“Oh,” she answered, “wouldn’t I though? You don’t know me. That is just the sort of thing I should have loved to do. I am much more romantic than you are, really. I wonder,” she said, glancing at his breast, “if your pink pearl would have turned black? And I wonder if you would have taken the trouble to change that extraordinary coat you are wearing?”
In sooth, no costume could have been more beautifully Cimmerian than Zuleika’s. And yet, thought the Duke, watching her as the concert proceeded, the effect of her was not lugubrious. Her darkness shone. The black satin gown she wore was a stream of shifting highlights. Big black diamonds were around her throat and wrists, and tiny black diamonds starred the fan she wielded. In her hair gleamed a great raven’s wing. And brighter, brighter than all these were her eyes. Assuredly no, there was nothing morbid about her. Would one even (wondered the Duke, for a disloyal instant) go so far as to say she was heartless? Ah no, she was merely strong. She was one who could tread the tragic plane without stumbling, and be resilient in the valley of the shadow. What she had just said was no more than the truth: she would have loved to die for him, had he not forfeited her heart. She would have asked no tears. That she had none to shed for him now, that she did but share his exhilaration, was the measure of her worthiness to have the homage of his self-slaughter.
“By the way,” she whispered, “I want to ask one little favour of you. Will you, please, at the last moment tomorrow, call out my name in a loud voice, so that everyone around can hear?”
“Of course I will.”
“So that no one shall ever be able to say it wasn’t for me that you died, you know.”
“May I use simply your Christian name?”
“Yes, I really don’t see why you shouldn’t—at such a moment.”
“Thank you.” His face glowed.
Thus did they commune, these two, radiant without and within. And behind them, throughout the Hall, the undergraduates craned their necks for a glimpse. The Duke’s piano solo, which was the last item in the first half of the programme, was eagerly awaited. Already, whispered first from the lips of Oover and the others who had come on from the Junta, the news of his resolve had gone from ear to ear among the men. He, for his part, had forgotten the scene at the Junta, the baleful effect of his example. For him the Hall was a cave of solitude—no one there but Zuleika and himself. Yet almost, like the late Mr. John Bright, he heard in the air the beating of the wings of the Angel of Death. Not awful wings; little wings that sprouted from the shoulders of a rosy and blindfold child. Love and Death—for him they were exquisitely one. And it seemed to him, when his turn came to play, that he floated, rather than walked, to the dais.
He had not considered what he would play tonight. Nor, maybe, was he conscious now of choosing. His fingers caressed the keyboard vaguely; and anon this ivory had voice and language; and for its master, and for some of his hearers, arose a vision. And it was as though in delicate procession, very slowly, listless with weeping, certain figures passed by, hooded, and drooping forasmuch as by the loss of him whom they were following to his grave their own hold on life had been loosened. He had been so beautiful and young. Lo, he was but a burden to be carried hence, dust to be hidden out of sight. Very slowly, very wretchedly they went by. But, as they went, another feeling, faint at first, an all but imperceptible current, seemed to flow through the procession; and now one, now another of the mourners would look wanly up, with cast-back hood, as though listening; and anon all were listening on their way, first in wonder, then in rapture; for the soul of their friend was singing to them: they heard his voice, but clearer and more blithe than they had ever known it—a voice etherealised by a triumph of joy that was not yet for them to share. But presently the voice receded, its echoes dying away into the sphere whence it came. It ceased; and the mourners were left alone again with their sorrow, and passed on all unsolaced, and drooping, weeping.
Soon after the Duke had begun to play, an invisible figure came and stood by and listened; a frail man, dressed in the fashion of 1840; the shade of none other than Frederic Chopin. Behind whom, a moment later, came a woman of somewhat masculine aspect and dominant demeanour, mounting guard over him, and, as it were, ready to catch him if he fell. He bowed his head lower and lower, he looked up with an ecstasy more and more intense, according to the procedure of his Marche Funèbre. And among the audience, too, there was a bowing and uplifting of heads, just as among the figures of the mourners evoked. Yet the head of the player himself was all the while erect, and his face glad and serene. Nobly sensitive as was his playing of the mournful passages, he smiled brilliantly through them.
And Zuleika returned his gaze with a smile not less gay. She was not sure what he was playing. But she assumed that it was for her, and that the music had some reference to his impending death. She was one of the people who say “I don’t know anything about music really, but I know what I like.” And she liked this; and she beat time to it with her fan. She thought her
