The Ghost: A Modern Fantasy - Arnold Bennett

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never went in for high art, you know. All rot! I found I could write melodies that people liked and remembered." (He was so used to reading interviews with himself in popular weeklies that he had caught the formalistic phraseology, and he was ready apparently to mistake even his cousin for an interviewer. But I liked him.) "And I could get rather classy effects out of an orchestra. And so I kept on. I didn't try to be Wagner. I just stuck to Sullivan Smith. And, my boy, let me tell you it's only five years since 'The Japanese Cat' was produced, and I'm only twenty-seven, my boy! And now, who is there that doesn't know me?" He put his elbows on the onyx. "Privately, between cousins, you know, I made seven thousand quid last year, and spent half that. I live on half my income; always have done; always shall. Good principle! I'm a man of business, I am, Carl Foster. Give the public what they want, and save half your income—that's the ticket. Look at me. I've got to act the duke; it pays, so I do it. I am a duke. I get twopence apiece royalty on my photographs. That's what you'll never reach up to, not if you're the biggest doctor in the world." He laughed. "By the way, how's Jem getting along? Still practising at Totnes?"

      "Yes," I said.

      "Doing well?"

      "Oh! So—so! You see, we haven't got seven thousand a year, but we've got five hundred each, and Jem's more interested in hunting than in doctoring. He wants me to go into partnership with him. But I don't see myself."

      "Ambitious, eh, like I was? Got your degree in Edinburgh?"

      I nodded, but modestly disclaimed being ambitious like he was.

      "And your sister Lilian?"

      "She's keeping house for Jem."

      "Pretty girl, isn't she?"

      "Yes," I said doubtfully. "Sings well, too."

      "So you cultivate music down there?"

      "Rather!" I said. "That is, Lilian does, and I do when I'm with her. We're pretty mad on it. I was dead set on hearing Rosetta Rosa in 'Lohengrin' to-night, but there isn't a seat to be had. I suppose I shall push myself into the gallery."

      "No, you won't," Sullivan put in sharply. "I've got a box. There'll be a chair for you. You'll see my wife. I should never have dreamt of going. Wagner bores me, though I must say I've got a few tips from him. But when we heard what a rush there was for seats Emmeline thought we ought to go, and I never cross her if I can help it. I made Smart give us a box."

      "I shall be delighted to come," I said. "There's only one Smart, I suppose? You mean Sir Cyril?"

      "The same, my boy. Lessee of the Opera, lessee of the Diana, lessee of the Folly, lessee of the Ottoman. If any one knows the color of his cheques I reckon it's me. He made me—that I will say; but I made him, too. Queer fellow! Awfully cute of him to get elected to the County Council. It was through him I met my wife. Did you ever see Emmeline when she was Sissie Vox?"

      "I'm afraid I didn't."

      "You missed a treat, old man. There was no one to touch her in boys' parts in burlesque. A dashed fine woman she is—though I say it, dashed fine!" He seemed to reflect a moment. "She's a spiritualist. I wish she wasn't. Spiritualism gets on her nerves. I've no use for it myself, but it's her life. It gives her fancies. She got some sort of a silly notion—don't tell her I said this, Carlie—about Rosetta Rosa. Says she's unlucky—Rosa, I mean. Wanted me to warn Smart against engaging her. Me! Imagine it! Why, Rosa will be the making of this opera season! She's getting a terrific salary, Smart told me."

      "It's awfully decent of you to offer me a seat," I began to thank him.

      "Stuff!" he said. "Cost me nothing." A clock struck softly. "Christopher! it's half-past twelve, and I'm due at the Diana at twelve. We're rehearsing, you know."

      We went out of the club arm in arm, Sullivan toying with his eye-glass.

      "Well, you'll toddle round to-night, eh? Just ask for my box. You'll find they'll look after you. So long!"

      He walked off.

      "I say," he cried, returning hastily on his steps, and lowering his voice, "when you meet my wife, don't say anything about her theatrical career. She don't like it. She's a great lady now. See?"

      "Why, of course!" I agreed.

      He slapped me on the back and departed.

      It is easy to laugh at Sullivan. I could see that even then—perhaps more clearly then than now. But I insist that he was lovable. He had little directly to do with my immense adventure, but without him it could not have happened. And so I place him in the forefront of the narrative.

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      It was with a certain nervousness that I mentioned Sullivan's name to the gentleman at the receipt of tickets—a sort of transcendantly fine version of Keith Prowse's clerk—but Sullivan had not exaggerated his own importance. They did look after me. They looked after me with such respectful diligence that I might have been excused for supposing that they had mistaken me for the Shah of Persia in disguise. I was introduced into Sullivan's box with every circumstance of pomp. The box was empty. Naturally I had arrived there first. I sat down, and watched the enormous house fill, but not until I had glanced into the mirror that hung on the crimson partition of the box to make sure that my appearance did no discredit to Sullivan and the great lady, his wife.

      At eight o'clock, when the conductor appeared at his desk to an accompaniment of applauding taps from the musicians, the house was nearly full. The four tiers sent forth a sparkle of diamonds, of silk, and of white arms and shoulders which rivalled the glitter of the vast crystal chandelier. The wide floor of serried stalls (those stalls of which one pair at least had gone for six pound ten) added their more sombre brilliance to the show, while far above, stretching away indefinitely to the very furthest roof, was the gallery (where but for Sullivan I should have been), a mass of black spotted with white faces.

      Excitement was in the air: the expectation of seeing once again Rosetta Rosa, the girl with the golden throat, the mere girl who, two years ago, had in one brief month captured London, and who now, after a period of petulance, had decided to recapture London. On ordinary nights, for the inhabitants of boxes, the Opera is a social observance, an exhibition of jewels, something between an F.O. reception and a conversazione with music in the distance. But to-night the habitués confessed a genuine interest in the stage itself, abandoning their rôle of players. Dozens of times since then have I been to the Opera, and never have I witnessed the candid enthusiasm of that night. If London can be naïve, it was naïve then.

      The conductor raised his baton. The orchestra ceased its tuning. The lights were lowered. Silence and stillness enwrapped the auditorium. And the quivering violins sighed out the first chords of the "Lohengrin" overture. For me, then, there existed nothing save the voluptuous music, to which I abandoned myself as to the fascination of a dream. But not for long. Just as the curtain rose, the door behind me gave a click, and Sullivan entered in all his magnificence. I jumped up. On his arm in the semi-darkness I discerned a tall, olive-pale woman, with large handsome features of Jewish cast, and large, liquid black eyes. She wore a dead-white gown, and over this a gorgeous cloak of purple and mauve.

      "Emmeline, this is Carl," Sullivan whispered.

      She smiled faintly, giving me her finger-tips, and then she suddenly took a step forward as if the better to examine my face. Her strange eyes met mine. She gave a little indefinable unnecessary "Ah!" and sank down into a chair, loosing my hand swiftly. I was going to say that she loosed my hand as if it had been the tail of a snake that she had picked up in mistake for something else. But that would leave the impression that her gesture was melodramatic, which it was not.

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