The piano was closed, an arm-chair was placed in the centre of the platform. Fräulein Sonia drifted towards it. A breathless pause. Then, presumably, the winged shaft struck her collar brooch. She implored us not to go into the woods in trained dresses, but rather as lightly draped as possible, and bed with her among the pine needles. Her loud, slightly harsh voice filled the salon. She dropped her arms over the back of the chair, moving her lean hands from the wrists. We were thrilled and silent. The Herr Professor, beside me, abnormally serious, his eyes bulging, pulled at his moustache ends. Frau Godowska adopted that peculiarly detached attitude of the proud parent. The only soul who remained untouched by her appeal was the waiter, who leaned idly against the wall of the salon and cleaned his nails with the edge of a programme. He was “off duty” and intended to show it. “What did I say?” shouted the Herr Professor under cover of tumultuous applause, “tem-per-ament! There you have it. She is a flame in the heart of a lily. I know I am going to play well. It is my turn now. I am inspired. Fräulein Sonia”—as that lady returned to us, pale and draped in a large shawl—“you are my inspiration. To-night you shall be the soul of my trombone. Wait only.” To right and left of us people bent over and whispered admiration down Fräulein Sonia’s neck. She bowed in the grand style. “I am always successful,” she said to me. “You see, when I act _I am_. In Vienna, in the plays of Ibsen we had so many bouquets that the cook had three in the kitchen. But it is difficult here. There is so little magic. Do you not feel it? There is none of that mysterious perfume which floats almost as a visible thing from the souls of the Viennese audiences. My spirit starves for want of that.” She leaned forward, chin on hand. “Starves,” she repeated. The Professor appeared with his trombone, blew into it, held it up to one eye, tucked back his shirt cuffs and wallowed in the soul of Sonia Godowska. Such a sensation did he create that he was recalled to play a Bavarian dance, which he acknowledged was to be taken as a breathing exercise rather than an artistic achievement. Frau Godowska kept time to it with a fan. Followed the very young gentleman who piped in a tenor voice that he loved somebody, “with blood in his heart and a thousand pains.” Fräulein Sonia acted a poison scene with the assistance of her mother’s pill vial and the arm-chair replaced by a “chaise longue”; a young girl scratched a lullaby on a young fiddle; and the Herr Professor performed the last sacrificial rites on the altar of the afflicted children by playing the National Anthem. “Now I must put mamma to bed,” whispered Fräulein Sonia. “But afterwards I must take a walk. It is imperative that I free my spirit in the open air for a moment. Would you come with me as far as the railway station and back?” “Very well, then, knock on my door when you’re ready.”