Even the gentlemen of the press, smiling cynically still, drummed their fingers gently on the flat tops of their opera-hats. Thus encouraged, Linnet opened her mouth and sang. Her throat rose and fell in a rhythmical tide. She rendered the first stanza of her first song almost faultlessly. She knew, herself, she had never sung better. Then came a brief pause before she went on to the second. During that pause, she raised her eyes to a box of the first tier. The Blessed Madonna in Britannia metal on the oval pendant, ever faithful at a pinch, almost crumpled in her grasp as she looked and started. It was Will she saw there, Will, Will, her dear Englishman; and Herr Florian by his elbow, and the grand foreign Frau, the fair-haired Frau, the Frau with the diamonds, ever still beside them!
In a second, Linnet felt from head to foot a great thrill break over her. It broke like a wave of fire, in long, undulating movement, as she had felt it at Innsbruck. The wave rose from her feet, as before, and coursed hot through her limbs, and burnt bright in her body, till it came out as a crimson flush on neck and chin and forehead. Then it descended once more, thrilling through her as it went, in long, undulating movement, from her neck to her feet again. She felt it as distinctly as she could feel Our Blessed Lady clenched hard in her little fist. Her Englishman was there, whom she thought she had lost; as at Innsbruck, so in London, he had come to hear her sing her first song in public!
All at once, yet again, the same strange seizure came over her. As her eyes met Will’s, and that wave of fire ran resistlessly through her, she was conscious of a weird sense she had known but once in all her life before—a sudden failure of sound, a numb deadening of the orchestra. Not a note struck her ear. It was all a vast blank to her. Instinctively, as she sang, her right hand toyed with Will’s coral necklet, but her left, with all its might, still gripped and clasped Our Lady with trembling fingers. She heard not a word she herself was uttering; she knew not how she sang, or whether she sang at all; in an agony of terror, of remorse, of shame, she kept her eyes fixed on the conductor’sbâton. By its aid alone she kept true to her accompaniment. But her heart went up silently in one great prayer to Our Lady. When she felt this at Innsbruck she knew it was love. If it meant love still—Andreas Hausberger’s wife—Oh! Blessed Mother, help! Oh! Dear Lady, protect her!