"Don't, don't," cried the dark, big fellow; "we haven't heard any music for a long time. Please keep on. Jacques, here, will accompany you."
"I never heard the waltz," said the violinist; "but if you play it over for me once or twice, I'll try to get the air—if you would like to have me to," he added with a shy, gentle courtesy.
So I played the rather banal waltz again, till the lad caught the tune. He hit it amazingly well, and his ear was unusually true. The dark one had been in Canada and was hungry for American rag-time. "'The Good Old Summer Time'—you know that? 'Harrigan'—you know that?" he said in English. The rag-time of "Harrigan" floated out on the street of Montauville. But I did not care to play things which could have no violin obligato, so I began to play what I remembered of waltzes dear to every Frenchman's heart—the tunes of the "Merry Widow." "Sylvia" went off with quite a dash. The concert was getting popular. Somebody wanted to send for a certain Alphonse who had an occarina. Two other poilus, men in the forties, came up, their dark-brown, horseshoe beards making them look like brothers. Side by side against the faded paper on the sunny wall they stood, surveying us contentedly. The violinist, who turned out to be a Norman, played a solo—some music-hall fantasy, I imagine. The next number was the ever popular "Tipperaree," which every single poilu in the French army has learned to sing in a kind of English. Our piano-violin duet hit off this piece even better than the "Merry Widow." I thanked Heaven that I was not called on to translate it, a feat frequently demanded of the American drivers. The song is silly enough in the King's English, but in lucid, exact French, it sinks to positive imbecility.
"You play, don't you?" said the violinist to the small bearded man.
"A little," he replied modestly.
"Please play."
The little man sat down at the piano, meditated a minute, and began to play the rich chords of Rachmaninof's "Prelude." He got about half through, when Zip-bang! a small shell burst down the street. The dark fellow threw open the French window. The poilus were scurrying to shelter. The pianist continued with the "Prelude."
Zip-bang! Zip-bang! Zshh—Bang—Bang. Bang-Bang!
The piano stopped. Everybody listened. The village was still as death. Suddenly down the street came the rattle of a volley of rifle shots. Over this sound rose the choked, metallic notes of a bugle-call. The rifle shots continued. The ominous popping of machine guns resounded. The village, recovering from its silence, filled with murmurs. Bang! Bang! Bang I Bang! went some more shells. The same knowledge took definite shape in our minds.
"An attack!"