e
Opera, if he's not too late for the drop,' a neighbour said, smiling
queerly, as though he ought to know; and then Redworth recollected
current stories of Raiser's fantastical devotion to the popular prima
donna of the angelical voice.--He hurried to the Opera and met the vomit,
and heard in the crushroom how divine she had been that night. A fellow
member of the House, tolerably intimate with Raiser, informed him,
between frightful stomachic roulades of her final aria, of the likeliest
place where Raiser might be found when the Opera was over: not at his
Club, nor at his chambers: on one of the bridges--Westminster, he
fancied.

There was no need for Redworth to run hunting the man at so late an hour,
but he was drawn on by the similarity in dissimilarity of this devotee of
a woman, who could worship her at a distance, and talk of her to
everybody. Not till he beheld Raiser's tall figure cutting the
bridge-parapet, with a star over his shoulder, did he reflect on the
views the other might entertain of the nocturnal solicitation to see
'justice done' to a lady's new book in a particular Review, and the
absurd outside of the request was immediately smothered by the natural
simplicity and pressing necessity of its inside.

He crossed the road and said, 'Ah?' in recognition. 'Were you at the
Opera this evening?'

'Oh, just at the end,' said Raiser, pacing forward. 'It's a fine night.
Did you hear her?'

'No; too late.'

Raiser pressed ahead, to meditate by himself, as was his wont. Finding
Redworth beside him, he monologuized in his depths: 'They'll kill her.
She puts her soul into it, gives her blood. There 's no failing of the
voice. You see how it wears her. She's doomed. Half a year's rest on Como
. . . somewhere . . . she might be saved! She won't refuse to work.'

'Have you spoken to her?' said Redworth.

'And next to Berlin! Vienna! A horse would be . . . .

I? I don't know her,' Raiser replied. 'Some of their women stand it.
She's delicately built. You can't treat a lute like a drum without
destroying the instrument. We look on at a murder!'

The haggard prospect from that step of the climax checked his delivery.

Redworth knew him to be a sober man in office, a man with a head for
statecraft: he had made a weighty speech in the House a couple of hours
back. This Opera cantatrice, no beauty, though gentle, thrilling,
winning, was his corner of romance.

'Do you come here often?' he asked.

'Yes, I