Speed, making his preparations about the middle of November, was in a dilemma with this list of names. He knew that, for some reason or other, Helen did not care for Clare's company, and that if Clare were to take part, not only in the concert itself, but in all the preceding rehearsals, she would be brought almost inevitably into frequent contact with Helen. He thought also that if he canvassed all the other people first, Clare might, if she came to hear of it, think that he had treated her spitefully. In the end he solved the difficulty by throwing the burden of selection on to Raggs and undertaking in exchange some vastly more onerous task that Raggs was anxious to get rid of. A few days later Raggs accosted Speed in the cloisters and said: "I've got you a few first violins. Here's their names and addresses on this card. They'll turn up to the next rehearsal if you'll send them word." When Raggs had shambled away. Speed looted curiously at the card which he had pushed into his hand. Scanning down the list, scribbled in Raggs' most illegible pencilled script, he found himself suddenly conscious of pleasure, slight yet strangely distinct; something that made him go on his way whistling a tune. Clare's name was on the list. VI Those crowded winter nights of rehearsals for the concert were full of incident for Speed. As soon as the school had finished preparation in the Big Hall, the piano was uncovered and pushed into the middle of the platform; the violinists and 'cellists began to tune up; the choir assembled with much noise and a disposition to regard rehearsals as a boisterous form of entertainment; lastly, the visitors from the town appeared, adapting themselves condescendingly to the rollicking atmosphere. Speed discovered Clare to be a rather good violinist. She played quietly and accurately, with an absence (rare in good violinists) of superfluous emotion. Once she said to Speed, referring to one of the other imported violinists: "Listen! This Mozart's only a decorative frieze, and that man's playing it as if it were the whole gateway to the temple of Eros." Speed, who liked architectural similes himself, nodded appreciatively. Clare went on: "I always want to laugh at emotion in the wrong place. Violinists who are too fond of the mute, for instance." Speed said, laughing: "Yes, and organists who are too fond of the _vox humana_." To which Clare added: "And don't forget to mention the audiences that are too fond of both. It's their fault principally."