'You haven't a piano. Just listen to this; how do you think it will do?' He hummed through a complete melody. 'Came into my head last night. Wants rather sentimental words—the kind of thing that goes down with the British public. Rather a good air, don't you think?'
Felix Dymes had two manners of conversation. In a company at all ceremonious, and when it behoved him to make an impression, he talked as the artist and the expert in music, with many German phrases, which he pronounced badly, to fill up the gaps in his knowledge. His familiar stream of talk was very different: it discarded affectation, and had a directness, a vigour, which never left one in doubt as to his actual views of life. How melody of any kind could issue from a nature so manifestly ignoble might puzzle the idealist. Alma, who had known a good many musical people, was not troubled by this difficulty; in her present mood, she submitted to the arrogance of success, and felt a pleasure, an encouragement, in Dymes's bluff camaraderie.
'Let me try to catch it on the violin,' she said when, with nodding head and waving arm, he had hummed again through his composition.
She succeeded in doing so, and Dymes raised his humming to a sentimental roar, and was vastly pleased with himself.
'I like to see you in a place like this,' he said. 'Looks more business-like—as if you really meant to do something. Do you live here alone?'
'With a friend.'
Something peculiar in Dymes's glance caused her to add, 'A German girl, an art student.' Whereat the musician nodded and smiled.
'And what's your idea? Come now, let's talk about it. I wonder whether I could be of any use to you—awfully glad if I could.'
Alma was abashed, stammered her vague projects, and reddened under the man's observant eye.
'Look here,' he cried, with his charming informality, 'didn't you use to sing? Somebody told me you had a pretty good voice.'