Immediately upon his left, however, there was a young man, sleek and immaculately dressed, who had a somewhat stronger face than many of the young fellows there. There was a certain strength about the jaw and poise of the head, an honesty in the blue eyes which the journalist noticed at once.
Hampson sighed. Doubtless this young man was only just entering in upon the life of pleasure and sin. He was not quite a slave yet—his soul not irrevocably stained. But some day he would become like the curious old-young men who sat all round, men with pointed ears, heavy eyes that only brightened when they saw a pretty girl, mouths curved into listless and weary boredom.
What a brigade they were, these rich and vicious young fools who supported the Frivolity! Night after night they sat in their accustomed stall while the actresses danced, and postured upon the other side of the footlights—solemn, vacuous, and pitiable.
Two men bent over from their seats, and one of them touched the fresh-looking young man by Hampson's side upon the shoulder.
The journalist heard names being exchanged—the first speaker was introducing a friend. From this he discovered who his companion was—Sir Thomas Ducaine. The name was quite familiar. The young baronet owned an enormous property in Whitechapel. Some of the foulest and most fetid dens in Europe belonged to him. Filth and misery, gaunt hunger, and black crime crawled through hideous alleys, and slunk in and out of horrible places which were his.
Probably there was not a property owner in England who was responsible for the degradation of his fellow-creatures as this well-groomed young man in the stalls of the Frivolity Theatre. Hampson knew—none better. Had not he and Joseph starved in one of this man's attics? Yet, he reflected, probably Sir Thomas knew nothing whatever of the dreadful places from which he drew his vast revenues, had never visited them, never would visit them.
The passing thoughts of those dark days in Whitechapel sent the editor's mind with painful wonder to his absent friend and his mysterious silence, and a deep depression was beginning to steal over him when the orchestra concluded the overture and the curtain rose.
Always methodical, and with a great power of concentration, Hampson banished all other thoughts, and gave his undivided attention to the play he had come to criticise.
The scene showed the interior of a great London bar, a smart West End establishment. It was crowded with young men in shining silk hats, dove-colored trousers, and fashionably-cut grey frock-coats. They were leaning over the counter, which ran down one side of the stage, and flirting with half a dozen girls dressed as barmaids. The scene was brilliant with light and color, accurate in every detail, and, indeed, a triumph of the scene-painter's art.
After a moment or two the barmaids burst into a chorus. The music was bright and tuneful, composed with real skill and sense of melody. Hampson, who had a good ear, and was himself an amateur musician, recognized the fact at once. But the words were incredibly vulgar and stupid, a glorification of drink, by the aid of which all troubles—and doubtless decency and duty also—might be easily forgotten.