Fourth Scene.

The Garden.

Chapter 13.

The spring has come.  The air of the April night just lifts the leaves of the sleeping flowers.  The moon is queen in the cloudless and starless sky.  The stillness of the midnight hour is abroad, over land and over sea.

In a villa on the westward shore of the Isle of Wight, the glass doors which lead from the drawing-room to the garden are yet open.  The shaded lamp yet burns on the table.  A lady sits by the lamp, reading.  From time to time she looks out into the garden, and sees the white-robed figure of a young girl pacing slowly to and fro in the soft brightness of the moonlight on the lawn.  Sorrow and suspense have set their mark on the lady.  Not rivals only, but friends who formerly admired her, agree now that she looks worn and aged.  The more merciful judgment of others remarks, with equal truth, that her eyes, her hair, her simple grace and grandeur of movement have lost but little of their olden charms.  The truth lies, as usual, between the two extremes.  In spite of sorrow and suffering, Mrs. Crayford is the beautiful Mrs. Crayford still.

The delicious silence of the hour is softly disturbed by the voice of the younger lady in the garden.

“Go to the piano, Lucy.  It is a night for music.  Play something that is worthy of the night.”

Mrs. Crayford looks round at the clock on the mantelpiece.

“My dear Clara, it is past twelve!  Remember what the doctor told you.  You ought to have been in bed an hour ago.”

“Half an hour, Lucy—­give me half an hour more!  Look at the moonlight on the sea.  Is it possible to go to bed on such a night as this?  Play something, Lucy—­something spiritual and divine.”

Earnestly pleading with her friend, Clara advances toward the window.  She too has suffered under the wasting influences of suspense.  Her face has lost its youthful freshness; no delicate flush of color rises on it when she speaks.  The soft gray eyes which won Frank’s heart in the by-gone time are sadly altered now.  In repose, they have a dimmed and wearied look.  In action, they are wild and restless, like eyes suddenly wakened from startling dreams.  Robed in white—­her soft brown hair hanging loosely over her shoulders—­there is something weird and ghost-like in the girl, as she moves nearer and nearer to the window in the full light of the moon—­pleading for music that shall be worthy of the mystery and the beauty of the night.

“Will you come in here if I play to you?” Mrs. Crayford asks.  “It is a risk, my love, to be out so long in the night air.”

“No! no!  I like it.  Play—­while I am out here looking at the sea.  It quiets me; it comforts me; it does me good.”

She glides back, ghost-like, over the lawn.  Mrs. Crayford rises, and puts down the volume that she has been reading.  It is a record of explorations in the Arctic seas.  The time has gone by when the two lonely women could take an interest in subjects not connected with their own anxieties.  Now, when hope is fast failing them—­now, when their last news of the Wanderer and the Sea-mew is news that is more than two years old—­they can read of nothing, they can think of nothing, but dangers and discoveries, losses and rescues in the terrible Polar seas.