Lady Brigit leaned back in her corner and surveyed the otherwise empty
compartment with a sigh of relief. She knew that her face still bore
signs of the anger roused by her mother in their recent interview, and
she felt the necessity of looking as savage as she felt.
And she felt very savage indeed. If an American Indian--an idealised,
poeticised American Indian--could be invested with the beauty that does
not belong to the red races and yet which, if perfected on the lines of
beauty suggested by some of the nobler specimens of the nobler tribes,
she might look like Brigit Mead. The girl had a clean-cutness of
feature, a thin compactness of build, a stag-like carriage of her small
head that, together with her almost bronze skin and coal-black hair,
gave her an air remarkably and arrestingly un-English. The picture in
the Luxembourg gallery, a typically French, subtle, secretive face,
gives the expression of her face and the strange gleam in the long eyes.
But it, the face in the picture, is overcivilised, whereas Brigit looked
untamed and resentful.
She wore, for the weather had changed with the unpleasant capriciousness
of an elderly coquette, a warm, close-fitting black coat and skirt and a
small black toque. Round her neck clung to its own tail, as if in a
despairing attempt to find out what had happened to its own anatomy, a
little sable boa. She had a dressing-case and an umbrella, both of them
characteristically uncumbersome and light, and several newspapers and a
book.
Her journey was not to be a long one. She was going to change trains in
London and go half an hour into Surrey to spend a few days with a
friend. Lady Kingsmead, when told of the speedy jilting of the desirable
Pontefract, and the subsequent acceptance of young Joyselle, had been
disagreeable.
"It is ridiculous, and everyone will say you are cradle-snatching," she
had said. "When you are forty he will be thirty-seven--almost a boy
still."
"Dearest mamma," returned the girl with a very unfilial lift of her
upper lip, "forty is--_youth_!"
"And for you to marry a nobody; the son of nobody knows whom!"
"But everybody knows who his father is--which is rather distinguished
nowadays!"
Then Lady Kingsmead, as was natural, quite lost her temper and stormed.
Brigit was an idiot, a fool, a beastly little creature to do such a
thing. Ponty was a gentleman, at least, whereas----
"Whereas Théo is a delightful, nice, perfectly presentable young man,
and the son of the greatest violinist of the century."
"Ah, bah! of the last ten years, yes."
"Of the century. As to Ponty--why don't you marry him yourself? Anyone
could marry Ponty!"
Then, suddenly ashamed of herself, the girl had begged her mother's
pardon, but Lady Kingsmead was not of those to whom the crowning charm
of graceful forgiveness has been vouchsafed, and the battle went on. To
end it, Brigit announced her intention of going to stop with her friend
Pam de Lensky, and without more ado, or a word of good-bye, had left the
house.
Now, though ashamed, or possibly because she was ashamed, her anger
against her mother refused to subside, but grew stronger and bitterer as
the train rushed through the dull afternoon Londonwards.
"Why shouldn't I marry whom I choose? What has she ever done for me that
gives her a right to dictate to me? And I could _kill_ Gerald." A dark
flush crept up her cheeks and her mouth twisted furiously. For Carron
had dared to waylay her in the passage on her way to her room, and his
remarks had not been of a kind calculated to quiet her. Women who have
loved are sorry for men who love them, but women who do not know what
the word means are either amused or irritated by it. The conversation,
carried on in a careful undertone, and lasting only about five minutes,
was one that the girl would never, she knew, be able to forget, and one
that neither she nor the man could ever make even a pretence of
forgiving.
Far too excited and annoyed to read, she watched with unseeing eyes the
swift flight of the familiar landscape, and then suddenly, as the train
stopped, came to herself with a start. Victoria!
Mechanically, her thick chiffon veil over her face, she looked after
her luggage, took a hansom, and drove down Victoria Street, past the
Abbey, over Westminster Bridge, and so to Waterloo Station.
London was dull, but its dulness, grey and soft, was being mitigated by
a gradual and beautiful blossoming of lights--lights reddish, golden,
and clear white. People hurried along the streets, hansoms jingled and
passed by, buses and vans blocked the view and then, with elephantine
deliberateness, ambled on. Motors of all kinds grunted and jingled, from
the opulent, throaty-voiced ones, that chuckle as if they were fed on
turtle-soup, to the cheap variety, that sound as they pass like an
old-fashioned tinsmith's waggon.
And the combined effect of all these varied sounds was so different from
the sound of Paris, or New York, or Berlin, that an intelligent blind
man would have known where he was, if softly and undisturbingly dropped
from a balloon to a safe street corner.
Brigit Mead had no particular love for the old town, just as she had no
particular love for her little brother's country-house. She was too
bored to care in the least where she was, and only a few people in the
world could soothe her vexed and discontented mind to a sense of calm.
The woman to visit whom she was on her way was one of these, and as she
bought her ticket and made her way to the train a little of her
ill-temper died away. "Good old Pam," she whispered under her veil,
"_she_ will be glad I didn't take Ponty!"
Then there would be the children--six-years-old Pammy, the De Lenskys'
adopted child, and their own little Eliza and Thaddy--the latter a
delicious, roundabout person of eighteen months, the very feel of whom
was comforting.
"An empty carriage, if there is one, please," she asked the guard, and
he opened a door and helped her into a still unlit compartment. She
closed the door and, letting down the glass, leaned her head on her hand
and watched, through the veil she always wore when travelling as a
protection against impertinent and boring admiration, the little crowd
on the platform.
Most of them looked, thank Heaven, second class--she would be alone. And
then, just at the last, three men, all apparently very much excited and
speaking French very loudly, rushed at her door and tore it open.
"_Adieu donc, cher maître_"--"_Bon voyage_"--"_Au 'voir, mes
enfants--merci infiniment_"--"_Mille tendresses à Eugenie!_"
And the train had started, leaving Brigit alone in the dusk with a very
big man in a fur-collared overcoat and a long box, that he deposited
with much care on the seat, humming to himself as he did so. Then he sat
down and, taking off his broad-brimmed felt hat, wiped his forehead and
face with a handkerchief that smelt strongly of violets.
Lady Brigit shrank fastidiously into her corner. Another thing to bore
her. She was of those women who always hate their fellow-travellers and
resent their existence. And this man was too big, there was too much fur
on his coat, too much scent on his handkerchief. "_Salut demeure chaste
et pure_," he began singing, suddenly, apparently quite unconscious of
his companion's presence. "_Salut demeure_----" It was a high baritone
voice, sweet and round, and his r's were like Théo Joyselle's. Brigit
smiled. Dear Théo! Her mother could be as nasty as she liked, but they
would be happy in spite of her. And then, as in the beginning of the
world, it was light, and the girl recognised in her suddenly silent
_vis-à-vis_ the man who was to be her father-in-law, Victor Joyselle.
He had taken off his hat, and his dark, handsome, excited face was
distinctly visible under the untidy, slightly curly mass of peculiarly
silky, silver-grey hair. Brigit drew a deep breath. Victor Joyselle! She
had often heard him play. Those were the hands, in the brown dogskin
gloves, that worked such witchery with his violin. That was the violin
in the shabby box beside him. His dark eyes, over which the lids dropped
at the outer corners, were now fixed on hers, he was trying to see
through her veil. He was a magnificent creature, even now, with his
youth behind him: his big nose had fine cut, sensitive nostrils, his
mouth under a big moustache was well-cut and serene, and his strong chin
was softened by a dimple. And he was to be--her father-in-law.
For the first time for months the girl felt the youth and sense of fun
stir in her. Then he spoke--irrepressibly, as if he could not help it.
"I beg your pardon, madame, for singing," he burst out, "I--forgot that
I was not alone."
She bowed without speaking. Madame!
"May I open the other window?" he pursued, rising restlessly and tearing
off his gloves as if they hurt him, thereby revealing a large diamond on
the little finger of his right--the bow-hand.
"Yes."
He did so, and then sat down, and taking an open telegram from his
pocket, read it through several times, his nostrils quivering, his mouth
dimpling in an uncontrollable and enchanting smile. Then again, as if
impelled by some superior force, he turned to her and said: "I am not a
lunatic, madame. I am Victor Joyselle. I have played--my very best this
afternoon, and my son, _mon bébé_--is engaged to the most beautiful
woman in England!"
Inspired to a dramatic act totally foreign to her nature, impelled by
his sheer strength of imagination and his buoyant personality, Lady
Brigit Mead threw back her veil.
"Théo is engaged--to me," she answered.