This Man's Wife. Fenn George Manville
have a good voice. You must come and try over a few songs and duets with me.”
He looked at her half-wonderingly, and then moved by perhaps a youthful but natural desire to redeem himself, he said hastily:
“I can – play a little – the flute.”
“But you have not brought it?”
“Yes,” he said hastily. “Will you play an accompaniment? Anything, say one of Henry Bishop’s songs or duets.”
Millicent sighed, for she felt regret, but she concealed her chagrin, and said quietly, “Certainly, Mr Bayle;” and they walked together to the piano.
“Bravo!” cried Sir Gordon. “No one need be told that Mr Bayle is an Englishman.”
There was a rather uncomfortable silence as, more and more feeling pity and sympathy for their visitor, Millicent began to turn over a volume of bound up music, while, with trembling hands, Bayle drew his quaint boxwood flute with its brass keys and ivory mounts from its case.
It was a wonderfully different instrument from one of those cocoa-wood or metal flutes of the present day, every hole of which is stopped not with the fingers but with keys. This was an old-fashioned affair, in four pieces, which had to be moistened at the joints when they were stuck together, and all this business the Reverend Christie Bayle went through mechanically, for his eyes were fixed upon the music Millicent was turning over.
“Let’s try that,” he said suddenly, in a voice tremulous with eagerness, as she turned over leaf after leaf, hesitating at two or three songs – “Robin Adair,” “Ye Banks and Braes,” and another – easy melodies, such as a flute player could be expected to get through. But though she had given him plenty of time to choose either of these, he let her turn over, and went on wetting the flute joints, and screwing them up till she arrived at “I Know a Bank.”
“But it is a duet,” she said, smiling at him as an elder sister might have smiled at a brother she wished to encourage, and who had just made another mistake.
“Yes,” he said hastily; “but I can take up first one voice and then the other, and when it comes to the duet part the piano will hide the want of the second voice.”
“Or I can play it where necessary,” said Millicent, who began to brighten up. Perhaps this was not going to be such a dismal failure after all.
“To be sure,” he said: “if you will. There, I think that will do. Pray excuse me if I seem terribly nervous,” he whispered.
“Oh! don’t apologise, Mr Bayle. We are all friends here. I do not mind. I was thinking of you.”
“Thank you,” he said hastily. “You are very kind. Shall we begin?”
“Yes, I am ready,” said Millicent, glancing involuntarily at Hallam, who was still conversing with Trampleasure, his face perfectly calm, but his eyes wearing a singular look of triumph.
“One moment. Would you mind sounding D?” Millicent obeyed, and Bayle blew a tremulous note upon the flute nearly a quarter of a tone too sharp.
This necessitated a certain amount of unscrewing and lengthening which made the drops glisten upon Bayle’s forehead.
“Poor fellow!” thought Millicent, “how nervous he is! I wish he were not going to play.”
“I think that will do,” he said at last, after blowing one or two more tremulous notes. “Shall we begin?” Millicent nodded, giving him a smile of encouragement, and after whispering, “Don’t mind me, I’ll try and keep to your time,” she ran over the prelude, and shivered as the flute took up the melody and began.
It has been said that the flute, of all instruments, most resembles the human voice, and to Millicent Luttrell it seemed to wail here piteously how it knew a bank whereon the wild thyme grew. Her hands were moist from sympathy for the flautist, and she was striving to play her best with the fullest chords so as to hide his weakness, when, as he went on, it seemed to her that Bayle was forgetting the presence of listeners and growing interested in the beautiful melody he played. The notes of the flute became, moment by moment, more rich and round; they were no longer spasmodic, beginning and ending clumsily, but were breathed forth softly, with a crescendo and diminuendo where necessary, and so full of feeling that the pianiste was encouraged. She, too, forgot the listeners, and yielding to her love of her art, played on. The slow, measured strains were succeeded by the florid runs; but she never wondered whether the flautist would succeed, for they were amongst them before she knew they were so near, with the flute seeming to trip deftly over the most difficult passages without the slightest hesitation, the audience thoroughly enjoying the novel performance, till the final chord was struck, and followed by a hearty round of applause.
“Oh! Mr Bayle,” cried Millicent, looking up in his flushed face, “I am so glad.”
Her brightened eyes told him the same tale, for he had thoroughly won her sympathy as well as the praise of all present; Mr Hallam from the bank being as ready as the rest to thank him for so “delicious a rendering of that charming duet.”
The rest of that evening was strange and dreamlike to Christie Bayle. He played some more florid pieces of music by one Henry Bishop, and he took Millicent in to supper. Then, soon after, he walked home, Sir Gordon Bourne being his companion.
After that he sat for some hours thinking and wondering how it was that while some men of his years were manly and able to maintain their own, he was so boyish and easily upset.
“I’m afraid my old tutor’s right,” he said; “I want ballast.”
Perhaps that was why, when he dropped to sleep and went sailing away into the sea of dreams, his voyage was so wild and strange. Every minute some gust of passion threatened to capsize his barque, but he sailed on with his dreams growing more wild, the sky around still more strange.
It was a restless night for Christie Bayle, B.A. But the scholar of Oriel College, Oxford, was thinking as he had never thought before.
Volume One – Chapter Three.
A Little Business of the Bank
“Would you be kind enough to cash this little cheque for me, Mr Thickens?”
The speaker was Miss Heathery, in the morning costume of a plum-coloured silk dress, with wide-spreading bonnet of the same material, ornamented with several large bows of broad satin ribbon, and an extremely dilapidated bird of paradise plume. She placed her reticule bag, also of plum-colour, but of satin – upon the broad mahogany counter of Dixons’ Bank, Market Place, King’s Castor, and tried to draw the bag open.
This, however, was not so easy. When it was open all you had to do was to pull the thick silk cord strings, and it closed up tightly, but there was no similar plan for opening a lady’s reticule in the year 1818. It was then necessary to insert the forefingers of each hand, knuckle to knuckle, force them well down, and then draw, the result being an opening, out of which you could extract pocket-handkerchief, Preston salts, or purse. Thin fingers were very useful at such a time, and Miss Heathery’s fingers were thin; but she wore gloves, and the gloves of that period, especially those sold in provincial towns, were not of the delicate second-skin nature worn by ladies now. The consequence was that hard-featured, iron-grey haired, closely-shaven Mr James Thickens, in his buff waistcoat and stiff white cravat, had to stand for some time, with a very large quill pen behind his right ear, waiting till Miss Heathery, who was growing very hot and red, exclaimed:
“That’s it!” and drew open the bag.
But even then the cheque was not immediately forthcoming, for it had to be fished for. First there was Miss Heathery’s pocket-handkerchief, delicately scented with otto of roses; then there was the pattern she was going to match at Crumple’s, the draper’s; then her large piece of orris root got in the way, and had to be shaken on one side with the knitting, and the ball of Berlin wool, when the purse was found in the far corner.
Purses, too, in those days were not of the “open sesame” kind popular now. The porte-monnaie was not born, and ladies knitted long silken hose, with a slit in the middle,