And then an extraordinary thing befell.  In defiance of all precedent Lucas’s glowing anticipations were justified and endorsed by the course of events.  If Cousin Teresa was above the heads of the public, the public heroically adapted itself to her altitude.  Introduced as an experiment at a dull moment in a new revue, the success of the item was unmistakable; the calls were so insistent and uproarious that even Lucas’ ample devisings of additional “business” scarcely sufficed to keep pace with the demand.  Packed houses on successive evenings confirmed the verdict of the first night audience, stalls and boxes filled significantly just before the turn came on, and emptied significantly after the last encore had been given.  The manager tearfully acknowledged that Cousin Teresa was It.  Stage hands and supers and programme sellers acknowledged it to one another without the least reservation.  The name of the revue dwindled to secondary importance, and vast letters of electric blue blazoned the words “Cousin Teresa” from the front of the great palace of pleasure.  And, of course, the magic of the famous refrain laid its spell all over the Metropolis.  Restaurant proprietors were obliged to provide the members of their orchestras with painted wooden dogs on wheels, in order that the much-demanded and always conceded melody should be rendered with the necessary spectacular effects, and the crash of bottles and forks on the tables at the mention of the big borzoi usually drowned the sincerest efforts of drum or cymbals.  Nowhere and at no time could one get away from the double thump that brought up the rear of the refrain; revellers reeling home at night banged it on doors and hoardings, milkmen clashed their cans to its cadence, messenger boys hit smaller messenger boys resounding double smacks on the same principle.  And the more thoughtful circles of the great city were not deaf to the claims and significance of the popular melody.  An enterprising and emancipated preacher discoursed from his pulpit on the inner meaning of “Cousin Teresa,” and Lucas Harrowcluff was invited to lecture on the subject of his great achievement to members of the Young Mens’ Endeavour League, the Nine Arts Club, and other learned and willing-to-learn bodies.  In Society it seemed to be the one thing people really cared to talk about; men and women of middle age and average education might be seen together in corners earnestly discussing, not the question whether Servia should have an outlet on the Adriatic, or the possibilities of a British success in international polo contests, but the more absorbing topic of the problematic Aztec or Nilotic origin of the Teresa motiv.

“Politics and patriotism are so boring and so out of date,” said a revered lady who had some pretensions to oracular utterance; “we are too cosmopolitan nowadays to be really moved by them.  That is why one welcomes an intelligible production like ‘Cousin Teresa,’ that has a genuine message for one.  One can’t understand the message all at once, of course, but one felt from the very first that it was there.  I’ve been to see it eighteen times and I’m going again to-morrow and on Thursday.  One can’t see it often enough.”