When everyone had been well served Gabriel said, smiling: 

“Now, if anyone wants a little more of what vulgar people call stuffing let him or her speak.”

A chorus of voices invited him to begin his own supper and Lily came forward with three potatoes which she had reserved for him.

“Very well,” said Gabriel amiably, as he took another preparatory draught, “kindly forget my existence, ladies and gentlemen, for a few minutes.”

He set to his supper and took no part in the conversation with which the table covered Lily’s removal of the plates.  The subject of talk was the opera company which was then at the Theatre Royal.  Mr. Bartell D’Arcy, the tenor, a dark- complexioned young man with a smart moustache, praised very highly the leading contralto of the company but Miss Furlong thought she had a rather vulgar style of production.  Freddy Malins said there was a Negro chieftain singing in the second part of the Gaiety pantomime who had one of the finest tenor voices he had ever heard.

“Have you heard him?” he asked Mr. Bartell D’Arcy across the table.

“No,” answered Mr. Bartell D’Arcy carelessly.

“Because,” Freddy Malins explained, “now I’d be curious to hear your opinion of him.  I think he has a grand voice.”

“It takes Teddy to find out the really good things,” said Mr. Browne familiarly to the table.

“And why couldn’t he have a voice too?” asked Freddy Malins sharply.  “Is it because he’s only a black?”

Nobody answered this question and Mary Jane led the table back to the legitimate opera.  One of her pupils had given her a pass for Mignon.  Of course it was very fine, she said, but it made her think of poor Georgina Burns.  Mr. Browne could go back farther still, to the old Italian companies that used to come to Dublin—­Tietjens, Ilma de Murzka, Campanini, the great Trebelli, Giuglini, Ravelli, Aramburo.  Those were the days, he said, when there was something like singing to be heard in Dublin.  He told too of how the top gallery of the old Royal used to be packed night after night, of how one night an Italian tenor had sung five encores to Let me like a Soldier fall, introducing a high C every time, and of how the gallery boys would sometimes in their enthusiasm unyoke the horses from the carriage of some great prima donna and pull her themselves through the streets to her hotel.  Why did they never play the grand old operas now, he asked, Dinorah, Lucrezia Borgia?  Because they could not get the voices to sing them:  that was why.

“Oh, well,” said Mr. Bartell D’Arcy, “I presume there are as good singers today as there were then.”

“Where are they?” asked Mr. Browne defiantly.

“In London, Paris, Milan,” said Mr. Bartell D’Arcy warmly.  “I suppose Caruso, for example, is quite as good, if not better than any of the men you have mentioned.”

“Maybe so,” said Mr. Browne.  “But I may tell you I doubt it strongly.”