trip over the keys, but such promises were never fulfilled. At last Naomi shut her book, with a hopeless smile at Tom Chester, who was ready for her with an answering grin.
"Really, I can't stand it any longer, Mr. Chester."
"You have borne it like a man, Miss Pryse."
"I wanted to make sure that nobody bothered him. Do you think we may safely leave him now?"
"Quite safely. Gilroy is up at the yards, and Sanderson only plays the fool to an audience. Let me pull you out of your chair."
"Thanks. That's it. Let us stroll up to the horse-paddock gate and back; then it will be time for tea; and let's hope our little tuner will have finished his work at last."
"I believe he has finished now," Tom Chester said, as they turned their backs on the homestead. "He's never run up and down the board like that before."
"The board!" said Miss Pryse, laughing. "No, don't you believe it; he won't finish for another hour."
Tom Chester was right, however. As Naomi and he passed out of earshot, the piano-tuner faced about on the music-stool, and peered wistfully through the empty room at the closed door, straining his ear for their voices. Of course he heard nothing; but the talking on the veranda had never been continuous, so that did not surprise him. It gladdened him, rather. She was reading. She might be alone; his heart beat quicker for the thought. She had sat there all day, of her own kind will, enduring his melancholy performance; now she should have her reward. His eyes glistened as he searched in his memory for some restful, dreamy melody, which should at once soothe and charm her ears aching from his crude unmusical monotonies. Suddenly he rubbed his hands, and then stretching them out and leaning backward on the stool he let his fingers fall with their lightest and daintiest touch upon Naomi's old piano.
He had chosen a very simple, well-known piece; but it need not be so well known in the bush. Miss Pryse might never have heard it before, in which case she could not fail to be enchanted. It was the "Schlummerlied" of Schumann, and the piano-tuner played it with all the very considerable feeling and refinement of which he was capable, and with a smile all the time for its exceeding appropriateness. What could chime more truly with the lazy stillness of the Sunday afternoon than this sweet, bewitching lullaby? Engelhardt had always loved it; but never in his life had he played it half so well. As he finished—softly, but not so softly as to risk a single note dropping short of the veranda—he wheeled round again with a sudden self-conscious movement. It was as though he expected to find the door open and Naomi entranced upon the threshold. It is a fact that he sat watching the door-handle to see it turn, first with eagerness, and at last with acute disappointment. His disappointment was no greater when he opened the door himself and saw the book lying in the empty chair. That, indeed, was a relief. To find her sitting there unmoved was what his soul had dreaded.
But now that his work was done, the piano-tuner felt very lonely and unhappy. To escape from these men with whom he could not get on was his strongest desire but one; the other was to stay and see more of the glorious girl who had befriended him; and he was torn between the two, because his longing for love was scarcely more innate than his shrinking from ridicule and scorn. He knew this, too, and had as profound a scorn for himself as any he was likely to meet with from another. His saving grace was the moral courage which enabled him to run counter to his own craven inclinations.
Thus in the early morning he had apologized to Sanderson, the store-keeper, for the loss of his temper overnight; after lying awake for hours chewing the bitterness of this humiliating move, he had determined upon it in the end. But determination was what he had—it takes not a little to bring you to apologize in cold blood to a rougher man than yourself. Engelhardt had done this, and more. At breakfast and at dinner he had made heroic efforts to be affable and at ease with the men who despised him; though each attempt touched a fresh nerve in his sensitive, self-conscious soul. And now, because from the veranda he could descry Gilroy and Sanderson up at the stock-yards, and because these men were the very two whose society he most dreaded, his will was that he must join them then and there.
He was a man himself; and if he could not get on with other men, that was his own lookout. No doubt, too, it was his own fault. It was a fault of which he swore an oath that he would either cure himself or suffer the consequences like a man. He may even have taken a private pride in being game against the grain. There is no fathoming the thoughts that generate action in egotistical, but noble, natures, whose worst enemy is their own inner consciousness.
Gilroy and Sanderson were in the horse-yard, leaning backward against the heavy white rails. Their pipes were in their mouths, and they were watching Sam Rowntree stalk a wiry bay horse that took some catching. Sam was the groom, and he had just run up all the horses out of the horse-paddock. The yard was full of them. Gilroy hauled a freckled hand out of a cross pocket to point at the piano-tuner's nag.
"Poor-looking devil," said he.
"Yes, the kind you see when you're out without a gun," remarked the wit. "Quite good enough for a thing like him, though." Some association of ideas caused him to glance round toward the homestead through the rails. "By the hokey, here's the thing itself!" he cried.
The pair watched Engelhardt approach.
"I'd like to break his beastly head for him," muttered the manager. "The cheek of him, spoiling our spell with that cursed row!"
The piano-tuner came up with a pleasant smile that was an effort to him, and pretended not to notice Sanderson's stock remark, that "queer things come out after the rain."
"You'll be glad to hear, gentlemen, that I've finished my job," said he, airily.
"Thank God," growled Gilroy.
"I know it's been a great infliction——"
"Oh, no, not at all," said Sanderson, winking desperately. "We liked it. It's just what we do like. You bet!"
The wiry bay horse had been caught by this time, and Sam Rowntree was saddling it, by degrees, for the animal was obviously fresh and touchy. Engelhardt watched the performance with a bitter feeling of envy for all Australian men, and of contempt for himself because they contemned him. The fault was his, not theirs. He was of a different order from these rough, light-hearted men—of an altogether inferior order, as it seemed to his self-criticising mind. But that was no excuse for his not getting on with them, and as a rider puts his horse at a fence again and again, so Engelhardt spurred himself on to one more effort to do so.
"That's your horse, Mr. Gilroy?"
"Yes."
"I saw the 'G' on the left shoulder."
"You mean the near shoulder; a horse hasn't a left."
"No? I'm not well up in horses. What's his name?"
"Hard Times."
"That's good! I like his looks, too—not that I know anything about horses."
Here Sanderson whispered something to Gilroy, who said carelessly to Engelhardt:
"Can you ride?"
"I can ride my own moke."
"Like a turn on Hard Times?"
"Yes! I should."
This was said in a manner that was all the more decided for the moments of deliberation which preceded it. The piano-tuner was paler even than usual, but all at once his jaw had grown hard and strong, and there was a keen light in his eyes. The others looked at him, unable to determine whether it was a good rider they were dealing with or a born fool.
"Fetch him out of the yard, Sam," said Gilroy to the groom. "This gentleman here is going to draw first blood."
Sam Rowntree stared.
"You'd better not, mister," said he, looking doubtfully at the musician. "He's fresh off the grass—hasn't had the saddle on him for two months."
"Get away, Sam. The gentleman means to take some of the cussedness out of him. Isn't that it, Engelhardt?"