to find him a nuisance himself, for all his old shy reserve and unwillingness to attract attention had returned to him; he was fond of solitude, and yet he could never be alone; he was weary of doing everything to slow music, like the bold, bad man in a melodrama.
He could not even go across the street to purchase a postage-stamp without the flute-player coming stalking out after him, playing away like a public fountain; while, owing to the well-known susceptibility of a rabble to the charm of music, the disgusted Consul had to take his walks abroad at the head of Rome's choicest scum.
Duilius, with a lively recollection of these inconveniences, would have spoken very seriously indeed to his musician, but he shrank from hurting his feelings by plain truth. He simply explained that he had not intended the other to accompany him always, but only on special occasions; and, while professing the sincerest admiration for his musical proficiency, he felt, as he said, unwilling to monopolise it, and unable to enjoy it at the expense of a fellow-creature's rest and comfort.
Perhaps he put the thing a little too delicately to secure the object he had in view, for the musician, although he was deeply touched by such unwonted consideration, waved it aside with a graceful fervour which was quite irresistible.
He assured the Consul that he was only too happy to have been selected to render his humble tribute to the naval genius of so great a commander; he would not admit that his own rest and comfort were in the least affected by his exertions, for, being naturally fond of the flute, he could, he protested, perform upon it continuously for whole days without fatigue. And he concluded by pointing out very respectfully that for the Consul to dispense, even to a small extent, with an honour decreed (at his own particular request) by the Republic, would have the appearance of ingratitude, and expose him to the gravest suspicions. After which he rendered the ancient love-chant, "Ludus idem, ludus vetus," with singular sweetness and expression.
Duilius felt the force of his arguments. Republics are proverbially forgetful, and he was aware that it might not be safe even for him, to risk offending the Senate.
So he had nothing to do but just go on, and be followed about by the flute-player, and castigated by his parent in the old familiar way, until he had very little self-respect left.
At last he found a distraction in his care-laden existence—he fell deeply in love. But even here a musical Nemesis attended him, to his infinite embarrassment, in the person of his devoted follower. Sometimes Duilius would manage to elude him, and slip out unseen to some sylvan retreat, where he had reason to hope for a meeting with the object of his adoration. He generally found that in this expectation he had not deceived himself; but, always, just as he had found courage to speak of the passion that consumed him, a faint tune would strike his ear from afar, and, turning his head in a fury, he would see his faithful flute-player striding over the fields in pursuit of him with unquenchable ardour.
He gave in at last, and submitted to the necessity of speaking all his tender speeches "through music." Claudia did not seem to mind it, perhaps finding an additional romance in being wooed thus; and Duilius himself, who was not eloquent, found that the flute came in very well at awkward pauses in the conversation.
Then they were married, and, as Claudia played very nicely herself upon the tibiæ, she got up musical evenings, when she played duets with the flute-player, which Duilius, if he had only had a little more taste for music, might have enjoyed immensely.
As it was, beginning to observe for the first time that the musician was far from uncomely, he forbade the duets. Claudia wept and sulked, and Claudia's mother said that Duilius was behaving like a brute, and she was not to mind him; but the harmony of their domestic life was broken, until the poor Consul was driven to take long country walks in sheer despair, not because he was fond of walking, for he hated it, but simply to keep the flute-player out of mischief.
He was now debarred from all other society, for his old friends had long since cut him dead whenever he chanced to meet them. "How could he expect people to stop and talk," they asked indignantly, "when there was that confounded fellow blowing tunes down the backs of their necks all the time?"
Duilius had had enough of it himself, and felt this so strongly that one day he took his flute-player a long walk through a lonely wood, and, choosing a moment when his companion had played "Id omnes faciunt" till he was somewhat out of breath, he turned on him suddenly. When he left the lonely wood he was alone, and near it something which looked as if it might once have been a musician.
The Consul went home, and sat there waiting for the deed to become generally known. He waited with a certain uneasiness, because it was impossible to tell how the Senate might take the thing, or the means by which their vengeance would declare itself.
And yet his uneasiness was counterbalanced by a delicious relief: the State might disgrace, banish, put him to death even, but he had got rid of slow music for ever; and as he thought of this, the stately Duilius would snap his fingers and dance with secret delight.
All disposition to dance, however, was forgotten upon the arrival of lictors bearing an official missive. He looked at it for a long time before he dared to break the big seal, and cut the cord which bound the tablets which might contain his doom.
He did it at last; and smiled with relief as he began to read: for the decree was courteously, if not affectionately, worded. The Senate, considering (or affecting to consider) the disappearance of the flute-player a mere accident, expressed their formal regret at the failure of the provision made in his honour.
Then, as he read on, Duilius dashed the tablets into small fragments, and rolled on the ground, and tore his hair, and howled; for the senatorial decree concluded by a declaration that, in consideration of his brilliant exploits, the State hereby placed at his disposal two more flute-players, who, it was confidently hoped, would survive the wear and tear of their ministrations longer than the first.
Duilius retired to his room and made his will, taking care to have it properly signed and attested. Then he fastened himself in; and when they broke down the door next day they found a lifeless corpse, with a strange sickly smile upon its pale lips.
No one in Rome quite made out the reason of this smile, but it was generally thought to denote the gratification of the deceased at the idea of leaving his beloved ones in comfort, if not in luxury; for, though the bulk of his fortune was left to Carthaginian charities, he had had the forethought to bequeath a flute-player apiece to his wife and mother-in-law.
(From "The Black Poodle," by permission of Messrs. Longmans, Green, & Co.)
THE TROUBLES OF A TRIPLET.
W. Beatty-Kingston.
I am, I really think, the most unlucky man on earth;
A triple sorrow haunts me, and has done so from my birth.
My lot in life's a gloomy one, I think you will agree;
'Tis bad enough to be a twin—but I am one of three!
No sooner were we born than Pa and Ma the bounty claimed;
I scarce can bear to think they did—it makes me feel ashamed,
They got it, too, within a week, and spent it, I'll be bound,
Upon themselves—at least, I know I never had my pound.
Our childhood's days in ignorance were lamentably spent,
Although I think we more than paid the taxes, and the rent;
For we were shown as marvels, and—unless I'm much deceived—
The smallest contributions were most thankfully received.
We grew up hale and hearty—would