Last night, with the express purpose of teasing him, Miss Sally had asked Tilda to take up a book and read to her for a while. The three were seated in the drawing-room after dinner, and Sir Elphinstone beginning to grow impatient for his game of piquet. On the hearth-rug before the fire were stretched Godolphus and three of Miss Sally's prize setters; but Godolphus had the warmest corner, and dozed there stertorously.
The book chanced to be Gautier's Emaux et Camees, and Tilda to open it at the Carnaval de Venise—
"Il est un vieil air populaire
Par tous les violons racle,
Aux abois de chiens en colere
Par tous les orgues nasille."
She read the first verse with a pure clear accent and paused, with a glance first at the hearth-rug, then at Sir Elphinstone in his chair. Perhaps the sight of him stirred a small flame of defiance. At any rate she closed the book, went straight to the piano, and recklessly rattled out the old tune, at once so silly and haunting. Had she not heard it a thousand times in the old circus days?
Her eyes were on the keyboard. Hardly daring to lift them, she followed up the air with a wild variation and dropped back upon it again—not upon the air pure and simple, but upon the air as it might be rendered by a two-thirds-intoxicated coachful of circus bandsmen. The first half-a-dozen bars tickled Miss Sally in the midriff, so that she laughed aloud. But the laugh ended upon a sharp exclamation, and Tilda, still jangling, looked up as Sir Elphinstone chimed in with a "What the devil!" and started from his chair.
'Dolph was the cause of it. 'Dolph at the first notes had lifted his head, unobserved. Then slowly raising himself on his rheumatic fore-legs, the old dog heaved erect and waddled towards the piano. Even so no one paid any heed to him until, halting a foot or so from the hem of Tilda's skirt, he abased his head to the carpet while his hind-legs strained in a grotesque effort to pitch his body over in a somersault.
It was at this that Sir Elphinstone had exclaimed. Tilda, glancing down sideways across her shoulder, saw and checked a laugh. She understood. She let her fingers rest on a crashing chord, and rose from the music-stool as the dog rolled over on his flank.
"'Dolph! My poor old darling!"
She knelt to him, stretching out her arms. The candlelight fell on them, and on the sheen of her evening frock, and on the small dark curls clustering on the nape of her bowed neck; and by the same light 'Dolph lifted his head and gazed up at her. That look endured for five seconds, perhaps; but in it shone more than she could remember, and more than she could ever forget—a life's devotion compressed into one last leap of the flame, to expire only with life itself. As her hands went swiftly down to him, his tongue strove to lick them; but his head fell back, and his spirit went out into whatever darkness the spirits of dead dogs possess.
You know now why Tilda is not riding this morning, why she carries a spade on her shoulder, and why her face on this sunny morning wears a pensive shadow as she gazes back through the orchard trees. But 'Dolph, the circus mongrel, sleeps among hounds of nobler breed, and shall have a stone as honourable as any.