Then there was a silence again.

“You are dressed fine today,” he said to her.

“Am I?” she smiled.

He was never able to make out quite what she felt, what she was feeling. But she had a quiet little air of proprietorship in him, which he did not like.

“You will stay to dinner tonight, won’t you?” she said.

“No—not tonight,” he said. And then, awkwardly, he added: “You know. I think it is better if we are friends—not lovers. You know—I don’t feel free. I feel my wife, I suppose, somewhere inside me. And I can’t help it—–”

She bent her head and was silent for some moments. Then she lifted her face and looked at him oddly.

“Yes,” she said. “I am sure you love your wife.”

The reply rather staggered him—and to tell the truth, annoyed him.

“Well,” he said. “I don’t know about love. But when one has been married for ten years—and I did love her—then—some sort of bond or something grows. I think some sort of connection grows between us, you know. And it isn’t natural, quite, to break it.—Do you know what I mean?”

She paused a moment. Then, very softly, almost gently, she said:

“Yes, I do. I know so well what you mean.”

He was really surprised at her soft acquiescence. What did she mean?

“But we can be friends, can’t we?” he said.

“Yes, I hope so. Why, yes! Goodness, yes! I should be sorry if we couldn’t be friends.”

After which speech he felt that everything was all right—everything was A–one. And when Manfredi came home, the first sound he heard was the flute and his wife’s singing.

“I’m so glad you’ve come,” his wife said to him. “Shall we go into the sala and have real music? Will you play?”

“I should love to,” replied the husband.

Behold them then in the big drawing–room, and Aaron and the Marchese practising together, and the Marchesa singing an Italian folk–song while her husband accompanied her on the pianoforte. But her singing was rather strained and forced. Still, they were quite a little family, and it seemed quite nice. As soon as she could, the Marchesa left the two men together, whilst she sat apart. Aaron and Manfredi went through old Italian and old German music, tried one thing and then another, and seemed quite like brothers. They arranged a piece which they should play together on a Saturday morning, eight days hence.

The next day, Saturday, Aaron went to one of the Del Torre music mornings. There was a string quartette—and a violin soloist—and the Marchese at the piano. The audience, some dozen or fourteen friends, sat at the near end of the room, or in the smaller salotta, whilst the musicians performed at the further end of the room. The Lillys were there, both Tanny and her husband. But apart from these, Aaron knew nobody, and felt uncomfortable. The Marchesa gave her guests little sandwiches and glasses of wine or Marsala or vermouth, as they chose. And she was quite the hostess: the well–bred and very simple, but still the conventional hostess. Aaron did not like it. And he could see that Lilly too was unhappy. In fact, the little man bolted the moment he could, dragging after him the indignant Tanny, who was so looking forward to the excellent little sandwiches. But no—Lilly just rudely bolted. Aaron followed as soon as he could.