AT THE RELTON ARMS

BY EVELYN SHARP

BOSTON: ROBERTS BROS., 1895
LONDON: JOHN LANE, VIGO ST.

Copyright, 1895,
By Roberts Brothers.

University Press.
John Wilson and Son, Cambridge U. S. A.

AT THE RELTON ARMS.

CHAPTER I.

It was towards the end of a crowded reception in the musician's studio. Most of the people who had come from a sense of social obligation, and they were chiefly the mothers of his fashionable pupils, had left when the musician began to play his own compositions; and those who remained behind, and occupied the position of the Greek chorus with regard to his remarks, were his own chosen disciples, who were of course privileged to stay much longer than ordinary acquaintances. The musician, perhaps, had no effectual means of suggesting their departure; but neither was their homage, being very womanly and obvious, unpleasing to him; and when the well-dressed Philistines had driven away in their carriages, he abandoned the attitude of the debonair host and took up that of the prophet instead, which at once gave a serious turn to the conversation. He then propounded his own theories, or somebody else's, at great length, and the chorus assented with a gentle murmur of approbation whenever there was a pause. Occasionally one of the elect would ask for some music, and the musician would single out a pupil whom he considered qualified to interpret what he had composed; and in the applause which invariably followed, the performer would be entirely eclipsed by the greater importance of what she had performed.

"Isn't it a beautiful thing? Such depth," said Mrs. Reginald Routh, moving away from the piano where she had just been singing the musician's last song. It was an uncomfortable habit she had of always anticipating what the other people would have said if she had only given them time to speak; and she had acquired it from living many years with an unmusical though wealthy husband, who only acknowledged his wife's musical talents by sending large checks annually to the musician. On this occasion she caught the eye of some one who had just arrived, and repeated her remark emphatically; for the new-comer was a stranger who had unscrupulously interrupted the last verse of her song, and was now absorbed in prolonging the existence of a modicum of bitter tea, one sugar-plum, and a preserved cherry.

"Is it?" she answered hastily, seeing she was expected to say something. "I suppose it is quite good, of course. Who is it by? I suppose you can't say, though, without looking; and I haven't really the least desire to know. Talking of music," she continued blandly, chasing the sugar-plum round the saucer, "I have really had a treat this afternoon at St. James's Hall. Of course you have often heard Sapolienski? Don't ask me how to pronounce him; I think another of the horrors added to modern composers is the length of their names. But I'm ashamed to say I have never heard him before; I have been abroad, you see, and I am not a bit musical either. I enjoyed it much more than I expected though, and you should have seen the ovation he received at the end, ladies crowding on to the platform and throwing their rings at him! Oh, no, I am clearly not musical. But still, as he is the greatest musician of the day...."

Here Mrs. Reginald Routh found her opportunity, and used it.

"Oh, indeed? I have never heard of a player of that name, but really there are so many third-rate 'eskis' now that we cannot be expected to know them all. I dislike all kinds of sentimental effusion, and society lions, especially when they are musical ones, are singularly unpleasing to me. There can be no flattery where true genius exists, and if we were to reserve our praise for real hidden talent," she paused as the musician came within hearing and repeated her last words in a louder tone, "real hidden talent, music would at last find her rightful place of honor among us. Do you not think so, Mr. Digby?"

Mrs. Reginald maintained a superb air of possession over music by making it always of the feminine gender, just as she did over the musician by calling him by his first name.

Mr. Digby Raleigh, thus intercepted in his passage across the room, turned on his heel and ran his fingers through his hair as he launched out on his favorite theme with enthusiasm. For besides being an interesting musician with a studio in the West End, he had views on metaphysics and Socialism as well, and although his warm discussions of these and other modern subjects conveyed little but confused notions to the minds of his feminine hearers, yet his enthusiasm only lent him a more potent charm in their eyes.

"Not yet, Mrs. Routh, no, no, not yet," he exclaimed earnestly, "we are not ready, not fit for it yet. Socialism has to come first; the people must be taught the meaning of life and humanity before they can be made ready for music. Music is the end and aim of every intelligent Socialist. The people must suffer first, as we have all had to suffer, we who do understand and are waiting for the light which cannot shine because of the materialists who do not even feel the need of it. Life is a problem, but we at least are happiest who see that it is so, and seek for the solution with our—with our heart's blood."

The end was not quite so eloquent as the beginning of his speech, but the musician had also caught the eye of the latest comer as she stirred the grounds of her tea mechanically and looked across the room at him, and he became suddenly conscious that there was somebody in the room who was actually inclined to laugh at him. So he stumbled slightly over his last words, and blushed a little at his own emotion; but the other ladies were glancing at one another with much sympathy as if to show that they thoroughly understood all he meant and felt, and they evidently expected some more to follow. So he ran his fingers through his hair again, and looked at Mrs. Reginald Routh, and tried to forget the gray-eyed girl in the warmth of his cause.

"It is not Parliamentary reform, it is not any revolution, or series of revolutions, that will bring Socialism. It is we ourselves who must give it birth after much pain and sorrow, even as a mother—" here the exclusive nature of the audience struck him, and he paused abruptly, until he remembered that he was a prophet, and might use any questionable metaphor he pleased without impropriety—"even as a mother brings forth the child who is to become her joy and her comfort. It is the spirit of altruism that has to be diffused among us, and when we have once realized that the 'will to live' as Schopenhauer puts it, is the one to be controlled, and that the finest of all things is to die,—that is, of course, to live,—to live for the good of the Commonwealth, then shall we be prepared for the enjoyment of perfect art, and then shall the musician,—that is, of course, the art of the musician,—be allowed to exist without such sordid considerations as bread and butter and a roof. I use art in its highest, its only real sense, as meaning music only; such imitative branches as literature and painting will not then be practised. I—I beg your pardon?"

"Please don't stop," urged the gray-eyed girl, who had painted certain hot sunsets and purple mists during her travels on the Continent, and had shown in her face what she thought of the musician's last words, "I would not interrupt for the world. I don't know anything about Socialism, or any of the other things you mention except painting, which is evidently doomed. So pray go on, I find it most entertaining."

And a laugh, in which derision was plainly discernible, rang out to bear testimony to her words. She evidently did not realize the serious nature of the assemblage in which she found herself, and Mrs. Reginald acquired a distinct