The City of Pleasure : $b a fantasia on modern themesBennett, Arnold
General
The City of Pleasure : $b a fantasia on modern themes
Bennett, Arnold
English fiction -- 20th century
Carpentaria bowed; the entire band bowed; Carpentaria bowed again.
Lastly he indicated a flute-player with his baton, and the flute-player
came forward and shared the glory of Carpentaria. Why a flute-player, no
one could have guessed. Forty flutes could not have been heard in that
terrific concourse of brass and drums. But Carpentaria was Carpentaria.
“Did any of you hear the sound of a shot?” Carpentaria said in a low
voice to his band.
“Shot? No, sir. No, sir,” came from a dozen mouths. “Why, sir?”
“Because a bullet has just grazed my ear. It was in the fourth bar from
the end.” He put his hand to his ear and showed blood on his finger.
“It’s nothing, nothing,” he quieted them. “I shall expect you to behave
as though nothing had occurred, as soldiers in fact.”
“Certainly, sir,” replied the intrepid band.
Carpentaria gazed at one of the iron supports of the roof of the
bandstand. In a line with his head the surface of the pillar had been
damaged and dented. He disturbed two trombone-players in order to search
the floor, and in a few seconds he had found a flattened bullet, which
he put in his pocket.
“Number two,” he said sharply, going to his desk and tapping it.
Number two was the lullaby. No more striking contrast to the march could
have been found. It was so delicate, so softly stealing, that you
could scarcely hear it; and yet you could hear it--you could hear it
everywhere. Carpentaria drew sweetness out of his band with the gestures
of a conjurer drawing an interminable roll of coloured paper from his
mouth, previously shown to be empty. It was the daintiest thing, swaying
in the air like gossamer. It brought tears to the orbs of mothers,
and made strong men close their eyes. Such was the versatility of
Carpentaria.
The applause amounted to a furore.
“I give you my word of honour, ladies and gentlemen,” said Carpentaria,
coming to the rail of the stand and stilling the cheers with a gesture,
“at halfpast three this afternoon not a note of the little piece was
composed.”
His demeanour gave no sign of agitation. But at the close of the
concert, no more bullets having arrived, he wiped his brow with relief.
Most of the band did the same.
He walked about on the river terrace for over an hour, calming his
spirit, which had been through so many excitements, artistic and
otherwise, during the afternoon and evening. And he meditated, now on
the bullet, and now on Ilam. He could scarcely realize how nearly he had
escaped quarrelling with Ilam in the balloon; their relations hitherto
had been invariably amicable, at any rate on the surface; and he had
done so much for Ilam; he had put a second fortune in Ilam’s pocket.
The dazzling success of the day of inauguration was the success of
Carpentaria’s ideas. And yet Ilam hated him. He felt that Ilam hated
him. He almost shuddered as he remembered the moment when he had sat on
the dizzy edge of the balloon-car, and Ilam had threatened him, and then
laughed.
Public-domain text, read in full here on John Shaqi.
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