There was no direct implication that Frank was a favourite, but an inference was possible, and at least it was clear that she preferred to reserve herself for him. Cecilia’s gifts, her fortune, and her gay, happy face had made many a young fellow restless, and had brought several proposals, none of which had been accepted. All this Frank knew, and how could he repress something more than satisfaction when he thought that perhaps he might have been the reason why nobody as yet had been able to win her. She always called him Frank, for although they were not first cousins, they were cousins. He generally called her Cecilia, but she was Cissy in her own house. He was hardly close enough to venture upon the more familiar nickname, but to-night, as they rose to go to the piano, he said, and the baritone sat next to her,—
She looked at him with just a little start of surprise, and a smile spread itself over her face. After they had finished, and she never sang better, the baritone noticed that she seemed indisposed to return to her former place, and she retired with Frank to the opposite corner of the room.
‘I wonder,’ she said, ‘if being happy in a thing is a sign of being born to do it. If it is, I am born to be a musician.’
‘I should say it is; if two people are quite happy in one another’s company, it is as a sign they were born for one another.’
‘Yes, if they are sure they are happy. It is easier for me to be sure that I am happier with a thing than with a person.’
‘There is the uncertainty whether the person is happy with me. I cannot be altogether happy with anybody unless I know I make him happy.’
‘What kind of person is he with whom you _could_ be without making him happy?’
The baritone rose to the upper F with a clash of chords on the piano, and the company broke up. Frank went home with but one thought in his head—the thought of Cecilia.
His bedroom faced the south-west, its windows were open, and when he entered, the wind, which was gradually rising, struck him on the face and nearly forced the door out of his hand; the fire in his blood was quenched, and the image of Cecilia receded. He looked out, and saw reflected on the low clouds the dull glare of the distant city. Just over there was Great Ormond Street, and underneath that dim, red light, like the light of a great house burning, was Madge Hopgood. He lay down, turning over from side to side in the vain hope that by change of position he might sleep. After about an hour’s feverish tossing, he just lost himself, but not in that oblivion which slumber usually brought him. He was so far awake that he saw what was around him, and yet, he was so far released from the control of his reason that he did not recognise what he saw, and it became part of a new scene created by his delirium. The full moon, clearing away the clouds as she moved upwards, had now passed round to the south, and just caught the white window-curtain farthest from him. He half-opened his eyes, his mad dream still clung to him, and there was the dead Madge before him, pale in death, and holding a child in her arms! He distinctly heard himself scream as he started up in affright; he could not tell where he was; the spectre faded and the furniture and hangings transformed themselves into their familiar reality. He could not lie down again, and rose and dressed himself. He was not the man to believe that the ghost could be a revelation or a prophecy, but, nevertheless, he was once more overcome with fear, a vague dread partly justifiable by the fact of Madge, by the fact that his father might soon know what had happened, that others also might know, Cecilia for example, but partly also a fear going beyond all the facts, and not to be accounted for by them, a strange, horrible trembling such as men feel in earthquakes when the solid rock shakes, on which everything rests.