Never yet had that question been asked. Never had Crayford said anything definite. Naturally it had been assumed that he would not waste his time over a thing in which he did not think of having a money interest. But he had been careful not to commit himself to any exact statement which could be brought against him if, later on, he decided to drop the whole affair. Charmian's abrupt interposition was a challenge. It held Claude dumb, despite that rage of contempt. It drew Alston's eyes to the face of his patron. There was a moment of tense silence. In it Claude felt that he was waiting for a verdict that would decide his fate, not as a successful man, but as a self-respecting artist. As he looked at the face of his wife he knew he had not the strength to decide his own fate for himself in accordance with the dictates of the hidden man within him. He strove to summon up that strength, but a sense of pity, that perhaps really was akin to love, intervened to prevent its advent. Charmian's eyes seemed to hold her soul in that moment. He could not strike it down into the dust of despair.
Crayford's eyebrows twitched violently, and he turned the big cigar that was between his lips round and round. Then he took it out of his mouth, looked at Charmian, and said:
"Yah!"
Charmian turned and looked into Claude's eyes. She did not say a word. But her eyes were a mandate, and they were also a plea. They drove back, beat down the hidden man into the depths where he made his dwelling.
"Well," said Crayford roughly, almost rudely, to Claude, "how's it going to be? I want to know just where I am in this thing. This aren't the only enterprise I've got on the stocks by a long way. I wasn't born and bred a nigger, nor yet an Arab, and I can't sit sweltering here for ever trying to find out where I am and where I'm coming to. We've got to get down to business. The little lady is worth a ton of men, composers or not. She's got us to the point, and now there's no getting away from it. I'm stuck, dead stuck, on this libretto. Now, it's not a bit of use your getting red and firing up, my boy. I'm not saying a word against you and your music. But the first thing is the libretto. Why, how could you write an opera without a libretto? Just tell me that! Very well, then. You've got the best libretto since 'Carmen,' and you've got to write the best opera since 'Carmen.' Well, seems to me you've made a good start, but you're too far away from ordinary folk. Now, don't think I want you to play down. I don't. I've got a big reputation in the States, though you mayn't think it, and I can't afford to spoil it. Play for the center. That's my motto. Shoot to hit the bull's eye, not a couple of feet above it."
"Hear, hear!" broke in Lake, in his strong baritone.
"Ah!" breathed Charmian.
Crayford almost swelled with satisfaction at this dual backing. Again he twisted his body, and threw back his head with a movement he probably thought Napoleonic.
"Play for the center! That's the game. Now you're aiming above it, and my business is to bring you to the center. Why, my boy"—his tone was changing under the influence of self-satisfaction, was becoming almost paternal—"all I, all we want is your own good. All we want is a big success, like that chap Sennier has made, or a bit bigger—eh, little lady? Why should you think we are your enemies?"
"Enemies! I never said that!" interrupted Claude.