"Why, of course! I told him how miserable I was without him; but that he must do whatever was right and kind for his aunt. I wrote him a long letter before luncheon to the same effect. But, oh, I hope the dear old lady will get well very quickly!"
"If usquebaugh can mend her, no doubt the recovery will be rapid," answered the Major, laughing. "I dare say that is why you are so anxious for Hamleigh's return. You think if he stays in the North he may become a confirmed toddy-drinker. By-the-by, when his return is so uncertain, do you think it is quite safe for you to go to the theatre to-night? He might come to Bolton Row during your absence."
"That is hardly possible," said Christabel. "But even if such a happy thing should occur, he would come and join us at the Kaleidoscope."
This was the Major's last feeble and futile effort to prevent a wilful woman having her own way. They rejoined Mrs. Tregonell, and went back to their carriage almost immediately—were in Bolton Row in time for a seven o'clock dinner, and were seated in the box at the Kaleidoscope a few minutes after eight. The Kaleidoscope was one of the new theatres which have been added to the attractions of London during the last twenty years. It was a small house, and of exceeding elegance; the inspiration of the architect thereof seemingly derived rather from the bonbonnières of Siraudin and Boissier than from the severer exemplars of high art. Somebody said it was a theatre which looked as if it ought to be filled with glacé chestnuts, or crystallized violets, rather than with substantial flesh and blood. The draperies thereof were of palest dove-coloured poplin and cream-white satin; the fauteuils were upholstered in velvet of the same dove colour, with a monogram in dead gold; the pilasters and mouldings were of the slenderest and most delicate order—no heavy masses of gold or colour—all airy, light, graceful; the sweeping curve of the auditorium was in itself a thing of beauty: every fold of the voluminous dove-coloured curtain, lined with crimson satin—which flashed among the dove tints here and there, like a gleam of vivid colour in the breast of a tropical bird—was a study. The front of the house was lighted with old-fashioned wax candles, a recurrence to obsolete fashion which reminded the few survivors of the D'Orsay period of Her Majesty's in the splendid days of Pasta and Malibran, and which delighted the Court and Livery of the Tallow Chandlers' Company.
"What a lovely theatre!" cried Christabel, looking round the house, which was crowded with a brilliant audience; "and how cruel of you not to bring us here! It is the prettiest theatre we have seen yet."
"Yes; it's a nice little place," said the Major, feebly; "but, you see, they've been playing the same piece all the season—no variety."
"What did that matter, when we had not seen the piece? Besides, a young man I danced with told me he had been to see it fifteen times."
"That young man was an ass!" grumbled the Major.
"Well, I can't help thinking so too," assented Christabel. And then the overture began—a dreamy, classical compound, made up of reminiscences of Mozart, Beethoven, and Weber—a melodious patchwork, dignified by scientific orchestration. Christabel listened dreamily to the dreamy music, thinking of Angus all the while—wondering what he was doing in the far-away Scottish land, which she knew only from Sir Walter's novels.
The dove-coloured curtains were drawn apart to a strain of plaintive sweetness, and the play—half poem, half satire—began. The scene was a palace garden, in some "unsuspected isle in far-off seas." The personages were Psyche, her sisters, and the jealous goddess, whose rest had been disturbed by rumours of an earthly beauty which surpassed her own divine charms, and who approached the palace disguised as a crone, dealing in philters and simples, ribbons and perfumes, a kind of female Autolycus.