Musa by contrast was an accomplished man of the world, and the fact that the fourth obviously regarded him as a hero helped Musa to behave in a manner satisfactory to himself in front of these English and American women, so strange, so exotic, so kind, and so disconcerting. Musa looked upon Britain as a romantic isle where people died for love. And as for America, in his mind it was as sinister, as wondrous, and as fatal as the Indies might seem to a bank clerk in Bradford. He had need of every moral a.s.sistance in this or any other social ordeal. For, though he was still the greatest violinist in Paris, and perhaps in the world, he could not yet prove this profound truth by the only demonstration which the world accepts.

If he played in studios he was idolised. If he played at small concerts in unknown halls he was received with rapture. But he was never lionised. The great concert halls never saw him on their platforms; his name was never in the newspapers; and hospitable personages never fought together for his presence at their tables, even if occasionally they invited him to perform for charity in return for a gla.s.s of claret and a sandwich. Monsieur Dauphin had attempted to force the invisible barriers for him, but without success. All his admirers in the Quarter stuck to it that he was in the rank of Kreisler and Ysaye; at the same time they were annoyed with him inasmuch as he did not force the world to acknowledge the prophetic good taste of the Quarter. And Musa made mistakes. He ought to have arrived at studios in a magnificent automobile, and to have given superb and uproarious repasts, and to have rendered innumerable women exquisitely unhappy. Whereas he arrived by tube or bus, never offered hospitality of any sort, and was like a cat with women. Hence the att.i.tude of the Quarter was patronising, as if the Quarter had said: "Yes, he is the greatest violinist in Paris and perhaps in the world; but that's all, and it isn't enough."

The young man and the boy made ready for the game as for a gladiatorial display. Their frowning seriousness proved that they had comprehended the true British idea of sport. Musa came round the net to Audrey's side, but Audrey said in French:

"Miss Thompkins and I will play together. See, we are going to beat you and Gustave."

Musa retired. A few indifferent spectators had collected. Gustave, the fourth, had to serve.

"Play!" he muttered, in a thick and threatening voice, whose depth was the measure of his nervousness.

He served a double fault to Tommy, and then a fault to Audrey. The fourth ball he got over. Audrey played it. The two males rushed with appalling force together on the centre line in pursuit, and a terrible collision occurred. Musa fell away from Gustave as from a wall. When he arose out of the pebbly dust his right arm hung very limp from the shoulder. No sooner had he risen than he sank again, and the blood began to leave his face, and his eyes closed. The fourth, having recovered from the collision, knelt down by his side, and gazed earnestly at him. Tommy and Audrey hurried towards the statuesque group, and Audrey was thinking: "Why did I refuse to let him play with me? If he had played with me there would have been no accident." She reproached herself because she well knew that only out of the most absurd contrariness had she repulsed Musa. Or was it that she had repulsed him from fear of something that Tommy might say or look?

In a few seconds, strongly drawn by this marvellous piece of luck, promenaders were darting with joyous rapidity from north, south, east and west to witness the tragedy. There were nurses with coloured streamers six feet long, l.u.s.ty children, errand boys, lads, and sundry nondescript men, some of whom carefully folded up their newspapers as they hurried to the cynosure. They beheld the body as though it were a corpse, and the corpse of an enemy; they formulated and discussed theories of the event; they examined minutely the rackets which had been thrown on the ground. They were exercising the immemorial rights of unmoved curiosity; they held themselves as indifferent as G.o.ds, and the murmur of their impartial voices floated soothingly over Musa, and the shadow of their active profiles covered him from the sparkling sunshine. Somebody mentioned policemen, in the plural, but none came. All remarked in turn that the ladies were English, as though that were a sufficient explanation of the whole affair.

No one said:

"It is Musa, the greatest violinist in Paris and perhaps in Europe."

Desperately Audrey stooped and seized Musa beneath the armpits to lift him to a sitting position.

"You'd better leave him alone," said Tommy, with a kind of ironic warning and innuendo.

But Audrey still struggled with the ma.s.s, convinced that she was showing initiative and firmness of character. The fourth with fierce vigour began to aid her, and another youth from the crowd was joining the enterprise when Miss Ingate arrived from her stool.

"Drop him, you silly little thing!" adjured Miss Ingate. "Instead of lifting his head you ought to lift his feet."

Audrey stared uncertain for a moment, and then let the ma.s.s subside.

Whereupon Miss Ingate with all her strength lifted both legs to the height of her waist, giving Musa the appearance of a wheelless barrow.

"You want to let the blood run _into_ his head," said Miss Ingate with a self-conscious grin at the increasing crowd. "People only faint because the blood leaves their heads--that's why they go pale."

Musa's cheeks showed a tinge of red. You could almost see the precious blood being decanted by Miss Ingate out of the man's feet into his head. In a minute he opened his eyes. Miss Ingate lowered the legs.

"It was only the pain that made him feel queer," she said.

The episode was over, and the crowd very gradually and reluctantly scattered, disappointed at the lack of a fatal conclusion. Musa stood up, smiling apologetically, and Audrey supported him by the left arm, for the right could not be touched.

"Hadn't you better take him home, Mrs. Moncreiff?" Tommy suggested. "You can get a taxi here in the Rue de Vaugirard." She did not smile, but her green eyes glinted.

"Yes, I will," said Audrey curtly.

And Tommy's eyes glinted still more.

"And I shall get a doctor," said Audrey. "His arm may be broken."

"I should," Tommy concurred with gravity.

"Well, if it is, _I_ can't set it," said Miss Ingate quizzically. "I was getting on so well with the high lights on that statue. I'll come along back to the studio in about half an hour."

The fourth, who had been hovering near like a criminal magnetised by his crime, bounded off furiously at the suggestion that he should stop a taxi at the entrance to the gardens.

"I hope he has broken his arm and he can never play any more," thought Audrey, astoundingly, as she and the fourth helped pale Musa into the open taxi. "It will just serve those two right." She meant Miss Ingate and Tommy.

No sooner did the taxi start than Musa began to cry. He did not seem to care that he was in the midst of a busy street, with a piquant widow by his side.

CHAPTER XIV

MISS INGATE POINTS OUT THE DOOR

"Why did you cry this afternoon, Musa?"

Musa made no reply.

Audrey was lighting the big lamp in the Moncreiff-Ingate studio. It made exactly the same moon as it had made on the night in the previous autumn when Audrey had first seen it. She had brought Musa to the studio because she did not care to take him to his own lodgings. (As a fact, n.o.body that she knew, except Musa, had ever seen Musa's lodgings.) This was almost the first moment they had had to themselves since the visit of the little American doctor from the Rue Servandoni. The rumour of Musa's misfortune had spread through the Quarter like the smell of a fire, and various persons of both s.e.xes had called to inspect, to sympathise, and to take tea, which Audrey was continually making throughout the late afternoon.

Musa had had an egg for his tea, and more than one girl had helped to spread the yolk and the white on pieces of bread-and-b.u.t.ter, for the victim of destiny had his right arm in a sling. Audrey had let them do it, as a mother patronisingly lets her friends amuse her baby.

In the end they had all gone; Tommy had enigmatically looked in and gone, and Miss Ingate had gone to dine at the favourite restaurant of the hour in the Rue Leopold Robert. Audrey had refused to go, a.s.serting that which was not true; namely, that she had had an enormous tea, including far too many _pet.i.ts fours_. Miss Ingate in departing had given a glance at her sketch (fixed on the easel), and another at Audrey, and another at Musa, all equally ironic and kindly.

Musa also had declined dinner, but he had done nothing to indicate that he meant to leave. He sat mournful and pa.s.sive in a basket chair, his sling making a patch of white in the gloom. The truth was that he suffered from a disability not uncommon among certain natures: he did not know how to go.

He could arrive with ease, but he was no expert at vanishing. Audrey was troubled. As suited her age and condition, she was apt to feel the responsibility of the whole universe. She knew that she was responsible for Musa's accident, and now she was beginning to be aware that she was responsible for his future as well. She was sure that he needed encouragement and guidance. She pictured him with his fiddle under his chin, masterful, confident, miraculous, throwing a spell over everyone within earshot. But actually she saw him listless and vanquished in the basket chair, and she perceived that only a strongly influential and determined woman, such as herself, could save him from disaster. No man could do it. His tears had shaken her. She was willing to make allowances for a foreigner, but she had never seen a man cry before, and the spectacle was very disturbing. It inspired her with a fear that even she could not be the salvation of Musa.

"I demanded something of you," she said, after lowering the wick of the lamp to exactly the right point, and staring at it for a greater length of time than was necessary or even seemly. She spoke French, and as she listened to her French accent she heard that it was good.

"I am done for!" came the mournful voice of Musa out of the obscurity behind the lamp.

"What! You are done for? But you know what the doctor said. He said no bone was broken. Only a little strain, and the pain from your----" Admirable though her French accent was, she could not think of the French word for "funny-bone." Indeed she had never learnt it. So she said it in English.

Musa knew not what she meant, and thus a slight chasm was opened between them which neither could bridge. She finished: "In one week you are going to be able to play again."

Musa shook his head.

Relieved as she was to discover that Musa had cried because he was done for, and not because he was hurt, she was still worried by his want of elasticity, of resiliency. Nevertheless she was agreeably worried. The doctor had disappointed her by his light optimism, but he could not smile away Musa's moral indisposition. The large vagueness of the studio, the very faint twilight still showing through the great window, the silence and intimacy, the sounds of the French language, the gleam of the white sling, all combined to permeate her with delicious melancholy. And not for everlasting bliss would she have had Musa strong, obstinate, and certain of success.

"A week!" he murmured. "It is for ever. A week of practice lost is eternally lost. And on Wednesday one had invited me to play at Foa's. And I cannot."

"Foa? Who is Foa?"

"What! You do not know Foa? In order to succeed it is necessary, it is essential, to play at Foa's. That alone gives the _cachet_. Dauphin told me last week. He arranged it. After having played at Foa's all is possible.

Dauphin was about to abandon me when he met Foa. Now I am ruined. This afternoon after the tennis I was going to Durand's to get the new Caprice of Roussel--he is an intimate friend of Foa. I should have studied it in five days. They would have been ravished by the attention .... But why talk I thus? No, I could not have played Caprice to please them. I am cursed. I will never again touch the violin, I swear it. What am I? Do I not live on the money _lent_ to me regularly by Mademoiselle Thompkins and Mademoiselle Nickall?"

"You don't, Musa?" Audrey burst out in English.

"Yes, yes!" said Musa violently. "But last month, from Mademoiselle Nickall--nothing! She is in London; she forgets. It is better like that.

Soon I shall be playing in the Opera orchestra, fourth desk, one hundred francs a month. That will be the end. There can be no other."