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The next thing was that Hempel packed his chattels and departed for his new walk in life. Mahony was not sorry to see him go. Hempel's thoughts had soared far above the counter; he was arrived at the stage of: "I'm just as good as you!" which everyone here reached sooner or later. "I shall always be pleased to hear how you are getting on."
It would put him in an awkward fix, now that he was on the verge of winding up affairs, should Hempel take it in his head to leave him in the lurch. The lean figure moved on and blocked the doorway. Now there was a sudden babble of cheepy voices, and simultaneously Sarah cried: "Where have you been, my little cherubs? Come to your aunt, and let her kiss you!"
Mahony spoke kindly, but in a tone which, as Polly who stood by, very well knew, people were apt to misunderstand. "I should think so!" she chimed in. "I shall feel very hurt indeed, Hempel, if you don't come and see us." With regard to Long Jim, she had a talk with her husband one night as they went to bed. "There really won't be anything for him to do in the new house.
She meant to try so hard, so very hard, to make herself into the kind of girl he was used to and liked. She cut out the picture of Tony Holiday that Max Hempel and Dick Carson had studied that day on the train. She studied it even harder and hid it away among her very special treasures where she could take it out and look at it often and use it as a model.
Almost jealously Hempel watched the meeting between the girl and the youth who up to now had been negligible enough, but suddenly emerged into significance as the possible young galoot already mentally warned off the premises by the stage manager. "Dick! O Dick! I'm so glad to see you," cried the girl, holding out both hands to the new arrival. Her cheeks were flushed, her eyes shining.
Claudia Muzio: "Every singer knows how important is the management of breath. I always hold up the chest, taking as deep breaths as I can conveniently. The power to hold the breath and sing more and more tones with one breath, grows with careful, intelligent practice." Frieda Hempel: "The very first thing for a singer to consider is breath control always the breathing, the breathing.
"No, ma'am, sorry to say I can't," replied Hempel. He would willingly have conjured up a dozen brothers to comfort Polly; but he could not swerve from the truth, even for her. "Give me the glass," said Mahony, and swept the line. "No, no sign of either of them. Perhaps they thought better of it after all. Listen! now they're singing can you hear them? The MARSEILLAISE as I'm alive. Poor fools!
Miss Clay nodded, well pleased. "Of course you did. Why not? It is your kind of a role, just as Rose is. You and I are the same types. Mr. Hempel has said that all along, ever since he saw your Rosalind. But I won't keep you in suspense. The long and short of all this preliminary is how would you like to be my understudy for Madge?" "Oh, Miss Clay!" Tony gasped. "Do you think I could?"
Hempel was glad the school had made this particular selection, doubly glad it had given Antoinette Holiday the title role. The play would show whether the girl was ready for his purposes as he had about decided she was. He would send Carol Clay to see her do the thing. Carol would know. Who better? It was she who created the original Rose.
A second outhouse was necessary, to hold the surplus goods and do duty as a sleeping-room for Long Jim and Hempel: the lean-to the pair had occupied till now was being converted into a kitchen. At great cost and trouble, Mahony had some trees felled and brought in from Warrenheip.
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