Of what? Joined with the lamp-post he stood, still as the dead, for if she caught sight of its thickened base she would vanish. Her neck, her hair looped back were mixed into the folds of curtain–just the arm round and white he saw, just the oval of her lifted face, so still that he held his breath there, a hundred feet away. And then–the sparrows cheeped, all the sky brightened. He saw her rise; for a second saw her nightgowned figure, her hands reach up, the long white arms, and the screening curtains close. A sensation as of madness stirred in his limbs, he sprang away, and, muffling his footsteps, fled back to Victoria Street. There he turned not towards his rooms, but away from them: Paradise deferred! He could not sleep. He walked at a great rate. A policeman stared at him, an early dust-cart passed, the thick horse clop-clopping out the only sound in all the town. Soames turned up towards Hyde Park. This early world of silent streets was to him unaccustomed, as he himself, under this obsession, would be to all who knew and saw him daily, self-contained, diligent, a flat citizen. In Knightsbridge a belated hansom, with a dim couple, fled jingling by, another and another. Soames walked west to where the house, which he with her would inhabit, stood bright with its fresh paint, and a board with a builder’s name. In the garnishing thereof he and she had been more conjoined than ever yet, and he gazed at the little house with gratitude, and a sort of awe. Twelve hours ago he had paid the decorator’s bill. And in that house he would live with HER–incredible! It looked like a dream in this early light–that whole small long square of houses like a dream of his future, her future, strange and unlived.
And superstitious dread came to the unsuperstitious Soames; he turned his eyes away lest he should stare the little house into real unreality. He walked on, past the barracks to the Park rails, still moving west, afraid of turning homewards till he was tired out. Past four o’clock, and still an empty town, empty of all that made it a living hive, and yet this very emptiness gave it intense meaning. He felt that he would always remember a town so different from that he saw every day; and himself he would remember–walking thus, unseen and solitary with his desire.
He went past Prince’s Gate and turned. After all he had his work–ten-thirty at the office! Road and Park and houses stared at him now in the full light of earliest morning. He turned from them into the Park and crossed to the Row side. Funny to see the Row with no horses tearing up and down, or trapesing past like cats on hot bricks, no stream of carriages, no rows of sitting people, nothing but trees and the tan track. The trees and grass, though no dew had fallen, breathed on him; and he stretched himself at full length along a bench, his hands behind his head, his hat crushed on his chest, his eyes fixed on the leaves patterned against the still brightening sky. The air stole faint and fresh about his cheeks and lips, and the backs of his hands. The first sunlight came stealing flat from trunk to trunk, birds did not sing but talked, a wood pigeon back among the trees was cooing. Soames closed his eyes, and instantly imagination began to paint, for the eyes deep down within him, pictures of her. Picture of her–standing passive in her frock flounced to the gleaming floor, while he wrote his initials on her card. Picture of her adjusting with long gloved fingers a camellia come loose in her corsage; turning for him to put her cloak on–pictures, countless pictures, and ever strange, of her face sparkling for moments, or brooding, or averse; of her cheek inclined for his kiss, of her lips turned from his lips, of her eyes looking at him with a question that seemed to have no answer; of her eyes, dark and soft over a grey cat purring in her arms; picture of her auburn hair flowing as he had not seen it yet. Ah! but soon–but soon! And as if answering the call of his imagination a cry–long, not shrill, not harsh exactly, but so poignant–jerked the blood to his heart. From back over there it came trailing, again and again, passionate–the lost soul’s cry of peacock in early morning; and with it there uprose from the spaces of his inner being the vision that was for ever haunting there, of her with hair unbound, of her all white and lost, yielding to his arms. It seared him with delight, swooned in him, and was gone. He opened his eyes; an early water-cart was nearing down the Row. Soames rose and walking fast beneath the trees sought sanity.

FRANCIE’S FOURPENNY FOREIGNER, 1888

In the latest ‘eighties there was that still in the appearance of Francie Forsyte which made people refer to her on Forsyte ‘Change as ‘Keltic’ looking. The expression had not long been discovered, and, though no one had any knowledge of what a Kelt looked like, it was felt to be good.
If she did not precisely suggest the Keltic twilight, she had dark hair and large grey eyes, composed music, wrote stories and poems, and played on the violin. For all these reasons she was allowed a certain license by the family, who did not take her too seriously, and the limit of the license granted is here recorded.
Thin, rather tall, intense and expressive, Francie had a certain charm, together with the power, engrained in a daughter of Roger, of marketing her wares, and at the age of thirty she had secured a measure of independence. She still slept at Prince’s Gate, but had a studio in the purlieus of Chelsea. For the period she was advanced, even to the point of inviting to tea there her editors, fellow writers, musicians, and even those young men with whom she danced in Kensington, generically christened ‘Francie’s lovers’ by her brother George.
At Timothy’s in the Bayswater Road, they would say to her at times:
“Do you think it’s quite nice, dear, to have young men to tea with you?”
And Francie would answer:
“Why not?” which always stopped further enquiry, for the aunts felt that it would be even less nice to put a finer point on it, and, after all, dear Francie was musical. It was believed in the family, rather than known, that she was always in love with someone, but that seemed natural in one of her appearance and was taken to be spiritual rather than bodily. And this diagnosis was perfectly correct, such was the essential shrewdness underlying the verbal niceties on Forsyte ‘Change.
It was shortly after she had at last succeeded in getting her violin sonata–so much the most serious item of her music–published, that she met the individual soon to be known as “Francie’s Fourpenny Foreigner.” The word ‘Dago’ not having then come to the surface, the antipathetic contempt felt by Anglo–Saxons for everything male, on two legs, deriving from below the latitude of Geneva, had no verbal outlet. From above the latitude of Geneva a foreigner was, if not respected, at least human, but a foreigner from below was undoubtedly ‘fourpenny,’ if not less.
This young man, whose surname, Racazy, had a catch in it which caught every Forsyte, but whose Christian name was Guido, had come, if Francie was to be believed, from a place called Ragusa to conquer London with his violin. He had been introduced to her by the publisher who had brought forth her sonata, as essentially the right interpreter of that considerable production; partly, no doubt, because at this stage of his career he would interpret anything for nothing, and partly because Francie, free at the moment from any spiritual entanglement, had noticed his hair, like that of Rafael’s best young men, and asked for the introduction.
Within a week he was playing the sonata in her studio for the first and last time. The fact that he never even offered to play it again ought to have warned Francie, but with a strange mixture of loyalty to what she admired at the moment and a Forsytean perception that the more famous he became the more famous would she become, she installed him the ‘lover’ of the year, and proceeded to make his name. No one can deny that her psychology was at fault from the first; she gauged wrongly Guido, her family, and herself; but such misconceptions are slow to make themselves felt, and the license she enjoyed had invested Francie with a kind of bravura. She had the habit of her own way, and no tactical sense of the dividing line between major and minor operations. After trying him out at the Studio on an editor, two girl friends, and a ‘lover’ so out of date that he could be relied on, she began serious work by inviting the young man to dinner at Prince’s Gate. He came in his hair, undressed, with a large bow tie ‘flopping about on his chest,’ as Eustace put it in his remonstrance after the event. It was a somewhat gruesome evening, complicated by the arrival of George, while the men were still at wine, to ‘touch his father for a monkey.’ His Ascot had been lamentable, and he sat, silently staring at the violinist as though he were the monkey.
Roger, in his capacity of host, alone attempted to put the young man at his ease.
“I hear you play the fiddle,” he said. “Can you make your living at that?”
“But yes, I maka ver’ good living.”
“What do you call good?” said Roger, ever practical.
“I maka quite a ‘undred pound a year.”
“H’m!” said Roger: “Do you like the climate here?”
The young man shook his hair.
“No! Rain he rain; no sun to shina.”
“Ha!” said Roger. “What’s your own part of the world?”
“Ragusa.
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