Trilby. Du Maurier George

was a monsieur, then. Don't know him; never heard his name."

      "That is a pity, matemoiselle. He had some talent. You like this better, perhaps," and he strummed,

      "Messieurs les étudiants,

      S'en vont à la chaumière

      Pour y danser le cancan,"

      striking wrong notes, and banging out a bass in a different key – a hideously grotesque performance.

      "Yes, I like that better. It's gayer, you know. Is that also composed by a compatriot of yours?" asked the lady.

      "Heaven forbid, matemoiselle."

      And the laugh was against Svengali.

      But the real fun of it all (if there was any) lay in the fact that she was perfectly sincere.

      "Are you fond of music?" asked Little Billee.

      "Oh, ain't I, just!" she replied. "My father sang like a bird. He was a gentleman and a scholar, my father was. His name was Patrick Michael O'Ferrall, fellow of Trinity, Cambridge. He used to sing 'Ben Bolt.' Do you know 'Ben Bolt'?"

      "Oh yes, I know it well," said Little Billee. "It's a very pretty song."

      "I can sing it," said Miss O'Ferrall. "Shall I?"

      "Oh, certainly, if you will be so kind."

      Miss O'Ferrall threw away the end of her cigarette, put her hands on her knees as she sat cross-legged on the model-throne, and sticking her elbows well out, she looked up to the ceiling with a tender, sentimental smile, and sang the touching song,

      "Oh, don't you remember sweet Alice, Ben Bolt?

      Sweet Alice, with hair so brown?" etc., etc.

      As some things are too sad and too deep for tears, so some things are too grotesque and too funny for laughter. Of such a kind was Miss O'Ferrall's performance of "Ben Bolt."

      From that capacious mouth and through that high-bridged bony nose there rolled a volume of breathy sound, not loud, but so immense that it seemed to come from all round, to be reverberated from every surface in the studio. She followed more or less the shape of the tune, going up when it rose and down when it fell, but with such immense intervals between the notes as were never dreamed of in any mortal melody. It was as though she could never once have deviated into tune, never once have hit upon a true note, even by a fluke – in fact, as though she were absolutely tone-deaf and without ear, although she stuck to the time correctly enough.

      She finished her song amid an embarrassing silence. The audience didn't quite know whether it were meant for fun or seriously. One wondered if she were not paying out Svengali for his impertinent performance of "Messieurs les étudiants." If so, it was a capital piece of impromptu tit-for-tat admirably acted, and a very ugly gleam yellowed the tawny black of Svengali's big eyes. He was so fond of making fun of others that he particularly resented being made fun of himself – couldn't endure that any one should ever have the laugh of him.

      At length Little Billee said: "Thank you so much. It is a capital song."

      "Yes," said Miss O'Ferrall. "It's the only song I know, unfortunately. My father used to sing it, just like that, when he felt jolly after hot rum and water. It used to make people cry; he used to cry over it himself. I never do. Some people think I can't sing a bit. All I can say is that I've often had to sing it six or seven times running in lots of studios. I vary it, you know – not the words, but the tune. You must remember that I've only taken to it lately. Do you know Litolff? Well, he's a great composer, and he came to Durien's the other day, and I sang 'Ben Bolt,' and what do you think he said? Why, he said Madame Alboni couldn't go nearly so high or so low as I did, and that her voice wasn't half so strong. He gave me his word of honor. He said I breathed as natural and straight as a baby, and all I want is to get my voice a little more under control. That's what he said."

      "Qu'est-ce qu'elle dit?" asked Svengali. And she said it all over again to him in French – quite French French – of the most colloquial kind. Her accent was not that of the Comédie Française, nor yet that of the Faubourg St. Germain, nor yet that of the pavement. It was quaint and expressive – "funny without being vulgar."

      "Barpleu! he was right, Litolff," said Svengali. "I assure you, matemoiselle, that I have never heard a voice that can equal yours; you have a talent quite exceptional."

      She blushed with pleasure, and the others thought him a "beastly cad" for poking fun at the poor girl in such a way. And they thought Monsieur Litolff another.

      She then got up and shook the crumbs off her coat, and slipped her feet into Durien's slippers, saying, in English: "Well, I've got to go back. Life ain't all beer and skittles, and more's the pity; but what's the odds, so long as you're happy?"

      On her way out she stopped before Taffy's picture – a chiffonnier with his lantern bending over a dust heap. For Taffy was, or thought himself, a passionate realist in those days. He has changed, and now paints nothing but King Arthurs and Guineveres and Lancelots and Elaines and floating Ladies of Shalott.

      "That chiffonnier's basket isn't hitched high enough," she remarked. "How could he tap his pick against the rim and make the rag fall into it if it's hitched only half-way up his back? And he's got the wrong sabots, and the wrong lantern; it's all wrong."

      "Dear me!" said Taffy, turning very red; "you seem to know a lot about it. It's a pity you don't paint, yourself."

      "Ah! now you're cross!" said Miss O'Ferrall. "Oh, maïe, aïe!"

      She went to the door and paused, looking round benignly. "What nice teeth you've all three got. That's because you're Englishmen, I suppose, and clean them twice a day. I do too. Trilby O'Ferrall, that's my name, 48 Rue des Pousse-Cailloux! – pose pour l'ensemble, quand ça l'amuse! va-t-en ville, et fait tout ce qui concerne son état! Don't forget. Thanks all, and good-bye."

      "En v'là une orichinale," said Svengali.

      "I think she's lovely," said Little Billee, the young and tender. "Oh, heavens, what angel's feet! It makes me sick to think she sits for the figure. I'm sure she's quite a lady."

      And in five minutes or so, with the point of an old compass, he scratched in white on the dark red wall a three-quarter profile outline of Trilby's left foot, which was perhaps the more perfect poem of the two.

      Slight as it was, this little piece of impromptu etching, in its sense of beauty, in its quick seizing of a peculiar individuality, its subtle rendering of a strongly received impression, was already the work of a master. It was Trilby's foot, and nobody else's, nor could have been, and nobody else but Little Billee could have drawn it in just that inspired way.

      "Qu'est-ce que c'est, 'Ben Bolt'?" inquired Gecko.

      Upon which Little Billee was made by Taffy to sit down to the piano and sing it. He sang it very nicely with his pleasant little throaty English barytone.

      It was solely in order that Little Billee should have opportunities of practising this graceful accomplishment of his, for his own and his friends' delectation, that the piano had been sent over from London, at great cost to Taffy and the Laird. It had belonged to Taffy's mother, who was dead.

      Before he had finished the second verse, Svengali exclaimed: "Mais c'est tout-à-fait chentil! Allons, Gecko, chouez-nous ça!"

      And he put his big hands on the piano, over Little Billee's, pushed him off the music-stool with his great gaunt body, and, sitting on it himself, he played a masterly prelude. It was impressive to hear the complicated richness and volume of the sounds he evoked after Little Billee's gentle "tink-a-tink."

      And Gecko, cuddling lovingly his violin and closing his upturned eyes, played that simple melody as it had probably never been played before – such passion, such pathos, such a tone! – and they turned it and twisted it, and went from one key to another, playing into each other's hands, Svengali taking the lead; and fugued and canoned and counterpointed and battle-doored and shuttlecocked it, high and low, soft and loud, in minor, in pizzicato, and in sordino – adagio, andante, allegretto, scherzo – and exhausted all its possibilities of beauty; till their susceptible