The dinner was dull. Lady Brandon spoke in an undertone, as if someone lay dead in the next room. Erskine was depressed by the consciousness of having lost his head and acted foolishly in the afternoon. Sir Charles did not pretend to ignore the suspense they were all in pending intelligence of the journey to London; he ate and drank and said nothing. Agatha, disgusted with herself and with Gertrude, and undecided whether to be disgusted with Trefusis or to trust him affectionately, followed the example of her host. After dinner she accompanied him in a series of songs by Schubert. This proved an aggravation instead of a relief. Sir Charles, excelling in the expression of melancholy, preferred songs of that character; and as his musical ideas, like those of most Englishmen, were founded on what he had heard in church in his childhood, his style was oppressively monotonous. Agatha took the first excuse that presented itself to leave the piano. Sir Charles felt that his performance had been a failure, and remarked, after a cough or two, that he had caught a touch of cold returning from the station. Erskine sat on a sofa with his head drooping, and his palms joined and hanging downward between his knees. Agatha stood at the window, looking at the late summer afterglow. Jane yawned, and presently broke the silence.
“You look exactly as you used at school, Agatha. I could almost fancy us back again in Number Six.”
Agatha shook her head.
“Do I ever look like that—like myself, as I used to be?”
“Never,” said Agatha emphatically, turning and surveying the figure of which Miss Carpenter had been the unripe antecedent.
“But why?” said Jane querulously. “I don’t see why I shouldn’t. I am not so changed.”
“You have become an exceedingly fine woman, Jane,” said Agatha gravely, and then, without knowing why, turned her attentive gaze upon Sir Charles, who bore it uneasily, and left the room. A minute later he returned with two buff envelopes in his hand.