Part 2

“It’s an extraordinary thing,” answered the lady, “that nobody dares give a party in London without some kind of entertainment. It is such a mistake!”

At that moment the fourth and last item on the programme began, which was called “Greek Songs by Heraclius Themistocles Margaritis.”

“He certainly looks like a Greek,” said the lady who had been talking; “in fact if his hair was cut he would be quite good-looking.”

“It’s not my idea of a Greek,” whispered her neighbour. “He is too fair. I thought Greeks were dark.”

“Hush!” said the lady, and the first song began. It was a strange thread of sound that came upon the ears of the listeners, rather high and piercing, and the accompaniment (Margaritis accompanied himself) was twanging and monotonous like the sound of an Indian tom-tom. The same phrase was repeated two or three times over, the melody seemed to consist of only a very few notes, and to come over and over again with extraordinary persistence. Then the music rose into a high shrill call and ended abruptly.

“What has happened?” asked the lady. “Has he forgotten the words?”

“I think the song is over,” said the man. “That’s one comfort at any rate. I hate songs which I can’t understand.”

But their comments were stopped by the beginning of another song. The second song was soft and very low, and seemed to be almost entirely on one note. It was still shorter than the first one, and ended still more abruptly.

“I don’t believe he’s a Greek at all,” said the man. “His songs are just like the noise of bagpipes.”

“I daresay he’s a Scotch,” said the lady. “Scotchmen are very clever. But I must say his songs are short.”

An indignant “Hush!” from a musician with long hair who was sitting not far off heralded the beginning of the third song. It began on a high note, clear and loud, so that the audience was startled, and for a moment or two there was not a whisper to be heard in the drawing-room. Then it died away in a piteous wail like the scream of a sea-bird, and the high insistent note came back once more, and this process seemed to be repeated several times till the sad scream prevailed, and stopped suddenly. A little desultory clapping was heard, but it was instantly suppressed when the audience became aware that the song was not over.

“He’s going on again,” whispered the man. A low, long note was heard like the drone of a bee, which went on, sometimes rising and sometimes getting lower, like a strange throbbing sob; and then once more it ceased. The audience hesitated a moment, being not quite certain whether the music was really finished or not. Then when they saw Margaritis rise from the piano, some meagre well-bred applause was heard, and an immense sigh of relief. The people streamed into the other rooms, and the conversation became loud and general.

The lady who had talked went quickly into the next room to find out what was the right thing to say about the music, and if possible to get the opinion of a musician.

Sir Anthony Holdsworth, who had translated Pindar, was talking to Ralph Enderby, who had written a book on “Modern Greek Folk Lore.”

“It hurts me,” said Sir Anthony, “to hear ancient Greek pronounced like that. It is impossible to distinguish the words; besides which its wrong to pronounce ancient Greek like modern Greek. Did you understand it?”

“No,” said Ralph Enderby, “I did not. If it is modern Greek it was certainly wrongly pronounced. I think the man must be singing some kind of Asiatic dialect--unless he’s a fraud.”

Hard by there was another group discussing the music: Blythe, the musical critic, and Lawson, who had the reputation of being a great connoisseur.

“He’s distinctly clever,” Blythe was saying; “the songs are amusing ‘pastiches’ of Eastern folk song.”

“Yes, I think he’s clever,” said Lawson, “but there’s nothing original in it, and besides, as I expect you noticed, two of the songs were gross plagiarisms of De Bussy.”

“Clever, but not original,” said the lady to herself. “That’s it.” And two hostesses who had overheard this conversation made up their minds to get Margaritis for their parties, for they scented the fact that he would ultimately be talked about. But most of the people did not discuss the music at all.

As soon as the music had stopped, James Reddaway, who was a Member of Parliament, left the house and went home. He was engrossed in politics, and had little time at his disposal for anything else. As soon as he got home he went up to his wife’s bedroom; she had not been able to go to the party owing to a sudden attack of neuralgia. She asked him to tell her all about it.

“Well,” he said, “there were the usual people there, and there was some music: some violin and piano playing, to which I didn’t listen. After that a man sang some Greek songs, and a curious thing happened to me. When it began I felt my head swimming, and then I entirely lost account of my surroundings. I forgot the party, the drawing-room and the people, and I seemed to be sitting on the rocks of a cliff near a small bay; in front of me was the sea: it was a kind of blue green, but far more blue or at least of quite a different kind of blue than any I have seen. It was transparent, and the sky above it was like a turquoise. Behind me the cliff merged into a hill which was covered with red and white flowers, as bright as a Persian carpet. On the beach in front, a tall man was standing, wading in the water, little bright waves sparkling round his feet. He was tall and dark, and he was spearing a lot of little silver fish which were lying on the sand with a small wooden trident; and somewhere behind me a voice was singing. I could not see where it came from, but it was wonderfully soft and delicious, and a lot of wild bees came swarming over the flowers, and a green lizard came right up close to me, and the air was burning hot, and there was a smell of thyme and mint in it. And then the song stopped, and I came to myself, and I was back again in the drawing-room. Then when the man began to sing again, I again lost consciousness, and I seemed to be in a dark orchard on a breathless summer night. And somewhere near me there was a low white house with an opening which might have been a window, shrouded by creepers and growing things. And in it there was a faint light. And from the house came the sound of a sad love-song; and although I had never heard the song before I understood it, and it was about the moon and the Pleiads having set, and the hour passing, and the voice sang, ‘But I sleep alone!’ And this was repeated over and over again, and it was the saddest and most beautiful thing I had ever heard. And again it stopped, and I was back again in the drawing-room. Then when the singer began his third song I felt cold all over, and at the same time half suffocated, as people say they feel when they are nearly drowning. I realised that I was in a huge, dark, empty space, and round me and far off in front of me were vague shadowy forms; and in the distance there was something which looked like two tall thrones, pillared and dim. And on one of the thrones there was the dark form of a man, and on the other a woman like a queen, pale as marble, and unreal as a ghost, with great grey eyes that shone like moons. In front of them was another form, and he was singing a song, and the song was so sad and so beautiful that tears rolled down the shadowy cheeks of the ghosts in front of me. And all at once the singer gave a great cry of joy, and something white and blinding flashed past me and disappeared, and he with it. But I remained in the same place with the dark ghosts far off in front of me. And I seemed to be there an eternity till I heard a cry of desperate pain and anguish, and the white form flashed past me once more, and vanished, and with it the whole thing, and I was back again in the drawing-room, and I felt faint and giddy, and could not stay there any longer.”

THE CRICKET MATCH AN INCIDENT AT A PRIVATE SCHOOL

To Winston Churchill

It was a Saturday afternoon in June. St. James’s School was playing a cricket match against Chippenfield’s. The whole school, which consisted of forty boys, with the exception of the eleven who were playing in the match, were gathered together near the pavilion on the steep, grassy bank which faced the cricket ground. It was a swelteringly hot day. One of the masters was scoring in the pavilion; two of the boys sat under the post and board where the score was recorded in big white figures painted on the black squares. Most of the boys were sitting on the grass in front of the pavilion.

St. James’s won the toss and went in first. After scoring 5 for the first wicket they collapsed; in an hour and five minutes their last wicket fell. They had only made 27 runs. Fortune was against St. James’s that day. Hitchens, their captain, in whom the school confidently trusted, was caught out in his first over. And Wormald and Bell minor, their two best men, both failed to score.

Then Chippenfield’s went in. St. James’s fast bowlers, Blundell and Anderson minor, seemed unable to do anything against the Chippenfield’s batsmen. The first wicket went down at 70.

The boys who were looking on grew listless: three of them, Gordon, Smith, and Hart minor, wandered off from the pavilion further up the slope of the hill, where there was a kind of wooden scaffolding raised for letting off fireworks on the 5th of November. The headmaster, who was a fanatical Conservative, used to burn on that anniversary effigies of Liberal politicians such as Mr. Gladstone and Mr. Chamberlain, who was at that time a Radical; while the boys whose politics were Conservative, and who formed the vast majority, cheered, and kicked the Liberals, of whom there were only eight.