It was not quite clear to him why he was the centre of so much attention. His mind did not run to the comprehension of the fact that he was the wearer of borrowed plumes—the sable plumes of King Death.
He had always wanted to get on to the kitchen table—there was much there that interested him, and supplied him with food for thought. He had risked his life on more than one occasion in attempts to scale that height with the assistance of a saucepan that turned over and poured culinary delicacies on his toes, or perhaps a sleeping cat that got up and walked away much annoyed. And now that he was at last at this dizzy height he was sorry to find that he was too tired to crawl about and explore the vast possibilities of it. He was rather too tired to convey his forefinger to his mouth, and was forced to work out mental problems without that aid to thought.
Presently his eyes fell on Guy Oscard's face, and again his own small features expanded into a smile.
“Bad case!” he said, and, turning over, he nestled down into the pillow, and he had the answer to the many questions that puzzled his small brain.
CHAPTER XL. SIR JOHN'S LAST CARD
'Tis better playing with a lion's whelp
Than with an old one dying.
As through an opera runs the rhythm of one dominant air, so through men's lives there rings a dominant note, soft in youth, strong in manhood, and soft again in old age. But it is always there, and whether soft in the gentler periods, or strong amidst the noise and clang of the perihelion, it dominates always and gives its tone to the whole life.
The dominant tone of Sir John Meredith's existence had been the high clear note of battle. He had always found something or some one to fight from the very beginning, and now, in his old age, he was fighting still. His had never been the din and crash of warfare by sword and cannon, but the subtler, deeper combat of the pen. In his active days he had got through a vast amount of work—that unchronicled work of the Foreign Office which never comes, through the cheap newspapers, to the voracious maw of a chattering public. His name was better known on the banks of the Neva, the Seine, the Bosphorus, or the swift-rolling Iser than by the Thames; and grim Sir John was content to have it so.
His face had never been public property, the comic papers had never used his personality as a peg upon which to hang their ever-changing political principles. But he had always been “there,” as he himself vaguely put it. That is to say, he had always been at the back—one of those invisible powers of the stage by whose command the scene is shifted, the lights are lowered for the tragedy, or the gay music plays on the buffoon. Sir John had no sympathy with a generation of men and women who would rather be laughed at and despised than unnoticed. He belonged to an age wherein it was held better to be a gentleman than the object of a cheap and evanescent notoriety—and he was at once the despair and the dread of newspaper interviewers, enterprising publishers, and tuft-hunters.