Pharos, The Egyptian: A Romance

Having once freed herself from the crowd, who, you may be sure, turned and stared after her as if she were some rare and beautiful animal, she took her place at her companion's side, and they passed along the room together, finally disappearing through the archway at the farther end. A moment later the eldest of my friend's daughters joined me. I had never credited her with the possession of so much emotion as she displayed at that moment.

"Mr. Forrester," she said, "I want you to tell me if you have ever seen anything so awful as that old man's face?"

"I think I can safely say that I never have," I answered; and then, in an attempt to conceal the emotion I was still feeling, added, "I wonder who he can be?"

"I can not imagine," she continued, "but I'm certain of this, that I never want to see him again."

At that moment we were joined by the remainder of the family.

"By Jove! Forrester," said the squire, but without his usual heartiness, "I don't know what is coming to this place. Did you see that little chap in the fur coat and skullcap who came out of the crowd just now with that fine-looking woman behind him? You may scarcely credit it, but his face gave me quite a turn. I haven't got over it yet."

"The girl with him was very beautiful," murmured his wife gently; "but there was something about her face that struck me as being very sad. I should like to know what relationship she bears to him."

"His granddaughter, I should imagine," said Miss Merridew, who was still watching the entrance to the next room as if she expected them to return.

"Nonsense!" cried the squire impatiently. "His great-granddaughter, you mean. I'll stake my reputation that the old fellow is as old as Methuselah. What say you, Forrester?"

I can not now remember what answer I returned. I only know that we presently found ourselves on the pavement of Piccadilly, saying good-bye, and expressing our thanks in an aimless sort of fashion for the pleasure we had derived from each other's society.

Having seen them safely on their way toward Regent Street, I strolled along Piccadilly in the direction of my studio, thinking as I went of that terrible old man whose personality had twice given me such a shock, and also of the beautiful woman, his companion. The effect they had produced upon me must have been something out of the common, for I soon discovered that I could think of nothing else. It was in vain I looked in at my club and attempted to engage in conversation with friends, or that, when I reached home, I threw myself into an easy-chair and endeavoured to interest myself in a book. Out of the centre of every page peered that wicked old face, with its pallid, wrinkled skin, and lack-lustre eyes. For upward of an hour I wrestled with the feeling, but without success. The man's image was not conducive to peace of mind, and I knew very well that unless I found some distraction I should be dreaming of him at night. Accordingly I rose from my chair and crossed the room to a table on which stood a large Satsuma bowl, in which it was my custom to place the invitations I received. That evening fortune favoured me. I had the choice of four houses. Two I rejected without a second thought; between the others I scarcely knew how to decide. Though I was not aware of it, my evil destiny, for the second time that day, was standing at my elbow, egging me on to ruin. It appeared I had the choice of a dance in the Cromwell Road, another in Belgrave Square; private theatricals in Queen's Gate, and a musical "at home" in Eaton Square. I did not feel equal to dances or private theatricals, and, thinking music would soothe my troubled mind, I decided for Eaton Square, and in so doing brought about the misery and downfall of my life.

Nine o'clock that evening, accordingly, found me ascending the staircase of Medenham House, greeting my hostess in the anteroom, and passing thence into the great drawing-room beyond. There is not a more conspicuous power within the range of her hobby than her ladyship, and at her house one hears all that is newest and most likely to be famous in the musical world. Many now celebrated artistes owe much of what they have since achieved to the helping hand she held out to them when they were struggling up the rugged hill of fame.

On entering the room I looked about me in the hope of finding some one I knew, but for some moments was unsuccessful. Then I espied, seated in a corner, almost hidden by a magnificent palm, a man with whom I possessed some slight acquaintance. I strolled toward him, and after a few moments' conversation took my place at his side. He had himself achieved considerable success as an amateur violinist, and was a distant relative of our hostess.

"I suppose, like the rest of us, you have come to hear Lady Medenham's latest prodigy?" he said, after the usual polite nothings had been said.

"I am ashamed to confess I have heard nothing at all about him," I answered.

"Her, my dear sir," he replied, with a little laugh. "Our hostess says she is marvellous."

"A pianist?"

"Indeed, no! A violinist, and with, I believe, the additional advantage of being a very beautiful woman. Lady Medenham met her in Munich, and she has raved about her ever since. Needless to say, she invited her to visit her as soon as she reached London."

What the connection could have been it is impossible to say, but by some occult reasoning I instantly associated this new wonder with the magnificent creature I had seen at Burlington House that afternoon.

"You have already made her acquaintance, I presume?"

I said in a tone of mild curiosity.

"No such luck," he answered. "I have not been permitted that pleasure. From all accounts, however, she is really very wonderful. All the people I have met who have heard her declare they have never known anything like her playing. And the funniest part of it is, she is accompanied everywhere by a man who is as physically repulsive as she is beautiful."

"A little old man with an extraordinary complexion, deep-set, horrible eyes, who wears a fur coat and a peculiar cap in the height of the season, and looks at least a hundred years old?"

"From all accounts you describe him exactly. Where did you meet him?"

"I saw them both at the Academy this afternoon," I answered. "She is, as you say, very beautiful; but she scarcely struck me as being English."

"She is not. She is Hungarian, I believe, but she has travelled a great deal and speaks English perfectly."

"And her companion – what nation has the honour of claiming him as her son?"

"Ah, that I can not tell you! He is a mystery, for no one seems to know anything about him. Nor is it at all certain what relationship he bears to the woman. But see, here is Lord Medenham. The performance is evidently about to commence."

As he spoke there was a general turning of heads in the direction of the anteroom, and almost simultaneously my hostess entered the room, accompanied by the exquisite creature I had seen emerging from the crowd before my picture that afternoon. If she had looked beautiful then, she was doubly so now. Dressed to perfection, as on the previous occasion, she towered head and shoulders above Lady Medenham, who is generally considered tall for her sex, and carried herself with a more imperial grace than is boasted by any empress I have ever seen.

A few paces behind her followed the man who had been her companion that afternoon. On this occasion also he disdained the orthodox style of dress, wore a black velvet coat, closely buttoned beneath his chin, and upon his head a skullcap of the same material. As on the previous occasions, he walked with a stick, leaning upon it heavily like an old man of ninety. Reaching that portion of the room in which the piano was situated, he dropped into a chair, without waiting for his hostess to seat herself, and, laying his head back, closed his eyes as if the exertion of walking had been too much for him. A servant, who had followed close behind, wrapped a heavy rug about his knees and then withdrew. Meanwhile his beautiful companion stood for a moment looking down at him, and then, with a little gesture the significance of which I could not then interpret, accepted her hostess's invitation and seated herself beside her.

The first item on the programme was a nocturne rendered by the composer, a famous pianist who at the time was delighting all London. He seated himself at the piano and began to play. I am afraid, however, I spared but small attention for his performance. My interest was centred on that huddled-up figure under the fur rug and the beautiful creature at his side. Then a change came, and once more I experienced the same sensation of revulsion that had overwhelmed me twice before. Again I felt sick and giddy; once more a clammy sweat broke out upon my forehead, and at last, unable any longer to control myself, I rose from my seat.

"What on earth is the matter?" inquired my friend, who had been watching me. "Are you ill?"

"I believe I'm going to faint," I replied. "I must get into the air. But there is no necessity for you to come. I shall be all right alone."

So saying I signed him back to his seat, and, slipping quietly from the corner, made my way through the anteroom into the marble corridor beyond. Once there I leant against the balustrading of the staircase and endeavoured to pull myself together. A groom of the chambers, who was passing at the time, seeing there was something amiss, approached and inquired if he could be of service.

"I am feeling a little faint," I replied. "The heat of the drawing-room was too much for me. If you can get me a little brandy I think I shall be quite well in a few moments."

The man departed and presently came back with the spirit I had asked for. With the return of my self-possession I endeavoured to arrive at an understanding of what had occasioned the attack. I was not subject to fainting-fits, but was in every respect as strong as the majority of my fellow-creatures.

"It's all nonsense," I said to myself, "to ascribe it to that old fellow's presence. How could such a thing affect me? At any rate, I'll try the experiment once more."

So saying, I returned to the drawing-room.

I was only just in time, for, as I entered, the lady who had hitherto been seated by her hostess's side rose from her chair and moved toward the piano. As no one else stirred, it was plain that she was going to dispense with the services of an accompanist. Taking her violin from a table she drew her bow gently across the strings, and, when she had tuned it, stood looking straight before her down the room. How beautiful she was at that moment I can not hope to make you understand. Then she began to play. What the work was I did not then know, but I have since discovered that it was her own. It opened with a movement in the minor – low and infinitely sad. There was a note of unappeasable yearning in it, a cry that might well have been wrung from a heart that was breaking beneath the weight of a deadly sin; a weird, unearthly supplication for mercy from a soul that was beyond redemption or the reach of hope. None but a great musician could have imagined such a theme, and then only under the influence of a supreme despair. While it lasted her audience sat spell-bound. There was scarcely one among them who was not a lover of music, and many were world-famous for their talent. This, however, was such playing as none of us had ever heard before, or, indeed, had even dreamed of. Then by imperceptible gradations the music reached its height and died slowly down, growing fainter and fainter until it expired in a long-drawn sob. Absolute silence greeted its termination. Not a hand was raised; not a word was uttered. If proof were wanting of the effect she had produced, it was to be found in this. The violinist bowed, a trifle disdainfully, I thought, and, having placed her instrument on the table once more, returned to Lady Medenham's side. Then a young German singer and his accompanist crossed the room and took their places at the piano. The famous pianist, who had first played, followed the singer, and when he had resumed his seat the violinist rose and once more took up her instrument.

This time there was no pause. With an abruptness that was startling, she burst into a wild barbaric dance. The notes danced and leaped upon each other in joyous confusion, creating an enthusiasm that was as instantaneous as it was remarkable. It was a tarantella of the wildest description – nay, I should rather say a dance of Satyrs. The player's eyes flashed above the instrument, her lithe, exquisite figure rocked and swayed beneath the spell of the emotion she was conjuring up. Faster and faster her bow swept across the strings, and as before, though now for a very different reason, her audience sat fascinated before her. The first work had been the outcome of despair, this was the music of unqualified happiness, of the peculiar joy of living – nay, of the very essence and existence of life itself. Then it ceased as suddenly as it had begun, and once more she bowed, put down her violin, and approached her hostess. The programme was at an end, and the enthusiastic audience clustered round to congratulate her. For my own part I was curiously ill at ease. In a vague sort of fashion I had appropriated her music to myself, and now I resented the praise the fashionable mob was showering upon her. Accordingly I drew back a little and made up my mind to get through the crowd and slip quietly away. By the time I was able to emerge from my corner, however, there was a movement at the end of the room, and it became evident that the player and her companion were also about to take their departure. Accompanied by Lord and Lady Medenham they approached the spot where I was standing, endeavouring to reach the door. Had it been possible I would have taken shelter behind my palm again in order that my presence might not have been observed. But it was too late. Lady Medenham had caught my eye, and now stopped to speak.

"Mr. Forrester," she said, "we have been permitted a great treat to-night, have we not? You must let me introduce you to the Fräulein Valerie de Vocxqal."

I bowed, and, despite the fact that, regarded in the light of her genius, such a thing was little better than an insult, followed the example of my betters and murmured a complimentary allusion to her playing and the pleasure she had given us. She thanked me, all the time watching me with grave, attentive eyes, into which there had suddenly flashed a light that was destined to puzzle me for a long time, and the reason of which I could not understand. Then came the crucial moment when Lady Medenham turned to me again, and said:

"Mr. Forrester, Monsieur Pharos has expressed a desire to be introduced to you. I told him yesterday I thought you would be here to-night. May I have the pleasure of making you acquainted with each other?"

Those cold, dead eyes fixed themselves steadily on mine, and, under their influence, I felt as if my brain were freezing.

"I am indeed honoured, sir," he said, "and I trust I may be permitted to express a hope of enlarging our acquaintance. I understand you are the painter of that very wonderful picture I saw at the Academy this afternoon? Allow me to offer you my congratulations upon it. It interested me more deeply than I can say, and on some future date I shall be grateful if you will let me talk to you upon the subject. The knowledge it displayed of the country and the period is remarkable in these days. May I ask how it was acquired?"

"My father was a famous Egyptologist," I replied. "All that I know I learned from him. Are you also familiar with the country?"

"There are few things and fewer countries with which I am not familiar," he replied, somewhat conceitedly, but still watching me and speaking with the same peculiar gravity. "Some day I shall hope to offer you conclusive evidence on that point. In the meantime the hour grows late. I thank you and bid you farewell."

Then, with a bow, he passed on, and a moment later I, too, had quitted the house and was making my way homeward, trying to collect my impressions of the evening as I went.

CHAPTER III

To infer that my introduction that evening to the beautiful violinist and her diabolical companion, Monsieur Pharos, produced no effect upon me, would be as idle as it would misleading. On leaving Medenham House I was conscious of a variety of sensations, among which attraction for the woman, repugnance for the man, and curiosity as to the history and relationship of both could be most easily distinguished. What was perhaps still more perplexing, considering the small, but none the less genuine, antagonism that existed between us, by the time I reached my own abode I had lost my first intense hatred for the man, and was beginning to look forward, with a degree of interest which a few hours before would have surprised me, to that next meeting which he had prophesied would so soon come to pass. Lightly as I proposed to myself to treat it, his extraordinary individuality must have taken a greater hold upon me than I imagined, for, as in the afternoon, I soon discovered that, try to divert my thoughts from it how I would, I could not dispel his sinister image from my mind. Every detail of the evening's entertainment was vividly photographed upon my brain, and without even the formality of shutting my eyes, I could see the crowded room, the beautiful violinist standing, instrument in hand, beside the piano, and in the chair at her feet her strange companion, huddled up beneath his rug.