When nearly an hour had passed she looked up and saw that the sun was sinking, for the shadows were turning purple in the deep gorge, and there was a golden light on the peaks above. She listened then, holding her breath; but there was no sound except the tinkling of the tiny stream as it fell over a ledge at some distance below her, following its new way down into the valley.
She rose at last, looked upward, and seemed about to go away when a thought occurred to her, which afterwards led to very singular consequences. Instead of going down the valley or climbing up out of it, she went back to the entrance of the cave, taking the wallet with her, dragged herself in once more over the loose stones and earth, reached the secret hollow where the pool had been, and made straight for the little mine of precious stones. The traveller had broken out many more than he had been able to carry, but she did not try to collect them all. She was not altogether ignorant of the trade carried on by the men of her family for generations, and though she had not the least idea of the real value of the finest of the rubies, she knew very [{38}] well that it would be wise to take many small ones which she could exchange for clothing and necessaries with the first women she met in the hills, while hiding the rest of the supply she would be able to carry in the wallet.
When she had made her wise selection, she looked once more towards the quicksand, and left the place for ever. Once outside she began to climb the rocks as fast as she could, for very soon it would be night and she would have to lie down and wait many hours for the day, since there was no moon, and the way was very dangerous, even for a Tartar girl who could almost tread on air.
High up on the mountain, over the dry well where Baraka and the stranger had been imprisoned, the vulture perched alone with empty craw and drooping wings. But it was of no use for him to wait; the living, who might have died of hunger and thirst, were gone, and the body of dead Saäd lay fathoms deep in the quicksand, in the very maw of the mountain. [{39}]
CHAPTER II
There was good copy for the newspapers on both sides of the Atlantic in the news that the famous lyric soprano, Margarita da Cordova, whose real name was Miss Margaret Donne, was engaged to Monsieur Konstantin Logotheti, a Greek financier of large fortune established in Paris, and almost as well known to art-collectors as to needy governments, would-be promoters, and mothers of marriageable daughters. The mothers experienced a momentary depression such as Logotheti himself felt when an historical Van Dyck which he wanted was secretly sold out of a palace in Genoa to a rival collector and millionaire for a price which he would willingly have given; the people he knew shrugged their shoulders at the news that he was to marry a singer, or shook their heads wisely, or smiled politely, according to the scale of the manners they had inherited or acquired; the shopkeepers sent him thousands of insinuating invitations to inspect and buy all the things which a rich man is supposed to give to his bride, from diamonds and lace and eighty horse-power motor-cars to dressing-cases, stationery and silver saucepans; and the newspapers were generously jubilant, and rioted for a few days in a perfect carnival of adjectives.
The people who made the least fuss about the marriage [{40}] were Cordova and Logotheti themselves. They were both so well used to perpetual publicity that they did not resent being written and talked about for a time as if they were a treaty, a revolution, a divorce, or a fraudulent trust. But they did not encourage the noise, nor go about side by side in an offensively happy way, nor accept all the two hundred and eighty-seven invitations to dine out together which they received from their friends during three weeks. It was as much as their overworked secretaries could do to answer all these within a reasonable and decent time.
The engagement was made known during the height of the London season, not long after they had both been at a week-end party at Craythew, Lord Creedmore's place in Derbyshire, where they had apparently come to a final understanding after knowing each other more than two years. Margaret was engaged to sing at Covent Garden that summer, and the first mention of the match was coupled with the information that she intended to cancel all her engagements and never appear in public again. The result was that the next time she came down the stage to sing the Waltz Song in Romeo and Juliet she received a tremendous ovation before she opened her handsome lips, and another when she had finished the air; and she spent one of the happiest evenings she remembered.
Though she was at heart a nice English girl, not much over twenty-four years of age, the orphan daughter of an Oxford don who had married an American, she had developed, or fallen, to the point at which very popular [{41}] and successful artists cannot live at all without applause, and are not happy unless they receive a certain amount of adulation. Even the envy they excite in their rivals is delicious, if not almost necessary to them.
Margaret's real nature had not been changed by a success that had been altogether phenomenal and had probably not been approached by any soprano since Madame Bonanni; but a second nature had grown upon it and threatened to hide it from all but those who knew her very well indeed. The inward Margaret was honest and brave, rather sensitive, and still generous; the outward woman, the primadonna whom most people saw, was self-possessed to a fault, imperious when contradicted, and coolly ruthless when her artistic fame was at stake. The two natures did not agree well together, and made her wretched when they quarrelled, but Logotheti, who was going to take her for better, for worse, professed to like them both, and was the only man she had ever known who did. That was one reason why she was going to marry him, after having refused him about a dozen times.