Leonora

by Arnold Bennett

'All well, thanks,' she said, smiling. 'Won't you sit here? It's John's seat, but he isn't coming.'

'Then you are alone?' He seemed to apologise for the rest of his sex.

She told him that Uncle Meshach was with her, and would return directly. When he asked how the opera was going, and she learnt that, being detained at Knype, he had not seen the first act, she was relieved. He would make the discovery concerning Millicent gradually, and by her side; it was better so, she thought—less disconcerting. In a slight pause of their talk she was startled to feel her heart beating like a hammer against her corsage. Her eyes had brightened. She conversed rapidly, pleased to be talking, pleased at his sympathetic responsiveness, ignoring the audience, and also forgetting the uneasy preoccupations of her recent solitude. The men returned from the Tiger and elsewhere, all except Uncle Meshach. The lights were lowered. The conductor's stick curtly demanded silence and attention. She sank back in her seat.

'A peremptory conductor!' remarked Twemlow in a whisper.

'Yes,' she laughed. And this simple exchange of thought, effected, as it were, surreptitiously in the gloom and contrary to the rules, gave her a distinct sensation of joy.

Then began, in Bursley Town Hall, a scene similar to the scenes which have rendered famous the historic stages of European capitals. The verve and personal charm of a young débutante determined to triumph, and the enthusiasm of an audience proudly conscious that it was making a reputation, reacted upon and intensified each other to such a degree that the atmosphere became electric, delirious, magical. Not a soul in the auditorium or on the stage but what lived consummately during those minutes—some creatively, like the conductor and Millicent; some agonised with jealousy, like Florence Gardner and a few of the chorus; one maternally in tumultuous distress of spirit; and the great naïve mass yielding with rapture to a sensuous spell.

The outstanding defect in the libretto of Patience is the decentralisation of interest in the second act. The alert ones who remembered that in that act the heroine has only one song, and certain passages of dialogue not remarkable for dramatic force, had predicted that Millicent would inevitably lose ground as the evening advanced. They were, however, deceived. Her delivery of the phrase 'I am miserable beyond description' brought the house down by its coquettish artificiality; and the renowned ballad, 'Love is a plaintive song,' established her unforgettably in the affections of the audience. Her 'exit weeping' was a tremendous stroke, though all knew that she meant them to see that these tears were simply a delightful pretence. The opera came to a standstill while she responded to an imperative call. She bowed, laughing, and then, suddenly affecting to cry again, ran off, with the result that she had to return.

'D——n it! She hasn't got much to learn, has she?' the conductor murmured to the first violin, a professional from Manchester.

But her greatest efforts she reserved for the difficult and critical prose conversations which now alone remained to her, those dialogues which seem merely to exist for the purpose of separating the numbers allotted to all the other principals. It was as though, during the entr'acte, surrounded by the paint-pots, the intrigues, and the wild confusion of the dressing-room, Millicent had been able to commune with herself, and to foresee and take arms against the peril of an anti-climax. By sheer force, ingenuity, vivacity, flippancy, and sauciness, she lifted her lines to the level, and above the level, of the rest of the piece. She carried the audience with her; she knew it; all her colleagues knew it, and if they chafed they chafed in secret. The performance went better and better as the end approached. The audience had long since ceased to notice defects; only the conductor, the leader, and a few discerning members of the troupe were aware that a catastrophe had been escaped by pure luck two minutes before the descent of the curtains.

And at that descent the walls of the Town Hall, which had echoed to political tirades, the solemn recitatives of oratorios, the mercantile uproar of bazaars, the banal compliments of prize-givings, the arid utterances of lecturers on science and art, and the moans of sinners stricken with a sense of guilt at religious revivals—those walls resounded to a gay and frenzied ovation which is memorable in the town for its ungoverned transports of approval. The Operatic Society as a whole was first acclaimed, all the performers posing in rank on the stage. Then, as the deafening applause showed no sign of diminution, the curtains were drawn back instead of being raised again, and the principals, beginning with the humblest, paraded in pairs in front of the footlights. Milly and her fortunate cavalier came last. The cavalier advanced two paces, took Milly's hand, signed to her to cross over, and retired. The child was left solitary on the stage—solitary, but unabashed, glowing with delight, and smiling as pertly as ever. The leader of the orchestra stood up and handed her a wreath, which she accepted like an oath of fealty; and the wreath, hurriedly manufactured by the barmaid of the Tiger out of some cut flowers and the old laurel tree in the Tiger yard, became, when Milly grasped it, a mysterious and impressive symbol. Many persons in the audience wanted to cry as they beheld this vision of the proud, confident, triumphant child holding the wreath, while the fierce upward ray of the footlights illuminated her small chin and her quivering nostrils. She tripped off backwards, with a gesture of farewell. The applause continued. Would she return? Not if the ferocious jealousies behind could have paralysed her as she hesitated in the wings. But the world was on her side that night; she responded again, she kissed her hands to her world, and disappeared still kissing them; and the evening was finished.