Fair Margaret

Chapter 3

The servant who opened the door smiled. He was a man of thirty-five, or thereabouts, with cheerful blue eyes, a brown moustache and pink cheeks. He wore a blue cotton apron and had a feather duster in his hand; and he smiled very pleasantly.

'Madame Bonanni said she would see me this morning,' Margaret explained.

'What name, if you please?' the man asked, contemplating her with approval.

'Miss Donne.'

'Very well. But Madame is in her bath,' observed the servant, showing no inclination to let Margaret pass. 'Mademoiselle would do better to come another day.'

'But Madame Bonanni has given me an appointment.'

'It is possible,' the man replied, still smiling calmly.

'I have come to sing to her,' Margaret said, with a little impatience.

'Ah—then it is different!' He positively beamed. 'Then Mademoiselle is a musician? Who would have thought it?'

Margaret was not quite sure who would have thought it, but she thought the servant decidedly familiar. At that moment he stood aside for her to pass, shut the front door after her and led the way to the short flight of steps that gave access to the house from the carriage entrance.

'This way, Mademoiselle. If Mademoiselle will be good enough to wait, I will inform Madame.'

'Please don't disturb her! You said she was in her bath.'

'Oh, that has no importance!' the man cried cheerfully, and disappeared at once.

Margaret looked about her, but if she had been blind she would have been aware that she was in a place quite unlike any she had ever been in before. The air had an indescribable odour that was almost a taste; it smelt of Houbigant, Greek tobacco, Persian carpets, women's clothes, liqueur and late hours; and it was not good to breathe—except, perhaps, for people used to the air of the theatre. Margaret at first saw nothing particular to sit upon, and stood still.

It was a big room, with two very large windows on one side, a massive chimney-piece at the end opposite the door, and facing the windows the most enormous divan Margaret had ever seen. Over this a great canopy was stretched, a sort of silk awning of which the corners were stretched out and held up by more or less medi val lances. The divan itself was so high that an ordinary person would have to climb upon it, and it was completely covered by a wild confusion of cushions of all colours, thrown upon it and piled up, and tumbling off, as if a Homeric pillow fight had just been fought upon it by several scores of vigorous school-girls.

The room was plethoric with artistic objects, some good, some bad, some atrocious, but all recalling the singer's past triumphs, and all jumbled together, on tables, easels, pedestals, brackets and shelves with much less taste than an average dealer in antiquities would have shown in arranging his wares. There was not even light enough to see them distinctly, for the terrifically heavy and expensive Genoa velvet curtains produced a sort of dingy twilight. Moreover the Persian carpet was so extremely thick that Margaret almost turned her ankle as she made a step upon it.

As she knew that she must probably wait some time she looked for a seat. There were a few light chairs here and there, but they were occupied by various objects; on one a framed oil-painting was waiting till a place could be found for it, on another there was a bandbox, on a third lay some sort of garment that might be an opera-cloak or a tea-gown, or a theatrical dress, a little silver tray with the remains of black coffee and an empty liqueur glass stood upon a fourth chair, and Margaret's searching eye discovered a fifth, with nothing on it, pushed away in a corner.

She took hold of it by the back, to bring it forward a little, and the gilt cross-bar came off in her hand. She stuck the piece on again as well as she could, and as she did not like to disturb any of the things she stood still, in the middle of the room, wondering vaguely whether Madame Bonanni's visitors usually sat down, and if so, on what.

Suddenly her eyes fell upon a piano, standing behind several easels that almost completely hid it. A piano usually has a stool, and Margaret made her way between the easels and the little oriental tables, and the plants, and the general confusion, towards the keyboard. She was not disappointed; there was a stool, and she sat down at last.

The air was oppressive and she wished herself out in the Pare Monceau, in the May morning. The time seemed endless. By sheer force of habit she slowly turned on the revolving stool and touched the keys; then she struck a few chords softly, and the sound of the perfect instrument gave her pleasure. She played something, trying to make as little noise as possible so long as she remembered where she was, but presently she forgot herself, her lips parted and she was singing, as people do who sing naturally.

She sang the waltz song in the first act of Gounod's Romeo and Juliet, and after the first few bars she had altogether forgotten that she was not at home, with her own piano, or else standing behind her teacher's shoulder in the Boulevard Malesherbes.

Now there are not many singers living who can sing the waltz song and accompany themselves without making a terrible mess of the music; but Margaret did it well, and much more than well, for she was not only a singer with a beautiful voice but a true musician. There was not a quaver or hesitation in her singing from beginning to end, nor a false note in the accompaniment.

When she had finished, her lips closed and she went on playing the music of the scene that follows. She had not gone on a dozen bars, however, when a head appeared suddenly round the corner of a picture on an easel.

'Ah, bah!' exclaimed the head, in an accent of great surprise.

Its thick dark-brown hair was all towzled and standing on end, its brown eyes were opened very wide in astonishment, and it was showing magnificently strong teeth, a little discoloured.

Margaret sprang to her feet with an apology for having forgotten herself, but the head laughed and came forward, bringing with it a large body wrapped in an enormous gown of white Turkish towelling, evidently held together by the invisible hands within. Margaret thought of the statue of Balzac.