The midland journal., 1914-07-10
Nora's heart frightened What she saw
was beautiful uncut emerald.
CHAPTER xI.
a Comedy with Music.


A Comedy with Music.
The Harrigans occupied the suite
in the east wing of the villa This
consisted Of large drawing room and
two ample bedchambers, with window
balconies and a private veranda in
the rear, looking OF toward the green
of the pines and the metal-like luster
OF the copper beeches.
1t was raining, az fine. soft, blurfing
Alpine rain, and a blue-gray monotone
prevailed upon the face of the waters
and defied all save the keenest scru-
tiny to discern where the mountain
tops ended and the sky began. 1t was
a day for indoors, for dreams, good
books, and good fellows
Here they all were Mrs. Harrigan
was deep in the intricate maze Of the
Amelia AIRS of Bologna, which, as the
initiated know, is wonderful lace. BY
one of the windows sat Nora, winding
interminable yards of lace hemming
from off the willing if aching digits of
the Barone, who was speculating as
to what his Neapolitan club friends
would say could they see, by some
trick of crystal gazing, his present oc-
cupation. Celeste was at the piano,
playing (pianissimo) snatches from
the operas, while Abbott looked on,
his elbows propped upon his knees,
his chin in his palms, and a quality OF
ecstatic content in his eyes.
Play the fourth ballade, urged
Abbott.
AS Celeste began the andante. Nora
signified to the Barone to drop his
work She let her own hands fall
Harrigan gently closed his book, for
In that rough kindly soul Of his lay
mighty love of music. He himself was
without expression Of any sort, and
somehow music seemed to stir the dim
and not quite understandable longing
for utterance. Mrs. Harrigan alone
went on with her work; she could
work and listen at the same time.
After the magnificent finale, nothing
In the room stirred but her needle.
'Bravo!" cried the Barone. breaking
the spell.
'You never played that better"
declared Nora.
That's sonnet" Harrigan beat his
hands together thunderously. Great
stuff; eh, Barone?"
The Barone raised his hands as II
to express his utter inability to des-
cribe his sensations. His elation was
that ascribed to those fortunate NOR
tails whom the gods lifted to Olympus.
AT his feet lay the lace hemming, hope
lessly snarled
Father, father!" demonstrated Nora;
you will wake up all the old ladies'
who are having their siesta "
bah! I'll bet doughnut their ears
are glued to their doors. What no!
Somebody's at the portcullis. Probably
the padre, come up for tea. +"
\ He was at the door instantly. He
flung it open heartily. 1t was char
acteristic Of the man to open every
thing widely, his heart. his mind, his
hate or his affection.
Come In, come in! Just in time
for the matinee concert"
The padre was not alone. Court
landt followed him in.
"We have been standing in the cor
ridor for ten minutes affirmed the
padre, sending a winning smile around
the room. Mr. Courtlandt was for
going down to the bureau and sending
up our cards. But would not hear
Of such formality. am q privileged
person"
Sure yes! Molly, ring for tea, and
tell 'em to make it hot. How about a
little peg, as the colonel says?p
The two men declined.
How easily and nonchalantly the
man stood there by the door as Harri-
gan took his hat! Celeste was aquiver
with excitement. She was thoroughly
q woman; she wanted something to
happen, dramatically, romantically.
But her want was vain one. Nora
hated scenes. and Courtlandt had the
advantage Of her In. his knowledge of
this. Celeste remained at the piano,
but Nora turned as If to move away.
mo, you must sing. That is what
came up for insisted the padre. II
| there was any malice in the church.
man, it was of negative quality. But
it was in his Latin blood that drama
should appeal to him strongly, and
here was an unusual phase in The
Great Play He had urged Courtlandt
much against the latter's win this day,
to come up with him, simply that he
might set little scene such as this
promised to be and study 1t from the
vantage Of the prompter. He knew
that the principal theme Of all great
books, of all great dramas, was antag'
onism. antagonism between man and
woman, though by a thousand other
names has it been called He had
| often said. in q spirit of raillery. that
this antagonism was principally due