There was no great underlying community of interests between the clever young journalist and his banking companion. A common love for music was the main bond of union between the two men. Yet Montague Nevitt exercised over Guy a strange and fatal fascination which Cyril always found positively unaccountable. And on this particular evening, as Nevitt stood swaying himself to and fro upon the hearth-rug before the empty grate, with his eyes half closed, drawing low, weird music with his enchanted bow from those submissive strings, Guy leaned back on the sofa and listened, entranced, with a hopeless feeling of utter inability ever to approach the wizard-like and supreme execution of that masterly hand and those superhuman fingers. How he twisted and turned them as though his bones were india-rubber. His palms were all joints, and his eyes all ecstasy. He seemed able to do what he liked with his violin. He played on his instrument, indeed, as he played on Guy--with the consummate art of a skilful executant. "That's marvellous, Nevitt," Guy broke out at last; "never heard even Sarasate himself do anything quite so wild and weird as that. What's the piece called? It seems to have something almost impish or sprite-like in its wailing music. It's Hungarian, of course, or Polish or Greek; I detect at once the Oriental tinge in it." "Wrong for once, my dear boy," Nevitt answered, smiling, "it's English, pure English, and by a lady what's more--one of the Eweses of Kenilworth. She's a distant relation of Cyril's Miss Clifford, I believe. An Elma, too; name runs in the family. But she composes wonderfully. Everything she writes is in that mystic key. It sounds like a reminiscence of some dim and lamp-lit eastern temple. The sort of thing a nautch-girl might be supposed to compose, to sing to the clash and clang of cymbals, while she was performing the snake-dance before some Juggernaut idol!" "Exactly," Guy answered, shutting his eyes dreamily. "That's just the very picture it brings up before my mind's eye--as you render it, Nevitt. I seem to see vague visions of some vast and dimly-lighted rock-hewn cavern, with long vistas of pillars cut from the solid stone, while dark-limbed priestesses, clad in white muslin robes, swing censers in the foreground to solemn music. Upon my word, the power of sound is something simply wonderful. There's almost nothing, I believe, good music wouldn't drive me to--or rather lead me to; for it sways one and guides even more than it impels one."