eye for?—the nation's money. Well, and very necessary, too; otherwise we might be where the wretched Austrians are. Instead of which—how smooth his hostess' sapphires!
"Of course I myself prefer Moussorgsky," said Aaron. "I think he is a greater artist. But perhaps it is just personal preference."
"Yes. Boris is wonderful. Oh, some of the scenes in Boris!"
"And even more Kovantchina," said Aaron. "I wish we could go back to melody pure and simple. Yet I find Kovantchina, which is all mass music practically, gives me more satisfaction than any other opera."
"Do you really? I shouldn't say so: oh, no—but you can't mean that you would like all music to go back to melody pure and simple! Just a flute—just a pipe! Oh, Mr. Sisson, you are bigoted for your instrument. I just live in harmony—chords, chords!" She struck imaginary chords on the white damask, and her sapphires swam blue. But at the same time she was watching to see if Sir William had still got beside his plate the white medicine cachet which he must swallow at every meal. Because if so, she must remind him to swallow it. However, at that very moment, he put it on his tongue. So that she could turn her attention again to Aaron and the imaginary chord on the white damask; the thing she just lived in. But the rubicund bald colonel, more rubicund after wine, most rubicund now the Marsala was going, snatched her attention with a burly homage to her femininity, and shared his fear with her with a boyish gallantry.
When the women had gone up, Sir William came near and put his hand on Aaron's shoulder. It was evident the charm was beginning to work. Sir William was a self-made man, and not in the least a snob. He liked the fundamental ordinariness in Aaron, the commonness of the common man.
"Well now, Mr. Sisson, we are very glad to see you! Very glad, indeed. I count Mr. Lilly one of the most interesting men it has ever been my good fortune to know. And so for your own sake, and for Mr. Lilly's sake, we are very glad to
