The Essential E. F. Benson: 53+ Titles in One Volume (Illustrated Edition). E. F. Benson

been wincing at the Brinton quartet. In that fell moment the Bolshevists laid bony fingers on the sceptre of her musical autocracy . . . But who would have guessed that Olga would get the Spanish Quartet from London to come down to Riseholme?

      Staggering from these blows, she had to undergo an even shrewder stroke yet. Already, in the intelligence department, she had been sadly behind-hand in news, her tableaux-party had been anything but a success, this one little remark of Olga's had shaken her musically, but at any rate up till this moment she had shown herself mistress of the Italian tongue, while to strengthen that she was being very diligent with her dictionary, grammar and Dante's Paradiso. Then as by a bolt out of a clear sky that temple, too, was completely demolished, in the most tragic fashion.

      * * *

      A few days after the disaster of the Spanish-Brinton Quartet, Olga received a letter from Signor Cortese, the eminent Italian composer, to herald the completion of his opera, Lucretia. Might he come down to Riseholme for a couple of nights, and, figuratively, lay it at her feet, in the hope that she would raise it up, and usher it into the world? All the time he had been writing it, as she knew, he had thought of her in the name part and he would come down today, tomorrow, at a moment's notice by day or night to submit it to her. Olga was delighted and sent an effusive telegram of many sheets, full of congratulation and welcome, for she wanted above all things to "create" the part. So would Signor Cortese come down that very day?

      She ran upstairs with the news to her husband.

      "My dear, Lucretia is finished," she said, "and that angel practically offers it me. Now what are we to do about dinner tonight? Jacob and Jane are coming, and neither you nor they, I suppose, speak one word of Italian, and you know what mine is, firm and intelligible and operatic but not conversational. What are we to do? He hates talking English . . . Oh, I know, if I can only get Mrs Lucas. They always talk Italian, I believe, at home. I wonder if she can come. She's musical, too, and I shall ask her husband, I think: that'll be a man over, but it will be another Italiano —"

      Olga wrote at once to Lucia, mentioning that Cortese was staying with them, but, quite naturally, saying nothing about the usefulness of Peppino and her being able to engage the musician in his own tongue, for that she took for granted. An eager affirmative (such a great pleasure) came back to her, and for the rest of the day, Lucia and Peppino made up neat little sentences to let off to the dazzled Cortese, at the moment when they said "good-night," to show that they could have talked Italian all the time, had there been any occasion for doing so.

      Mrs Weston and Colonel Boucher had already arrived when Lucia and her husband entered, and Lucia had quite a shock to see on what intimate terms they were with their hostess. They actually called each other Olga and Jacob and Jane, which was most surprising and almost painful. Lucia (perhaps because she had not known about it soon enough) had been a little satirical about the engagement, rather as if it was a slight on her that Jacob had not been content with celibacy and Jane with her friendship, but she was sure she wished them both "nothing but well." Indeed the moment she got over the shock of seeing them so intimate with Olga, she could not have been surpassed in cordiality.

      "We see but little of our old friends now," she said to Olga and Jane jointly, "but we must excuse their desire for solitude in their first glow of their happiness. Peppino and I remember that sweet time, oh, ever so long ago."

      This might have been tact, or it might have been cat. That Peppino and she sympathised as they remembered their beautiful time was tact, that it was so long ago was cat. Altogether it might be described as a cat chewing tact. But there was a slight air of patronage about it, and if there was one thing Mrs Weston would not, and could not and did not even intend to stand, it was that. Besides it had reached her ears that Mrs Lucas had said something about there being no difficulty in finding bridesmaids younger than the bride.

      "Fancy! How clever of you to remember so long ago," she said. "But, then, you have the most marvellous memory, dear, and keep it wonderfully!"

      Olga intervened.

      "How kind of you and Mr Lucas to come at such short notice," she said. "Cortese hates talking English, so I shall put him between you and me, and you'll talk to him all the time, won't you? And you won't laugh at me, will you, when I join in with my atrocious attempts? And I shall buttress myself on the other side with your husband, who will firmly talk across me to him."

      Lucia had to say something. A further exposure was at hand, quite inevitably. It was no use for her and Peppino to recollect a previous engagement.

      "Oh, my Italian is terribly rusty," she said, knowing that Mrs Weston's eye was on her . . . Why had she not sent Mrs Weston a handsome wedding-present that morning?

      "Rusty? We will ask Cortese about that when you've had a good talk to him. Ah, here he is!"

      Cortese came into the room, florid and loquacious, pouring out a stream of apology for his lateness to Olga, none of which was the least intelligible to Lucia. She guessed what he was saying, and next moment Olga, who apparently understood him perfectly, and told him with an enviable fluency that he was not late at all, was introducing him to her, and explaining that "la Signora" (Lucia understood this) and her husband talked Italian. She did not need to reply to some torrent of amiable words from him, addressed to her, for he was taken on and introduced to Mrs Weston, and the Colonel. But he instantly whirled round to her again, and asked her something. Not knowing the least what he meant, she replied:

      "Si: tante grazie."

      He looked puzzled for a moment and then repeated his question in English.

      "In what deestrict of Italy 'ave you voyaged most?"

      Lucia understood that: so did Mrs Weston, and Lucia pulled herself together.

      "In Rome," she said. "Che bella città! Adoro Roma, ed il mio marito. Non e vere, Peppino?"

      Peppino cordially assented: the familiar ring of this fine intelligible Italian restored his confidence, and he asked Cortese whether he was not very fond of music . . .

      Dinner seemed interminable to Lucia. She kept a watchful eye on Cortese, and if she saw he was about to speak to her, she turned hastily to Colonel Boucher, who sat on her other side, and asked him something about his cari cani, which she translated to him. While he answered she made up another sentence in Italian about the blue sky or Venice, or very meanly said her husband had been there, hoping to direct the torrent of Italian eloquence to him. But she knew that, as an Italian conversationalist, neither she nor Peppino had a rag of reputation left them, and she dismally regretted that they had not chosen French, of which they both knew about as much, instead of Italian, for the vehicle of their linguistic distinction.

      Olga meantime continued to understand all that Cortese said, and to reply to it with odious fluency, and at the last, Cortese having said something to her which made her laugh, he turned to Lucia.

      "I've said to Meesis Shottlewort" . . . and he proceeded to explain his joke in English.

      "Molto bene," said Lucia with a dying flicker. "Molto divertente. Non e vero, Peppino."

      "Si, si," said Peppino miserably.

      And then the final disgrace came, and it was something of a relief to have it over. Cortese, in excellent spirits with his dinner and his wine and the prospect of Olga taking the part of Lucretia, turned beamingly to Lucia again.

      "Now we will all spick English," he said. "This is one very pleasant evening. I enjoy me very much. Ecco!"

      Just once more Lucia shot up into flame.

      "Parlate Inglese molto bene," she said, and except when Cortese spoke to Olga, there was no more Italian that night.

      Even the unique excitement of hearing Olga "try over" the great scene in the last act could not quite absorb Lucia's attention after this awful fiasco, and though she sat leaning forward with her chin in her hand, and the faraway look in her eyes, her mind was furiously busy as to how to make anything whatever out of so bad a job. Everyone present knew that her Italian, as a medium for conversation, had suffered a complete breakdown, and it was no longer any real use, when Olga did not quite catch the rhythm of