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Early Transcendentals 13th Edition

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 Contents vii

15 Multiple Integrals  882
15.1 Double and Iterated Integrals over Rectangles 882
15.2 Double Integrals over General Regions 887
15.3 Area by Double Integration 896
15.4 Double Integrals in Polar Form 900
15.5 Triple Integrals in Rectangular Coordinates 906
15.6 Moments and Centers of Mass 915
15.7 Triple Integrals in Cylindrical and Spherical Coordinates 922
15.8 Substitutions in Multiple Integrals 934
Questions to Guide Your Review 944
Practice Exercises 944
Additional and Advanced Exercises 947

16 Integrals and Vector Fields  950

16.1 Line Integrals 950
16.2 Vector Fields and Line Integrals: Work, Circulation, and Flux 957
16.3 Path Independence, Conservative Fields, and Potential Functions 969
16.4 Green’s Theorem in the Plane 980
16.5 Surfaces and Area 992
16.6 Surface Integrals 1003
16.7 Stokes’ Theorem 1014
16.8 The Divergence Theorem and a Unified Theory 1027
Questions to Guide Your Review 1039
Practice Exercises 1040
Additional and Advanced Exercises 1042

17 Second-Order Differential Equations  online

17.1 Second-Order Linear Equations
17.2 Nonhomogeneous Linear Equations
17.3 Applications
17.4 Euler Equations
17.5 Power Series Solutions

Appendices  AP-1
A.1 Real Numbers and the Real Line AP-1
A.2 Mathematical Induction AP-6
A.3 Lines, Circles, and Parabolas AP-10
A.4 Proofs of Limit Theorems AP-19
A.5 Commonly Occurring Limits AP-22
A.6 Theory of the Real Numbers AP-23
A.7 Complex Numbers AP-26
A.8 The Distributive Law for Vector Cross Products AP-35
A.9 The Mixed Derivative Theorem and the Increment Theorem AP-36

Answers to Odd-Numbered Exercises  A-1

Index  I-1
Credits  C-1
A Brief Table of Integrals  T-1
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 Preface
Thomas’ Calculus: Early Transcendentals, Thirteenth Edition, provides a modern intro-
duction to calculus that focuses on conceptual understanding in developing the essential
elements of a traditional course. This material supports a three-semester or four-quarter
calculus sequence typically taken by students in mathematics, engineering, and the natural
sciences. Precise explanations, thoughtfully chosen examples, superior figures, and time-
tested exercise sets are the foundation of this text. We continue to improve this text in
keeping with shifts in both the preparation and the ambitions of today’s students, and the
applications of calculus to a changing world.
Many of today’s students have been exposed to the terminology and computational
methods of calculus in high school. Despite this familiarity, their acquired algebra and
trigonometry skills sometimes limit their ability to master calculus at the college level. In
this text, we seek to balance students’ prior experience in calculus with the algebraic skill
development they may still need, without slowing their progress through calculus itself. We
have taken care to provide enough review material (in the text and appendices), detailed
solutions, and variety of examples and exercises, to support a complete understanding of
calculus for students at varying levels. We present the material in a way to encourage stu-
dent thinking, going beyond memorizing formulas and routine procedures, and we show
students how to generalize key concepts once they are introduced. References are made
throughout which tie a new concept to a related one that was studied earlier, or to a gen-
eralization they will see later on. After studying calculus from Thomas, students will have
developed problem solving and reasoning abilities that will serve them well in many im-
portant aspects of their lives. Mastering this beautiful and creative subject, with its many
practical applications across so many fields of endeavor, is its own reward. But the real gift
of studying calculus is acquiring the ability to think logically and factually, and learning
how to generalize conceptually. We intend this book to encourage and support those goals.

New to this Edition

In this new edition we further blend conceptual thinking with the overall logic and struc-
ture of single and multivariable calculus. We continue to improve clarity and precision,
taking into account helpful suggestions from readers and users of our previous texts. While
keeping a careful eye on length, we have created additional examples throughout the text.
Numerous new exercises have been added at all levels of difficulty, but the focus in this
revision has been on the mid-level exercises. A number of figures have been reworked and
new ones added to improve visualization. We have written a new section on probability,
which provides an important application of integration to the life sciences.
We have maintained the basic structure of the Table of Contents, and retained im-
provements from the twelfth edition. In keeping with this process, we have added more
improvements throughout, which we detail here:

ix
x Preface

• Functions In discussing the use of software for graphing purposes, we added a brief
subsection on least squares curve fitting, which allows students to take advantage of
this widely used and available application. Prerequisite material continues to be re-
viewed in Appendices 1–3.
• Continuity We clarified the continuity definitions by confining the term “endpoints” to
intervals instead of more general domains, and we moved the subsection on continuous
extension of a function to the end of the continuity section.
• Derivatives We included a brief geometric insight justifying l’Hôpital’s Rule. We also
enhanced and clarified the meaning of differentiability for functions of several vari-
ables, and added a result on the Chain Rule for functions defined along a path.
• Integrals We wrote a new section reviewing basic integration formulas and the Sub-
stitution Rule, using them in combination with algebraic and trigonometric identities,
before presenting other techniques of integration.
• Probability We created a new section applying improper integrals to some commonly
used probability distributions, including the exponential and normal distributions.
Many examples and exercises apply to the life sciences.
• Series We now present the idea of absolute convergence before giving the Ratio and
Root Tests, and then state these tests in their stronger form. Conditional convergence is
introduced later on with the Alternating Series Test.
• Multivariable and Vector Calculus We give more geometric insight into the idea of
multiple integrals, and we enhance the meaning of the Jacobian in using substitutions
to evaluate them. The idea of surface integrals of vector fields now parallels the notion
for line integrals of vector fields. We have improved our discussion of the divergence
and curl of a vector field.
• Exercises and Examples Strong exercise sets are traditional with Thomas’ Calculus,
and we continue to strengthen them with each new edition. Here, we have updated,
changed, and added many new exercises and examples, with particular attention to in-
cluding more applications to the life science areas and to contemporary problems. For
instance, we updated an exercise on the growth of the U.S. GNP and added new exer-
cises addressing drug concentrations and dosages, estimating the spill rate of a ruptured
oil pipeline, and predicting rising costs for college tuition.

Continuing Features

RIGOR The level of rigor is consistent with that of earlier editions. We continue to distin-
guish between formal and informal discussions and to point out their differences. We think
starting with a more intuitive, less formal, approach helps students understand a new or dif-
ficult concept so they can then appreciate its full mathematical precision and outcomes. We
pay attention to defining ideas carefully and to proving theorems appropriate for calculus
students, while mentioning deeper or subtler issues they would study in a more advanced
course. Our organization and distinctions between informal and formal discussions give the
instructor a degree of flexibility in the amount and depth of coverage of the various top-
ics. For example, while we do not prove the Intermediate Value Theorem or the Extreme
Value Theorem for continuous functions on a # x # b, we do state these theorems precisely,
illustrate their meanings in numerous examples, and use them to prove other important re-
sults. Furthermore, for those instructors who desire greater depth of coverage, in Appendix
6 we discuss the reliance of the validity of these theorems on the completeness of the real
numbers.
 Preface xi

WRITING EXERCISES Writing exercises placed throughout the text ask students to ex-
plore and explain a variety of calculus concepts and applications. In addition, the end of
each chapter contains a list of questions for students to review and summarize what they
have learned. Many of these exercises make good writing assignments.

END-OF-CHAPTER REVIEWS AND PROJECTS In addition to problems appearing after

each section, each chapter culminates with review questions, practice exercises covering
the entire chapter, and a series of Additional and Advanced Exercises serving to include
more challenging or synthesizing problems. Most chapters also include descriptions of
several Technology Application Projects that can be worked by individual students or
groups of students over a longer period of time. These projects require the use of a com-
puter running Mathematica or Maple and additional material that is available over the
Internet at www.pearsonhighered.com/thomas and in MyMathLab.

WRITING AND APPLICATIONS As always, this text continues to be easy to read, conversa-
tional, and mathematically rich. Each new topic is motivated by clear, easy-to-understand
examples and is then reinforced by its application to real-world problems of immediate
interest to students. A hallmark of this book has been the application of calculus to science
and engineering. These applied problems have been updated, improved, and extended con-
tinually over the last several editions.

TECHNOLOGY In a course using the text, technology can be incorporated according to

the taste of the instructor. Each section contains exercises requiring the use of technology;
these are marked with a T if suitable for calculator or computer use, or they are labeled
Computer Explorations if a computer algebra system (CAS, such as Maple or Math-
ematica) is required.

Additional Resources

INSTRUCTOR’S SOLUTIONS MANUAL

Single Variable Calculus (Chapters 1–11), ISBN 0-321-88408-6 | 978-0-321-88408-4
Multivariable Calculus (Chapters 10–16), ISBN 0-321-87901-5 | 978-0-321-87901-1
The Instructor’s Solutions Manual contains complete worked-out solutions to all of the
exercises in Thomas’ Calculus: Early Transcendentals.

STUDENT’S SOLUTIONS MANUAL

Single Variable Calculus (Chapters 1–11), ISBN 0-321-88410-8 | 978-0-321-88410-7
Multivariable Calculus (Chapters 10–16), ISBN 0-321-87897-3 | 978-0-321-87897-7
The Student’s Solutions Manual is designed for the student and contains carefully
worked-out solutions to all the odd-numbered exercises in Thomas’ Calculus: Early
Transcendentals.

JUST-IN-TIME ALGEBRA AND TRIGONOMETRY FOR

EARLY TRANSCENDENTALS CALCULUS, Fourth Edition
ISBN 0-321-67103-1 | 978-0-321-67103-5
Sharp algebra and trigonometry skills are critical to mastering calculus, and Just-in-Time
Algebra and Trigonometry for Early Transcendentals Calculus by Guntram Mueller and
Ronald I. Brent is designed to bolster these skills while students study calculus. As stu-
dents make their way through calculus, this text is with them every step of the way, show-
ing them the necessary algebra or trigonometry topics and pointing out potential problem
spots. The easy-to-use table of contents has algebra and trigonometry topics arranged in
the order in which students will need them as they study calculus.
xii Preface

Technology Resource Manuals

Maple Manual by Marie Vanisko, Carroll College
Mathematica Manual by Marie Vanisko, Carroll College
TI-Graphing Calculator Manual by Elaine McDonald-Newman, Sonoma State University
These manuals cover Maple 17, Mathematica 8, and the TI-83 Plus/TI-84 Plus and TI-89,
respectively. Each manual provides detailed guidance for integrating a specific software
package or graphing calculator throughout the course, including syntax and commands.
These manuals are available to qualified instructors through the Thomas’ Calculus: Early
Transcendentals Web site, www.pearsonhighered.com/thomas, and MyMathLab.

WEB SITE www.pearsonhighered.com/thomas

The Thomas’ Calculus: Early Transcendentals Web site contains the chapter on Second-
Order Differential Equations, including odd-numbered answers, and provides the ex-
panded historical biographies and essays referenced in the text. The Technology Resource
Manuals and the Technology Application Projects, which can be used as projects by in-
dividual students or groups of students, are also available.

MyMathLab® Online Course (access code required)

MyMathLab from Pearson is the world’s leading online resource in mathematics, integrat-
ing interactive homework, assessment, and media in a flexible, easy-to-use format.
MyMathLab delivers proven results in helping individual students succeed.
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tifiable difference that integrated usage makes in regard to student retention, subse-
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• MyMathLab’s comprehensive online gradebook automatically tracks your students’ re-
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MyMathLab provides engaging experiences that personalize, stimulate, and measure
learning for each student.
• “Getting Ready” chapter includes hundreds of exercises that address prerequisite
skills in algebra and trigonometry. Each student can receive remediation for just those
skills he or she needs help with.
• Exercises: The homework and practice exercises in MyMathLab are correlated to the
exercises in the textbook, and they regenerate algorithmically to give students unlim-
ited opportunity for practice and mastery. The software offers immediate, helpful feed-
back when students enter incorrect answers.
• Multimedia Learning Aids: Exercises include guided solutions, sample problems,
animations, Java™ applets, videos, and eText access for extra help at point-of-use.
• Expert Tutoring: Although many students describe the whole of MyMathLab as “like
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tutoring from Pearson, from qualified math and statistics instructors.
 Preface xiii

And, MyMathLab comes from an experienced partner with educational expertise and an
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ful assessment, visit www.mymathlab.com or contact your Pearson representative.
Video Lectures with Optional Captioning
The Video Lectures with Optional Captioning feature an engaging team of mathemat-
ics instructors who present comprehensive coverage of topics in the text. The lecturers’
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emphasizes visualization and problem solving. Available only through MyMathLab and
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xiv Preface

Acknowledgments
We would like to express our thanks to the people who made many valuable contributions
to this edition as it developed through its various stages:
Accuracy Checkers
Lisa Collette
Patricia Nelson
Tom Wegleitner
Reviewers for Recent Editions
Meighan Dillon, Southern Polytechnic State University
Anne Dougherty, University of Colorado
Said Fariabi, San Antonio College
Klaus Fischer, George Mason University
Tim Flood, Pittsburg State University
Rick Ford, California State University—Chico
Robert Gardner, East Tennessee State University
Christopher Heil, Georgia Institute of Technology
Joshua Brandon Holden, Rose-Hulman Institute of Technology
Alexander Hulpke, Colorado State University
Jacqueline Jensen, Sam Houston State University
Jennifer M. Johnson, Princeton University
Hideaki Kaneko, Old Dominion University
Przemo Kranz, University of Mississippi
Xin Li, University of Central Florida
Maura Mast, University of Massachusetts—Boston
Val Mohanakumar, Hillsborough Community College—Dale Mabry Campus
Aaron Montgomery, Central Washington University
Christopher M. Pavone, California State University at Chico
Cynthia Piez, University of Idaho
Brooke Quinlan, Hillsborough Community College—Dale Mabry Campus
Rebecca A. Segal, Virginia Commonwealth University
Andrew V. Sills, Georgia Southern University
Alex Smith, University of Wisconsin—Eau Claire
Mark A. Smith, Miami University
Donald Solomon, University of Wisconsin—Milwaukee
John Sullivan, Black Hawk College
Maria Terrell, Cornell University
Blake Thornton, Washington University in St. Louis
David Walnut, George Mason University
Adrian Wilson, University of Montevallo
Bobby Winters, Pittsburg State University
Dennis Wortman, University of Massachusetts—Boston
 1
Functions

OVERVIEW Functions are fundamental to the study of calculus. In this chapter we review
what functions are and how they are pictured as graphs, how they are combined and trans-
formed, and ways they can be classified. We review the trigonometric functions, and we
discuss misrepresentations that can occur when using calculators and computers to obtain
a function’s graph. We also discuss inverse, exponential, and logarithmic functions. The
real number system, Cartesian coordinates, straight lines, circles, parabolas, and ellipses
are reviewed in the Appendices.

1.1 Functions and Their Graphs

Functions are a tool for describing the real world in mathematical terms. A function can be
represented by an equation, a graph, a numerical table, or a verbal description; we will use
all four representations throughout this book. This section reviews these function ideas.

Functions; Domain and Range

The temperature at which water boils depends on the elevation above sea level (the boiling
point drops as you ascend). The interest paid on a cash investment depends on the length of
time the investment is held. The area of a circle depends on the radius of the circle. The dis-
tance an object travels at constant speed along a straight-line path depends on the elapsed time.
In each case, the value of one variable quantity, say y, depends on the value of another
variable quantity, which we might call x. We say that “y is a function of x” and write this
symbolically as
y = ƒ(x) (“y equals ƒ of x”).
In this notation, the symbol ƒ represents the function, the letter x is the independent variable
representing the input value of ƒ, and y is the dependent variable or output value of ƒ at x.

DEFINITION A function ƒ from a set D to a set Y is a rule that assigns a unique

(single) element ƒ(x) ∊Y to each element x∊D.

The set D of all possible input values is called the domain of the function. The set of
all output values of ƒ(x) as x varies throughout D is called the range of the function. The
range may not include every element in the set Y. The domain and range of a function can
be any sets of objects, but often in calculus they are sets of real numbers interpreted as
points of a coordinate line. (In Chapters 13–16, we will encounter functions for which the
elements of the sets are points in the coordinate plane or in space.)

1
2 Chapter 1: Functions
x f
Input Output
(domain) (range)
FIGURE 1.1 A diagram showing a
function as a kind of machine.
x value (the square root) whenever you enter a nonnegative number x and press the 2x key.
a f (a)
D = domain set Y = set containing
the range
FIGURE 1.2 A function from a set D
to a set Y assigns a unique element of Y
to each element in D.
Often a function is given by a formula that describes how to calculate the output value
from the input variable. For instance, the equation A = pr 2 is a rule that calculates the
area A of a circle from its radius r (so r, interpreted as a length, can only be positive in this
formula). When we define a function y = ƒ(x) with a formula and the domain is not stated
explicitly or restricted by context, the domain is assumed to be the largest set of real
x-values for which the formula gives real y-values, which is called the natural domain. If
we want to restrict the domain in some way, we must say so. The domain of y = x2 is the
entire set of real numbers. To restrict the domain of the function to, say, positive values of
x, we would write “y = x2, x 7 0.”
Changing the domain to which we apply a formula usually changes the range as well.
The range of y = x2 is [0, q). The range of y = x2, x Ú 2, is the set of all numbers
obtained by squaring numbers greater than or equal to 2. In set notation (see Appendix 1),
the range is 5x2  x Ú 26 or 5y  y Ú 46 or 3 4, q).
f (x)
When the range of a function is a set of real numbers, the function is said to be real-
valued. The domains and ranges of most real-valued functions of a real variable we con-
sider are intervals or combinations of intervals. The intervals may be open, closed, or half
open, and may be finite or infinite. Sometimes the range of a function is not easy to find.
A function ƒ is like a machine that produces an output value ƒ(x) in its range whenever we
feed it an input value x from its domain (Figure 1.1). The function keys on a calculator give an
example of a function as a machine. For instance, the 2x key on a calculator gives an output
f(x) A function can also be pictured as an arrow diagram (Figure 1.2). Each arrow associates
an element of the domain D with a unique or single element in the set Y. In Figure 1.2, the
arrows indicate that ƒ(a) is associated with a, ƒ(x) is associated with x, and so on. Notice that
a function can have the same value at two different input elements in the domain (as occurs
with ƒ(a) in Figure 1.2), but each input element x is assigned a single output value ƒ(x).
EXAMPLE 1 Let’s verify the natural domains and associated ranges of some simple
functions. The domains in each case are the values of x for which the formula makes sense.
Function Domain (x) Range ( y)
y = x2 (- q, q) 3 0, q)
y = 1>x (- q, 0) ∪ (0, q) (- q, 0) ∪ (0, q)
y = 2x 3 0, q) 3 0, q)
y = 24 - x (- q, 44 3 0, q)
y = 21 - x2 3 -1, 14 3 0, 14
Solution The formula y = x2 gives a real y-value for any real number x, so the domain
is (- q, q). The range of y = x2 is 3 0, q) because the square of any real number is non-
negative and every nonnegative number y is the square of its own square root, y = 1 2y 2
2
for y Ú 0.
The formula y = 1>x gives a real y-value for every x except x = 0. For consistency
in the rules of arithmetic, we cannot divide any number by zero. The range of y = 1>x, the
set of reciprocals of all nonzero real numbers, is the set of all nonzero real numbers, since
y = 1>(1>y). That is, for y ≠ 0 the number x = 1>y is the input assigned to the output
value y.
The formula y = 2x gives a real y-value only if x Ú 0. The range of y = 2x is
3 0, q) because every nonnegative number is some number’s square root (namely, it is the
square root of its own square).
In y = 24 - x, the quantity 4 - x cannot be negative. That is, 4 - x Ú 0, or
x … 4. The formula gives real y-values for all x … 4. The range of 24 - x is 3 0, q),
the set of all nonnegative numbers.
 1.1 Functions and Their Graphs 3

The formula y = 21 - x2 gives a real y-value for every x in the closed interval from
-1 to 1. Outside this domain, 1 - x2 is negative and its square root is not a real number.
The values of 1 - x2 vary from 0 to 1 on the given domain, and the square roots of these
values do the same. The range of 21 - x2 is 3 0, 14 .

Graphs of Functions
If ƒ is a function with domain D, its graph consists of the points in the Cartesian plane
whose coordinates are the input-output pairs for ƒ. In set notation, the graph is
5(x, ƒ(x))  x∊D6 .
The graph of the function ƒ(x) = x + 2 is the set of points with coordinates (x, y) for
which y = x + 2. Its graph is the straight line sketched in Figure 1.3.
The graph of a function ƒ is a useful picture of its behavior. If (x, y) is a point on the
graph, then y = ƒ(x) is the height of the graph above (or below) the point x. The height
may be positive or negative, depending on the sign of ƒ(x) (Figure 1.4).

y f (1)
f (2)

x
y=x+2 x
0 1 2
2 f(x)
(x, y)
x y = x2 −2 0
x

-2 4 FIGURE 1.3 The graph of ƒ(x) = x + 2 FIGURE 1.4 If (x, y) lies on the graph of
-1 1 is the set of points (x, y) for which y has the ƒ, then the value y = ƒ(x) is the height of
0 0 value x + 2. the graph above the point x (or below x if
1 1 ƒ(x) is negative).
3 9
2 4 EXAMPLE 2 Graph the function y = x2 over the interval 3 -2, 24 .
2 4
Solution Make a table of xy-pairs that satisfy the equation y = x2 . Plot the points (x, y)
whose coordinates appear in the table, and draw a smooth curve (labeled with its equation)
through the plotted points (see Figure 1.5).

y How do we know that the graph of y = x2 doesn’t look like one of these curves?

(−2, 4) (2, 4)
4 y y
y = x2
3
3 9
2 a2 , 4b

(−1, 1) (1, 1) y = x 2? y = x 2?
1

x
−2 −1 0 1 2

FIGURE 1.5 Graph of the function x x

in Example 2.
4 Chapter 1: Functions

To find out, we could plot more points. But how would we then connect them? The basic
question still remains: How do we know for sure what the graph looks like between the
points we plot? Calculus answers this question, as we will see in Chapter 4. Meanwhile,
we will have to settle for plotting points and connecting them as best we can.

Representing a Function Numerically

We have seen how a function may be represented algebraically by a formula (the area
function) and visually by a graph (Example 2). Another way to represent a function is
numerically, through a table of values. Numerical representations are often used by engi-
neers and experimental scientists. From an appropriate table of values, a graph of the func-
tion can be obtained using the method illustrated in Example 2, possibly with the aid of a
computer. The graph consisting of only the points in the table is called a scatterplot.

EXAMPLE 3 Musical notes are pressure waves in the air. The data associated with
Figure 1.6 give recorded pressure displacement versus time in seconds of a musical note
produced by a tuning fork. The table provides a representation of the pressure function
over time. If we first make a scatterplot and then connect approximately the data points
(t, p) from the table, we obtain the graph shown in the figure.

p (pressure)
Time Pressure Time Pressure
1.0
Data
0.00091 -0.080 0.00362 0.217 0.8
0.6
0.00108 0.200 0.00379 0.480 0.4
0.00125 0.480 0.00398 0.681 0.2
t (sec)
0.00144 0.693 0.00416 0.810 0.001 0.002 0.003 0.004 0.005 0.006
−0.2
0.00162 0.816 0.00435 0.827 −0.4
−0.6
0.00180 0.844 0.00453 0.749
0.00198 0.771 0.00471 0.581 FIGURE 1.6 A smooth curve through the plotted points
0.00216 0.603 0.00489 0.346 gives a graph of the pressure function represented by the
0.00234 0.368 0.00507 0.077 accompanying tabled data (Example 3).
0.00253 0.099 0.00525 -0.164
0.00271 -0.141 0.00543 -0.320
0.00289 -0.309 0.00562 -0.354
0.00307 -0.348 0.00579 -0.248
0.00325 -0.248 0.00598 -0.035
0.00344 -0.041

The Vertical Line Test for a Function

Not every curve in the coordinate plane can be the graph of a function. A function ƒ can
have only one value ƒ(x) for each x in its domain, so no vertical line can intersect the
graph of a function more than once. If a is in the domain of the function ƒ, then the vertical
line x = a will intersect the graph of ƒ at the single point (a, ƒ(a)).
A circle cannot be the graph of a function, since some vertical lines intersect the circle
twice. The circle graphed in Figure 1.7a, however, does contain the graphs of functions of
x, such as the upper semicircle defined by the function ƒ(x) = 21 - x2 and the lower
semicircle defined by the function g(x) = - 21 - x2 (Figures 1.7b and 1.7c).
 1.1 Functions and Their Graphs 5

y y y

−1 1
x x x
−1 0 1 −1 0 1 0

(a) x 2 + y 2 = 1 (b) y = "1 − x 2 (c) y = −"1 − x 2

FIGURE 1.7 (a) The circle is not the graph of a function; it fails the vertical line test. (b) The
upper semicircle is the graph of a function ƒ(x) = 21 - x2. (c) The lower semicircle is the graph
of a function g(x) = - 21 - x2.
y
y = 0x0
y = −x 3
y=x Piecewise-Defined Functions
2

1 Sometimes a function is described in pieces by using different formulas on different parts

of its domain. One example is the absolute value function
x
−3 −2 −1 0 1 2 3

0x0 = e
x, x Ú 0 First formula
FIGURE 1.8 The absolute value
function has domain (- q, q) and -x, x 6 0, Second formula

range 30, q). whose graph is given in Figure 1.8. The right-hand side of the equation means that the
function equals x if x Ú 0, and equals -x if x 6 0. Piecewise-defined functions often
y
arise when real-world data are modeled. Here are some other examples.
y = −x y = f (x)
2

1
y=1 EXAMPLE 4 The function
y = x2
x
−2 −1 0 1 2 -x, x 6 0 First formula
ƒ(x) = c x2, 0 … x … 1 Second formula
FIGURE 1.9 To graph the 1, x 7 1 Third formula
function y = ƒ(x) shown here,
we apply different formulas to is defined on the entire real line but has values given by different formulas, depending on
different parts of its domain the position of x. The values of ƒ are given by y = -x when x 6 0, y = x2 when
(Example 4). 0 … x … 1, and y = 1 when x 7 1. The function, however, is just one function whose
domain is the entire set of real numbers (Figure 1.9).
y
y=x
3 EXAMPLE 5 The function whose value at any number x is the greatest integer less
than or equal to x is called the greatest integer function or the integer floor function. It
is denoted : x ; . Figure 1.10 shows the graph. Observe that
2
y = :x;
1

−2 −1
x : 2.4 ; = 2, : 1.9 ; = 1, : 0 ; = 0, : -1.2 ; = -2,
: 2 ; = 2, : 0.2 ; = 0, : -0.3 ; = -1, : -2 ; = -2.
1 2 3

−2

FIGURE 1.10 The graph of the
greatest integer function y = : x ;
lies on or below the line y = x, so
it provides an integer floor for x
(Example 5).
EXAMPLE 6 The function whose value at any number x is the smallest integer
greater than or equal to x is called the least integer function or the integer ceiling func-
tion. It is denoted < x = . Figure 1.11 shows the graph. For positive values of x, this function
might represent, for example, the cost of parking x hours in a parking lot that charges $1
for each hour or part of an hour.
6 Chapter 1: Functions

y Increasing and Decreasing Functions

y=x If the graph of a function climbs or rises as you move from left to right, we say that the
3
function is increasing. If the graph descends or falls as you move from left to right, the
2
function is decreasing.
y = <x=
1
x
−2 −1 1 2 3 DEFINITIONS Let ƒ be a function defined on an interval I and let x1 and x2 be
−1 any two points in I.
−2 1. If ƒ(x2) 7 ƒ(x1) whenever x1 6 x2, then ƒ is said to be increasing on I.
2. If ƒ(x2) 6 ƒ(x1) whenever x1 6 x2, then ƒ is said to be decreasing on I.
FIGURE 1.11 The graph
of the least integer function
y = < x = lies on or above the line It is important to realize that the definitions of increasing and decreasing functions
y = x, so it provides an integer must be satisfied for every pair of points x1 and x2 in I with x1 6 x2. Because we use the
ceiling for x (Example 6). inequality 6 to compare the function values, instead of … , it is sometimes said that ƒ is
strictly increasing or decreasing on I. The interval I may be finite (also called bounded) or
infinite (unbounded) and by definition never consists of a single point (Appendix 1).

EXAMPLE 7 The function graphed in Figure 1.9 is decreasing on (- q, 04 and increas-

ing on 3 0, 14 . The function is neither increasing nor decreasing on the interval 3 1, q)
because of the strict inequalities used to compare the function values in the definitions.

Even Functions and Odd Functions: Symmetry

The graphs of even and odd functions have characteristic symmetry properties.

DEFINITIONS A function y = ƒ(x) is an

even function of x if ƒ(-x) = ƒ(x),
odd function of x if ƒ(-x) = -ƒ(x),
for every x in the function’s domain.
y

y = x2 The names even and odd come from powers of x. If y is an even power of x, as in
(−x, y) (x, y) y = x2 or y = x4, it is an even function of x because (-x)2 = x2 and (-x)4 = x4. If y is an
odd power of x, as in y = x or y = x3, it is an odd function of x because (-x)1 = -x and
x
0 (-x)3 = -x3.
(a) The graph of an even function is symmetric about the y-axis. Since ƒ(-x) = ƒ(x), a
point (x, y) lies on the graph if and only if the point (-x, y) lies on the graph (Figure 1.12a).
y A reflection across the y-axis leaves the graph unchanged.
y = x3 The graph of an odd function is symmetric about the origin. Since ƒ(-x) = -ƒ(x), a
(x, y) point (x, y) lies on the graph if and only if the point (-x, -y) lies on the graph (Figure 1.12b).
Equivalently, a graph is symmetric about the origin if a rotation of 180° about the origin leaves the
x
0 graph unchanged. Notice that the definitions imply that both x and -x must be in the domain of ƒ.
(−x, −y)
EXAMPLE 8 Here are several functions illustrating the definition.

(b)
ƒ(x) = x 2
Even function: (-x)2 = x2 for all x; symmetry about y-axis.

FIGURE 1.12 (a) The graph of y = x2 ƒ(x) = x2 + 1 Even function: (-x)2 + 1 = x2 + 1 for all x; symmetry about
(an even function) is symmetric about the y-axis (Figure 1.13a).
y-axis. (b) The graph of y = x3 (an odd
function) is symmetric about the origin. ƒ(x) = x Odd function: (-x) = -x for all x; symmetry about the origin.
ƒ(x) = x + 1 Not odd: ƒ(-x) = -x + 1, but -ƒ(x) = -x - 1. The two are not
equal.
Not even: (-x) + 1 ≠ x + 1 for all x ≠ 0 (Figure 1.13b).
 1.1 Functions and Their Graphs 7

y y
y = x2 + 1

y=x+1
y = x2

y=x

1 1
x x
0 −1 0

(a) (b)

FIGURE 1.13 (a) When we add the constant term 1 to the function
y = x2, the resulting function y = x2 + 1 is still even and its graph is
still symmetric about the y-axis. (b) When we add the constant term 1 to
the function y = x, the resulting function y = x + 1 is no longer odd,
since the symmetry about the origin is lost. The function y = x + 1 is
also not even (Example 8).

Common Functions
A variety of important types of functions are frequently encountered in calculus. We iden-
tify and briefly describe them here.
Linear Functions A function of the form ƒ(x) = mx + b, for constants m and b, is called
a linear function. Figure 1.14a shows an array of lines ƒ(x) = mx where b = 0, so these
lines pass through the origin. The function ƒ(x) = x where m = 1 and b = 0 is called the
identity function. Constant functions result when the slope m = 0 (Figure 1.14b).
A linear function with positive slope whose graph passes through the origin is called a
proportionality relationship.

y
m = −3 m=2
y = −3x y = 2x
m = −1 m=1 y

y=x
1
y = −x m= y=3
2 2
1 2
y= x
0 2 1
x
x
0 1 2
(a) (b)

FIGURE 1.14 (a) Lines through the origin with slope m. (b) A constant func-
tion with slope m = 0.

DEFINITION Two variables y and x are proportional (to one another) if one
is always a constant multiple of the other; that is, if y = kx for some nonzero
constant k.

If the variable y is proportional to the reciprocal 1>x, then sometimes it is said that y is
inversely proportional to x (because 1>x is the multiplicative inverse of x).
Power Functions A function ƒ(x) = xa, where a is a constant, is called a power function.
There are several important cases to consider.
8 Chapter 1: Functions

(a) a = n, a positive integer.

The graphs of ƒ(x) = xn, for n = 1, 2, 3, 4, 5, are displayed in Figure 1.15. These func-
tions are defined for all real values of x. Notice that as the power n gets larger, the curves
tend to flatten toward the x-axis on the interval (-1, 1), and to rise more steeply for
0 x 0 7 1. Each curve passes through the point (1, 1) and through the origin. The graphs of
functions with even powers are symmetric about the y-axis; those with odd powers are
symmetric about the origin. The even-powered functions are decreasing on the interval
(- q, 04 and increasing on 3 0, q); the odd-powered functions are increasing over the
entire real line (- q, q).
y y=x y y y y y = x5
y = x2 y = x3 y = x4

1 1 1 1 1

x x x x x
−1 0 1 −1 0 1 −1 0 1 −1 0 1 −1 0 1
−1 −1 −1 −1 −1

FIGURE 1.15 Graphs of ƒ(x) = xn, n = 1, 2, 3, 4, 5, defined for - q 6 x 6 q.

(b) a = -1 or a = -2.
The graphs of the functions ƒ(x) = x-1 = 1>x and g(x) = x-2 = 1>x2 are shown in
Figure 1.16. Both functions are defined for all x ≠ 0 (you can never divide by zero). The
graph of y = 1>x is the hyperbola xy = 1, which approaches the coordinate axes far from
the origin. The graph of y = 1>x2 also approaches the coordinate axes. The graph of the
function ƒ is symmetric about the origin; ƒ is decreasing on the intervals (- q, 0) and
(0, q). The graph of the function g is symmetric about the y-axis; g is increasing on
(- q, 0) and decreasing on (0, q).

y
y

y = 1x y = 12
x
1
x
0 1 1
Domain: x ≠ 0 x
Range: y ≠ 0 0 1
Domain: x ≠ 0
Range: y > 0

(a) (b)

FIGURE 1.16 Graphs of the power functions ƒ(x) = xa for part (a) a = - 1
and for part (b) a = -2.

1 1 3 2
(c) a = , , , and .
2 3 2 3
3
The functions ƒ(x) = x1>2 = 2x and g(x) = x1>3 = 2 x are the square root and cube
root functions, respectively. The domain of the square root function is 3 0, q), but the
cube root function is defined for all real x. Their graphs are displayed in Figure 1.17, along
with the graphs of y = x3>2 and y = x2>3. (Recall that x3>2 = (x1>2)3 and x2>3 = (x1>3)2.)
Polynomials A function p is a polynomial if
p(x) = an xn + an - 1xn - 1 + g + a1 x + a0
where n is a nonnegative integer and the numbers a0, a1, a2, c, an are real constants
(called the coefficients of the polynomial). All polynomials have domain (- q, q). If the
 1.1 Functions and Their Graphs 9

y
y y
y = !x y=x 32

y = !x
3 y = x 23
1
1 1 1
x x x x
0 1 0 1 0 1 0 1
Domain: 0 ≤ x < ∞ Domain: −∞ < x < ∞ Domain: 0 ≤ x < ∞ Domain: −∞ < x < ∞
Range: 0 ≤ y < ∞ Range: −∞ < y < ∞ Range: 0 ≤ y < ∞ Range: 0 ≤ y < ∞
1 1 3 2
FIGURE 1.17 Graphs of the power functions ƒ(x) = xa for a = , , , and .
2 3 2 3

leading coefficient an ≠ 0 and n 7 0, then n is called the degree of the polynomial. Lin-
ear functions with m ≠ 0 are polynomials of degree 1. Polynomials of degree 2, usually
written as p(x) = ax2 + bx + c, are called quadratic functions. Likewise, cubic functions
are polynomials p(x) = ax3 + bx2 + cx + d of degree 3. Figure 1.18 shows the graphs
of three polynomials. Techniques to graph polynomials are studied in Chapter 4.

3 2
y = x − x − 2x + 1
3 2 3
y
4 y
y y = (x − 2)4(x + 1)3(x − 1)
y= 8x 4 − 14x 3 − 9x 2 + 11x − 1
16
2 2
x
−1 1 2
x −2
−4 −2 0 2 4 −4 x
−1 0 1 2
−6
−2
−8
−10
−16
−4 −12
(a) (b) (c)

FIGURE 1.18 Graphs of three polynomial functions.

Rational Functions A rational function is a quotient or ratio ƒ(x) = p(x)>q(x), where

p and q are polynomials. The domain of a rational function is the set of all real x for which
q(x) ≠ 0. The graphs of several rational functions are shown in Figure 1.19.

y
y 8
y = 11x3 + 2
y = 5x +2 8x − 3
y 2
4 6 2x − 1
3x + 2
2
4
y = 2x − 3 2
2
7x + 4 1 Line y = 5
3 2

x x x
−4 −2 2 4 −5 0 5 10 −4 −2 0 2 4 6
−1 −2
−2
−4
−2
NOT TO SCALE
−4 −6

−8
(a) (b) (c)

FIGURE 1.19 Graphs of three rational functions. The straight red lines approached by the graphs are called
asymptotes and are not part of the graphs. We discuss asymptotes in Section 2.6.
10 Chapter 1: Functions

Algebraic Functions Any function constructed from polynomials using algebraic oper-
ations (addition, subtraction, multiplication, division, and taking roots) lies within the
class of algebraic functions. All rational functions are algebraic, but also included are
more complicated functions (such as those satisfying an equation like y3 - 9xy + x3 = 0,
studied in Section 3.7). Figure 1.20 displays the graphs of three algebraic functions.

y y = x 13(x − 4)
y y = x(1 − x)25
4 y = 3 (x 2 − 1) 23
4
3 y
2 1
1
x x x
−1 4 −1 0 1 0 5 1
−1 7
−2 −1
−3

(a) (b) (c)

FIGURE 1.20 Graphs of three algebraic functions.

Trigonometric Functions The six basic trigonometric functions are reviewed in Section 1.3.
The graphs of the sine and cosine functions are shown in Figure 1.21.

y y

1 1 3p 5p
3p − p2 2 2
x x
−p 0 p 2p 0 p
−1 −1 2

(a) f (x) = sin x (b) f (x) = cos x

FIGURE 1.21 Graphs of the sine and cosine functions.

Exponential Functions Functions of the form ƒ(x) = ax, where the base a 7 0 is a
positive constant and a ≠ 1, are called exponential functions. All exponential functions
have domain (- q, q) and range (0, q), so an exponential function never assumes the
value 0. We discuss exponential functions in Section 1.5. The graphs of some exponential
functions are shown in Figure 1.22.

y y
y = 10 x y = 10 –x
12 12
10 10
8 8
6 y= 3 –x 6
y = 3x
4 4
2 2
y = 2x y = 2 –x
x x
−1 −0.5 0 0.5 1 −1 −0.5 0 0.5 1
(a) (b)

FIGURE 1.22 Graphs of exponential functions.

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cultured and refined in the very highest degree; still I admit that there is
some truth in your estimate, unflattering though it seems. But I hope you do
not intend to put yourself out of touch with us, Celia. I consider that you,
especially, will have your duty to perform to your own people.”
“Why me, especially?” asked the girl, with interest.
“Because, with your voice and your wealth, there is every chance of
your attaining a certain amount of fame,” answered her hostess, earnestly.
“And I trust that we shall consider you a credit to our race. And don’t you
think, Celia, that if such should be the case, and knowing that a certain
amount of narrow-minded prejudice always exists against our People, don’t
you think that it will be your duty to ever stand up for the race to which you
belong, and to say to those Gentiles who admire your talents and your
beauty, ‘I, who have won such golden opinions from you all, I am a Jewess,
and I glory in it’?”
Her words rang with enthusiasm, yet they awakened only a feeble
response in Celia’s heart. The girl’s mind was troubled and perplexed, and
she could not endorse a sentiment which was not honestly her own. Her
eyes sought the ground, and she remained silent for a moment.
“Are you really proud of being a Jewess?” she asked suddenly, with shy
diffidence. “Honestly glad and proud, I mean? I try to be, but somehow I—I
can’t!”
She blushed as she made the confession. Mrs. Cohen regarded her
musingly. Her sombre mourning-gown threw into relief the brilliancy of her
hair and complexion. Her eyes were deeply thoughtful, and her face glowed
with the health and ingenuousness of girlhood. It was a pity, the elder lady
thought, that this sweet and beautiful girl should have picked up such
strangely unconventional ideas.
“Don’t you think, dear child,” she said slowly, “that we have a right to
be proud of our ancient Race? Think of our great and glorious past. What
other nation has been through the vicissitudes and misfortunes which have
afflicted us, and yet come through them all uncrushed as we have done?
Surely you have read our history in the Old Testament—how we were made
the chosen people of God in Abraham’s time; and although the other
nations which surrounded us gave themselves over to idolatry and
lasciviousness, we ever remained faithful to our divine heritage, until our
pure Monotheism became the religion of the civilized world.
 “Think of our great men of bygone days—Moses, who received the
Decalogue, which is as potent to-day as when it was given on Mount Sinai;
Joshua, the mighty leader; David, the soldier-poet; Solomon, the wise king;
Elijah, the prophet. Is it not something to belong to a race which has
produced such men as those—a race upon whom God has set His seal, and,
in spite of assimilation, has kept a peculiar people unto Himself?”
But Celia still looked doubtful. “You are like my brother,” she said. “You
look at Israel through a veil of idealism. I can only think of what we are to-
day. We have had a great past—yes; but what have we to link us with that
past? Our glory departed when Jerusalem was destroyed, and since the
dispersion we have surely fallen into disrepute. I always feel, in reading
over our history, that, from the call of Abraham, we were working up to a
climax, and no climax came, unless ’twere overlooked; as if we were, so to
speak, a building without a coping-stone. We were established as a nation,
we throve and grew great; but our greatness was overthrown, and we
toppled over from the eminence on which we stood, with our divine
purpose but half fulfilled. And we cannot live in the past, grand though it
may have been. It seems to me that we must have degenerated greatly since
then. Our national characteristics of to-day are not such as should give us
cause for pride; and even though they have undoubtedly been exaggerated
by our Gentile neighbours, we cannot deny that there is some foundation for
the unfortunate reputation we bear.”
“That may be so,” rejoined Mrs. Cohen, impressed by her young friend’s
earnestness. “But you must not forget that for generations past our people
abroad have been persecuted and oppressed, and that the sinister effects of
that persecution will yet take many years to eradicate. How could we
develop our higher and nobler qualities whilst the heel of the despot was
upon our necks? Are we not redeeming our character here in England,
where, thank God, we are free? Look how steadily Jews are coming to the
fore in all the higher walks of life—in commerce, in politics, in what we
term high society, and in the fine arts. There is scarcely a cause of national
import in which our people do not participate; and where will you find a
more thrifty, sober, responsible, law-abiding citizen than the modern
English Jew? You see, Celia, I am optimistic. I believe that there is a great
future for us yet; and that is why I am so anxious to encourage you, who are
full of the impetuosity of youth, to make up your mind to defend all that is
highest in our Jewish life, and to be an example of what the true type of a
Jewess should be. Then both Jews and Christians will respect you, and you
will feel that you have not lived in vain!”
She paused, for the tinkle of Mr. Cohen’s bell warned her that her
services were required. She had said quite enough, however, to give Celia
food for a wider range of thought. The girl began to wonder if, after all, her
own outlook upon Judaism were not a very limited one; and when she left
Mrs. Cohen that afternoon she resolved to try and cherish more loyal
feelings towards her own people.
It was a pity, perhaps, that so much of her life had been spent amongst
Gentiles, for she had unconsciously been educated in a non-Jewish school
of thought. She was unable as yet to discern the real goodness of heart
underlying the apparent self-interest and occasional vulgarity of the average
Jew of her acquaintance. She was not able, either to look below the surface
of the many Jewish rites and observances which struck her as so
meaningless and irksome; but she was a conscientious little soul, and meant
to persevere until her Judaism should give her the happiness and
contentment that she sought. Mrs. Cohen’s words had done her good.
 BOOK II

THREE YEARS AFTER

CHAPTER I

CELIA MAKES HER PROFESSIONAL DÉBUT IN LONDON

It was the height of the season, and London was very full. One had only to
take a stroll “down west” to be convinced of the fact, for there was scarcely
a house to be seen in any of the squares that did not display the window-
boxes and sun-blinds, which signified that the owners were in residence.
The fashionable hotels were crowded, the restaurants thronged; and big
social functions were the order of the day.
A stream of carriages and hansoms rolled down Regent Street, giving the
weary pedestrian a panorama of gaily-trimmed hats and dainty sunshades.
Portly dowagers accompanied beautiful girls; and it was a noticeable fact
that whilst the dowagers sat bolt upright, alert and on the qui vive, most of
the débutantes leant languidly against the cushions with an air of
supercilious boredom, the exacting demands of the season combined with
the oppressive heat having apparently drained their vitality.
All roads seemed to lead to the Queens Hall that afternoon, and judging
by the ornate escutcheons on the panels of some of the equipages, there
were great people on the road. The occasion was the much-advertised
charity matinée, organized by the popular dramatist, Guy Haviland, in aid
of a well-known London hospital. Society had been pleased to bestow its
patronage, and as the tickets had been disposed of at fancy prices, it was
sufficiently select for the élite to honour with their presence.
 The function promised to be a highly interesting and successful one, for
Haviland had prevailed upon several stars of the musical and dramatic
professions to give their services in the cause of charity. Moreover, the
gifted young singer, Celia Franks, who had made her début in Paris—where
she had finished her studies—was to make her first appearance before the
English public; and as her wealth, beauty, and attainments had been so fully
discussed in the society papers, society was curious to see whether the
numerous eulogies of her merits were justified.
The hall was packed long before the concert began. Stalls and balconies
were filled with women of fashion and men of note. Those who knew said it
was one of the most brilliant gatherings of the season, and that the names of
some of those present would have made a condensed edition of Debrett.
Everybody seemed to know everybody else; and the hum of conversation
buzzed loud and strong.
A well-groomed man of forty, with a gardenia in his button-hole,
sauntered leisurely about the hall, stopping every now and then to greet an
acquaintance, and chat about the weather and the opera. He was a popular
man about town, being a peer in fairly prosperous circumstances, and still
unmarried. Anxious mothers, with several daughters on their hands, made
much of him, and the girls themselves declared him “so interesting, don’t
you know.” But the wiles of the mothers, and the charms of the daughters
were alike of no avail, for wherever he went he proclaimed himself a
confirmed bachelor.
As he was about to return to his seat, a lady sailed up to him, her long
silken skirts trailing on the ground. She was a regal-looking woman,
magnificently dressed with perfect taste; and her bearing indicated that she
was fully conscious of her own importance.
With a bewitching smile she invited the noble lord to buy a programme;
she had only three left, she said, and was very anxious to sell them before
the concert began.
“Mrs. Neville Williams a vendor of programmes!” exclaimed the peer
with mock astonishment. “I am indeed sorry that it should have come to
this!”
“One can do anything for such a good cause,” she answered
sententiously; and then, with a coquettish glance from her dark eyes, “Of
course I cannot hope to compete with the pretty actresses who are my
colleagues, but will you buy a programme, Lord Bexley?”
She spoke with a slightly foreign accent, and had a peculiar way of
pronouncing her “r’s.” There was a suggestion of artificiality about her
voice, as there was also about the brilliancy of her eyes, the bloom of her
complexion, and the whiteness of her teeth. Bexley did not consider her
beautiful, for what good points she possessed were due to art—the art of her
French maid; but he admired her personality, albeit there was some thing
about it which repelled him.
“Where have you been hiding yourself all the season?” he asked, when
he had allowed her to sell him a programme for sixpence and keep the
change out of a sovereign. “I really believe this is the first time I have seen
you since we met in Cairo last winter.”
“Yes, I have been abroad for some time,” she replied, trying to cool
herself with a small ivory fan. “I was in retreat at a convent near Cimiez for
nearly three months, and since then I have been to Paris and Trouville. You
see, the poor Duke’s death upset me terribly—we were to have been
married a fortnight later, you know—and so I thought that a few months
spent right away from society would prove beneficial to my health. My
nerves seemed quite unstrung.”
“Yes, I understand,” said Bexley, sympathetically. “It was very sad about
poor Wallingcourt’s death. I never had the slightest idea that he was
consumptive. Do you feel better after your period of seclusion?”
“Oh yes. It was so quiet and restful at the convent. The very atmosphere
breathed unworldliness and sanctity. I read no books and attended to no
correspondence whilst I was there, but, in company with the Sisters, passed
my time in prayer and meditation. It was quite a delightful change.”
Lord Bexley turned away his face to hide a smile. The idea of Mrs.
Neville Williams as a kind of temporary nun tickled him immensely. He
was far more inclined to think that her absence from society had been in
order to undergo a treatment of rejuvenescence at the hands of a Parisian
beauty doctor. However, it would never do to doubt the word of a lady.
“It must indeed have been delightful,” he said, glancing at her again, and
noting the unwonted demureness of her countenance. “But I am glad that
they have allowed you to return to the world. By-the-by, your niece, Miss
Gladys Milnes, is here. She is up on a visit to my sister. Won’t you come
and speak to her?”
Mrs. Neville Williams frowned. “No, thanks,” she answered tersely. “I
scarcely know her. She is a gauche little country wench, is she not? My late
husband’s relations have not treated me very kindly, and we are not on the
best of terms.”
Her gaze suddenly became riveted on two gentlemen who were passing
in front of the stalls to the artists’ room. They seemed to possess some
fascination for her, for she stopped fanning herself, and her eyes dilated.
Her expression reminded Bexley of a warhorse, when it scents the battle-
field; he did not quite know what to make of it. In another moment,
however, her sudden agitation had passed; she was demure and calm again.
“Those gentlemen,” she murmured, having noticed Bexley look over to
them and bow—“you know them?”
“Yes. The one is Mr. Haviland, the giver of this concert.”
“And the other?”
“The other is Herbert Karne.”
“Ah!” The exclamation was short and sharp. Bexley was not sure
whether it implied surprise or relief.
“I dare say you have seen his ‘Farewell to the World’ at the Academy?”
he inquired. “It is a beautiful picture.”
“No,” she replied nervously. “I have not been to the Royal Academy this
season. I have only just returned to town.”
She toyed absently with her long neck-chain, from which were
suspended, in cheerful incongruity, a small ebony and silver crucifix, a tiny
ivory death’s-head with diamonds set in the eye-holes, a miniature horse-
shoe, and a diminutive champagne-bottle designed in solid gold. Bexley
wondered why she wore them; they were certainly not pretty, and, as
charms, he considered them out of place.
“Mr. Karne is the half-brother of Miss Celia Franks,” he informed her.
“Did you hear Miss Franks sing in Paris? She made her début there.”
“Yes, I heard her sing. She sang very well. I had no idea, though, that she
was Herbert Karne’s half-sister. I was not aware that he had a half-sister.”
“Then you do know him?” Bexley interpolated quickly.
 “I just know him, that is all,” she answered evenly. “I do not suppose,
however, that he remembers me. Our introduction took place many years
ago.”
The performers were taking their places for the trio with which the
concert opened. Mrs. Neville Williams bowed and swept away. She carried
herself with more hauteur than usual, and there was a bright spot, which
was not rouge, on either of her cheeks.
Lord Bexley returned to his seat, and affected not to notice his sister’s
expression of disapproval. He passed the programme to Gladys Milnes, and
then leant back and appeared absorbed in the music. The trio was one
composed by Beethoven for piano, violin, and ’cello, all three performers
being skilled executants. When the second movement came to a close, Lady
Marjorie spoke.
“You seem to have found plenty to say to that woman,” she remarked
caustically. “I should advise you to be careful, Bexley, or you will find
yourself the next on her list.”
Bexley shrugged his shoulders. When one lady designates another fair
dame as “that woman,” it is an infallible sign that there is no love lost
between the two.
“I presume you mean Mrs. Neville Williams,” he answered sotto voce. “I
am sure I don’t know why you are so dead against her. It is not like you to
be uncharitable, Marjorie.”
“I remember Dr. Williams, and I remember the poor infatuated Duke of
Wallingcourt,” she returned in a whisper. “They were good men in their
way, and she ruined them both. I don’t like to see good men ruined,
therefore I am uncharitable.”
The musicians struck up the third movement of the trio. Bexley was
silent, and his sister gave her attention again to the music.
Gladys Milnes, who sat the other side of Lady Marjorie, also listened
attentively, her face aglow with interest and excitement. She might have
been what her aunt had termed her, a gauche little country wench, but she
was very charming for all that. There was no deception about her wavy
golden hair and peach-like complexion; they were the gifts of Nature—
which her aunt’s were not. And if she were not a fashionable young lady
with the fashionable affectation of ennui, at least she was genuinely healthy
in body, mind, and soul—which, too, her aunt was not. It was her first visit
to the metropolis, and she had come for the sole purpose of attending this
concert. She was greatly impressed by all that she saw; the brilliancy of the
audience almost took her breath away. Never before had she seen such a
galaxy of fair women, such a profusion of beautiful dresses and magnificent
jewels. She began to wonder if this were what her father meant, when from
the pulpit he denounced the “pomps and vanity of this wicked world;” for
the elegant “creations” and “confections” represented an amount of money
which, it seemed to her, might have been devoted to a much more useful
purpose than the display of dress. She enjoyed watching them, nevertheless,
and was keenly observant of all that went on around her.
The trio was followed by a vocal duet, after which came a humorous
duologue. Gladys enjoyed them both, but she was longing impatiently for
Celia’s contribution to the programme, which did not come until just before
the interval. She had not seen Celia for nearly a year, and wondered if her
professional début had changed her in any way. She could not imagine how
her friend could have the courage to face that vast audience. Her heart beat
quite fast when the short wait before Celia’s appearance occurred.
By the steps at the side of the platform stood M. Lambert, the professor
of singing. He wore an antiquated opera-hat rakishly tipped on one side,
and a yellow rose in his dress-coat. Lambert always made a point of getting
into evening dress as soon as the clock chimed the midday hour, and loftily
refused to comply with the conventions of what he termed “tin-pot” society.
He was a Bohemian to his finger-tips. At a given sign he took off his hat,
and, having placed it carefully on the floor, made way for the accompanists
—there were three of them—to pass to their respective instruments. Then
with great dignity he himself escorted the fair singer on to the platform,
and, having favoured the audience with a bow all on his own account, took
his seat by the piano in order to turn over the music.
“Isn’t she sweet!” exclaimed Lady Marjorie, almost tenderly. “She looks
for all the world as if she had just stepped out of a picture.”
Her remark was justified. Attired in a prettily made frock of shimmering
white silk, with roses at her belt and in her Gainsboro’ hat, Celia stood, a
charming representation of feminine beauty. She held herself erect, with
gracefully poised head and loosely clasped hands; and, looking straight over
the heads of her audience, awaited with composure the close of the
instrumental prelude to the French ballad, “La Voix d’un Ange.”
 It was the story of a forsaken and poverty-stricken mother, who, as she is
rocking her weakly babe to sleep one stormy night in her miserable garret,
receives an angelic visitation. Being asked to choose whether the babe shall
be left to grow up in puny ill-health, or whether the angel shall take it
before it knows aught of sorrow, she—although the babe is the one bright
spot in her life—chooses the latter alternative, and with patient resignation
watches the angel carry it away.
It was a dramatic little poem, and Celia told it well. Beginning in a low
but well-modulated voice, accompanied only by the low rumbling of the
organ, which depicted the approaching storm, she recited with unaffected
gesture the opening verses. It was the more difficult for her, being in
French, but she had acquired a good accent, and spoke distinctly.
When, accompanied by the rippling arpeggi of the piano and harp, and
the melting notes produced by the vox humana stop of the organ, her
glorious voice burst forth in all its rich fulness—“La Voix d’un Ange”—a
thrill of pleasure ran through the audience, and with almost breathless
tension, they drank in every note.
Higher and with more intensity rose the voice, deeper swelled the organ,
more celestial sounded the sweet notes of the harp; the effect was almost
entrancing. Then, in a little minor melody of exquisite beauty, the
enchanting voice gradually died away; the organ resumed its low rumbling,
and a few lines of recitative brought the ballad to a close.
A sigh of keen enjoyment broke from the listening crowd, and, after a
moment’s silence, the hall reverberated with applause. There was not
another number on the programme which elicited such enthusiasm as this.
For once society was taken out of itself, for once it forgot its usual placid
indifference, and forebore to grudge the singer her success.
Again and again she reappeared to bow her acknowledgments, and still
the audience clamoured and thumped for an encore.
“You must sing something else,” Haviland said excitedly. “Quick! what
shall it be?”
“Sing ‘Allerseelen,’ ” suggested Herbert Karne.
“No; give ’em something popular. They are just in the mood for it,” put
in Lambert with authority. “Sing ‘Killarney’—that’s sure to take.”
He hastily found the music; then, turning round to the young singer, gave
an exclamation of dismay.
 “The heat and the excitement have been too much for her,” said
Haviland, regretfully.
Celia had fainted.

CHAPTER II

A NEW PROJECT DISCUSSED

Celia’s début was followed by engagements to sing at several concerts, and

numerous invitations to great ladies’ receptions. She was a decided success,
and became the fashion, at least, for that season. It was not her voice alone
—for many a singer has possessed one equally as good as hers and yet has
languished in obscurity; but her attractive personality and her fortune
combined, gained for her the good will of society, and she was made much
of in consequence.
Under the chaperonage of Lady Marjorie Stonor, herself the leader of a
certain “set,” she underwent the routine of fashionable life; and attended
functions to which, without Lady Marjorie’s influence, it would have been
impossible, at the outset, to gain the entrée. Luncheon and dinner-parties,
receptions and balls, followed each other in rapid succession, until Celia’s
dreams at night began to consist of a blurred panorama of red carpet and
striped awnings, flower-decked halls and plant-lined stairs, crowded rooms
and lamp-lit conservatories. She seemed to live in one constant whirl of
excitement, and her pretty head was almost in danger of being turned by the
attention and adulation she received.
Herbert Karne had intended to stay in town for the season, but he very
soon wearied of hotel life, and fashionable London possessed no attractions
for him. He remained just long enough to be present at Celia’s début, to
escort her to an artists’ soirée, and to see his picture on view at the
Academy. Then, considering that he had done his duty, he returned to his
quiet home at Durlston, leaving his half-sister at Lady Majorie’s house in
Great Cumberland Place, until the end of July.
Celia had no qualms now about staying in a non-Jewish house, and of
partaking of food not prepared according to Jewish law. She had apparently
left her Judaism where she had found it—in Maida Vale. Had she been truly
convinced of the faithfulness of its tenets she would no doubt have adhered
to it with untiring zeal, but she had found much that was unsatisfactory and
inconsistent in its multitudinous laws and regulations; and when there was
no longer any incentive for her to keep it up, she gradually let it slide. In
Paris her religious observances had been allowed to fall into laxity, until at
last she ceased to observe anything at all. Instead, she adopted the art
religion of her brother—the worship of God as seen in the Beautiful alone;
and if it were not so satisfying as true Judaism might have been had she
been able to discover of what true Judaism really consists, at least it
entailed no inconvenient obligations, and, in its vague indefiniteness, was
an easy creed to follow.
There was one person to whom Celia’s present mode of living gave
ample cause for dissatisfaction, and that was her fiancé, David Salmon. He
had been engaged to her for over three years now, and considered it high
time for the marriage to take place. He had scarcely seen her more than a
dozen times since she had returned from Paris, for her engagements were so
numerous that he seemed crowded out. He was at present employed as
manager in one of the departments of the Acme Furnishing Company, of
which Mike Rosen was the proprietor. It was a fairly remunerative post, but
David rebelled against having to plod on at business every day from nine
o’clock until six, when, as Celia’s husband, he might assume the habits of a
gentleman of means and leisure.
Besides, he did not feel secure of her now that she had launched forth
into smart society—in which he himself had no place. Lady Marjorie had
given him an invitation to come and see her at Great Cumberland Place. He
went occasionally, but he never seemed to be able to make himself at home
there. From the moment the powdered footman opened the great hall door,
he felt a sense of constraint creeping over him like a vice; and it never
relaxed until his visit came to an end. Surrounded by the grandeur of Lady
Marjorie’s establishment, hedged in by the rules of social etiquette, Celia
seemed a different being to the frankly ingenuous girl he had known at Mrs.
Friedberg’s house. She had, unconsciously perhaps, imbibed something of
the ultra high-bred manner of the grande dame. She was very dignified,
very graceful, very charming, but she made him feel, in some indefinable
way, that she was moving in a different sphere to his own: he liked her
better as she had been before.
One day, as he was strolling down Oxford Street in his luncheon hour, a
neat victoria drove past him, just as he was about to cross the road. A
sudden instinct made him pause and look up, and with mixed feelings he
recognized the two occupants—Celia and Lord Bexley. It was the first time
he had encountered them together in this way, and a feeling of annoyance
took possession of him as he watched them. Celia was chatting with evident
enjoyment, her face lit up with animation. When she caught sight of her
fiancé she bowed, and favoured him with the shadow of a smile, but
apparently did not deem it necessary to stop the carriage in order to speak to
him.
David strode on with resentment, whilst the first pangs of jealousy
awakened in his breast. In a thoroughly bad temper he sauntered over to his
customary restaurant, and, having given vent to his feelings by swearing at
the waiter’s dilatoriness, took up a paper to beguile the time. It happened to
be a popular journal descriptive of the doings of society, and the first thing
he opened it at was an account of church parade in Hyde Park on the
previous Sunday.
He did not trouble to read the list of social celebrities who had been
there, but two familiar names caught his eye—
“ ... Miss Celia Franks, accompanied by her favourite Yorkshire terrier,
and looking delightfully fresh and cool in a gown of white mousseline de
soie, sat under the trees on the ‘quiet side,’ talking to Lord Bexley....”
“That reads all right,” he said to himself. “But I’ll take jolly good care
that I’m there next Sunday. I wonder if they will put ‘talking to her intended
husband, Mr. David Salmon’?”
He turned over the pages. A description of Lady de Smythe’s ball next
claimed his attention—
“ ... Lady Marjorie Stonor, gowned in ivory satin covered with old lace,
and wearing a magnificent diamond pendant, brought Miss Celia Franks,
the gifted singer, who afterwards joined in the cotillion, with Lord Bexley
as her partner....”
He flung down the paper with an impatient exclamation. Celia Franks
and Lord Bexley—how he hated to see the two names coupled together. A
sudden premonition of danger came over him. What if Lord Bexley should
try to oust him from his place in Celia’s affections? Where would he be
then? He was obliged to acknowledge that the peer was a more desirable
parti, from a worldly point of view, than himself, and he did not credit Celia
with being altogether above worldly considerations.
 After some amount of cogitation, he came to the conclusion that the
sooner he and Celia were married the better, and he made up his mind to
confer with her on the subject at the first opportunity.
He managed to get away from his office an hour earlier that afternoon,
and, having smartened himself up, went in the direction of Great
Cumberland Place. He arrived at the house just in time to see Lord Bexley
leave it. With some misgivings, Salmon noted the peer’s military bearing,
his patrician face with its iron-grey moustache, his decidedly aristocratic
appearance. This man had apparently everything in his favour except
Celia’s promise of betrothal. David possessed that, and he hoped and
believed that Celia would not break it now.
By a favourable chance she was at home. David followed the footman
through the spacious hall with lightening heart. His spirits sank, however,
when he arrived at the great drawing-room to find Lady Marjorie and Guy
Haviland there also. Celia was leaning against the arm of Lady Marjorie’s
chair with her hand resting lightly on her hostess’s shoulder. They appeared
to be discussing something of importance, and Haviland hailed his
appearance with satisfaction.
“Ha, here’s Mr. Salmon!” he exclaimed, as David came forward to shake
hands. “I say, Salmon, you haven’t any objection to your intended going on
the stage for a short time, have you?”
“The stage?” repeated David, as he sank on to the chair which Lady
Marjorie offered. “That is a new idea, isn’t it?”
“Not exactly: I have just written a play for her—a capital play, though I
say it myself; and now that it is all done, Mr. Karne won’t allow her to act
in it, or at least he doesn’t approve, which comes to the same thing. Isn’t
that hard lines?”
David looked dubious. “This is the first I have heard of it,” he said, a
little frown appearing on his forehead. “To tell you the truth, I should hardly
care to see my intended on the stage either. What do you think about it
yourself, Celia?”
“I rather like the idea,” she answered readily. “I am very fond of acting,
as you know, though I am not sure how I should like it as a regular
occupation. However, as Herbert has put his veto on it, there is nothing
more to be said. I would not do it against his wish.”
 “Quite right,” agreed David, with approval. A dutiful sister makes a
dutiful wife.
“I cannot understand why Mr. Karne objects so strongly,” said Lady
Marjorie, with a thoughtful expression on her bright face. “He seems to
have taken a positive antipathy to the dramatic profession. I told you so,
ages ago, didn’t I, Haviland? I have always found him amenable to reason
in everything but this. Of course I can understand his feelings in some
measure. He does not like the idea of Celia laying herself open to receive
the cheap compliments of any one who chooses to pay to see her act. He
doesn’t like the associations of the theatre, either, and thinks they might
have a deleterious effect. The life of an actress is different to that of a public
singer. He may be right, after all.”
Haviland rose from his seat, and folded his arms dramatically.
“ ‘Et tu, Brute?’ ” he exclaimed reproachfully. “Lady Marjorie, this is
too bad of you. I had quite relied on your co-operation in this matter. Look
here; I’ve set my heart on having this play produced. I wrote it purposely
for Miss Franks, and the part will suit her down to the ground. It is called
‘The Voice of the Charmer,’ and Miss Franks is to be the charmer. She has
to look pretty with her hair down, to act, and to sing, all of which she can
do very well indeed. It’s a play that will set off her talents to perfection.
Now, as to the questionable associations of the stage, and all that kind of
nonsense, I’ll cast the play myself, and every member of the company shall
be of good repute; I can arrange all that with the manager. I will also take
the responsibility of Miss Franks’s well-being on my own hands. Surely her
brother cannot object if I promise all that? I intend taking a special trip to
Durlston next week to tackle him on the subject myself, and I shall be very
much surprised if I do not succeed in overruling his protestations. Mr.
Karne is not an obstinate man, I am sure.”
“No, he is not obstinate,” said Lady Marjorie, decidedly; “but he is very
determined, and when he once makes up his mind to anything, he is almost
immovable. However, you have my best wishes; I hope you will succeed.”
“If you do manage to obtain his consent, when do you think the play will
be produced?” asked David Salmon.
“Ah, that is more than I can tell you,” replied the dramatist, smiling. “It
depends on a good many things. Once we put the machinery in motion,
though, it will not take us so very long. We might have everything ready by
October, or we may have to wait until the pantomime season is over. It
entirely depends on the manager who takes it up, and on what his
arrangements for the coming months may be.”
David was not sure that the project pleased him. He intended asking
Celia to marry him as soon as the arrangements for the wedding could be
made, and this theatrical scheme might be an obstacle in the way.
When Haviland took his leave, the younger man lingered behind to try
and persuade her to give up the idea; but Lady Marjorie gently reminded
Celia that it was time to go and dress for a dinner-party to which they were
going, so that David was reluctantly compelled to leave also.
He strode out of the house, and passed the Marble Arch, deep in thought.
He was beginning to pity himself for being engaged to such a beautiful and
gifted girl; for, were she unattractive and dull, she would be easier to
manage—they would have been married long ago. He resented, also, the
influence which Lady Marjorie evidently possessed over her, and
determined that after the wedding he would treat her with coolness, and try
to make Celia do the same. It never occurred to him to be glad that Celia
should have such a good friend: instead of that, he was mean-spirited
enough to find at the bottom of Lady Marjorie’s friendship a motive of self-
interest; he knew that Herbert Karne would not allow his sister to partake of
her chaperone’s hospitality without making some adequate return.
As he turned into Edgware Road, David became aware that somebody
was walking alongside him, and, looking up, he recognized, with
disagreeable surprise, Myer Apfelbaum, a man whose acquaintance he
tolerated only because he owed him money. Apfelbaum carried on business
in the city as a wholesale furrier, and had become rich by sweating his
workpeople. He loved his business, especially when opportunity occurred
for him to get the better of any one; he loved to boast about it, too. David
did not care to be seen walking with him—he never looked presentable
except on Sabbaths and holy-days,—but he was compelled to put up with
his society, and listen to an account of the stock he had sold for the last
week, and the bargains he had made. When Myer Apfelbaum was not
threatening to send him a writ—which happened about three times a week
—he was very friendly indeed.
“If any one t’inks they can swindle Myer Apfelbaum, they are moch
mistaken,” he wound up by saying. “Why, only last Friday, just before
Shabbos[11] came in, I sold a man a hundert pounds’ verth of stock, blind,
and he had the cheek to say——”
“Excuse me, this is my turning; I must go,” interrupted David,
impolitely. They had arrived at the corner of Hall Road.
“Oh yes, you live up here somewheres, don’t you? You’re a young swell,
you are.” He chuckled as if the thought amused him, and continued in a
wheedling tone, “Ain’t it about time you paid me the geld[12] you owe me?
Two hundert pound, and twenty-five pound interest; it’s been going on a
long time now. I can’t afford to lose two hundert and twenty-five pound.
Better give me five pound now on account.”
David glanced at him in contempt. “I am not in the habit of discussing
my business affairs in the street,” he answered shortly. “You shall have
every farthing of it if you will have a little more patience; if you press for it
now, you won’t get anything at all. It will be to your own interest to wait
two or three months longer; I am going to be married soon.”
“That’s what you’ve said before,” returned the other, complainingly. “I
should t’ink it’s about time it came off now. If I were you, I wouldn’t shilly-
shally over it so long. I ‘spec’ there’s others waiting for their money besides
me.”
“That’s not your business,” said David, sharply. He was getting cross.
“No, that’s not my business, but the geld is, though,” retorted
Apfelbaum. “And if I don’t get it soon, we’ll see what the law can do.” He
turned on his heel and walked away.
David marched up the Hall Road in high feather, and, when he arrived at
the top, gave vent to a vigorous expletive beginning with the letter “D.”
Then he felt better.

CHAPTER III

FITZJOHN’S AVENUE, HAMPSTEAD,—OR JERUSALEM?

On the following Sunday, David Salmon called at Great Cumberland Place

to take his beloved to an evening party, which Mrs. Mike Rosen was giving
in her honour. Mrs. Rosen possessed a large circle of friends, and
entertained with lavish hospitality, especially on the first Sunday in the
month, when her house was thrown open from three o’clock until midnight
for the reception of her guests. On this occasion, being an off Sunday, the
guests had been specially invited “to meet my friend Miss Celia Franks,”
and Celia had received a particular request to bring her music and her voice
—as though she were in the habit of leaving the latter at home.
The opportunity which David sought had now arrived. As the hansom
bowled smoothly along the wood-paved streets he pressed his claim, and
urged Celia to name an early date for the wedding. He had waited so long,
he said, because he did not wish to interfere with the musical studies
necessary to her professional career; but there was now no longer any
reason for delay that he could see, and he was tired of being an engaged
man; he was anxious to marry and settle down.
His desire was reasonable, and Celia admitted that it was perfectly just.
She had been expecting him to introduce the subject for some time past, and
should have been prepared. She was prepared in a sense, and yet—
“Can’t you wait a little longer, David?” she pleaded diffidently, looking
into his face with troubled eyes.
“There is nothing to wait for now,” he answered. “It is only natural that I
should wish to claim my bride.”
He was quite right; there was nothing to wait for. Celia admitted that too,
with a little tightening at her heart. Gazing straight in front of her at the
trotting horse and dusty road, she tried to find some excuse for asking for a
further delay, but except the possible production of Guy Haviland’s play, no
excuse was forthcoming. She could not tell him, very well, that the thought
of marriage awakened no joyful anticipation of future bliss, and that she
would much prefer the freedom of spinsterhood for, say, another five years.
Nor could she still plead her youth—she was twenty-three now; quite old
enough to be married.
“Say September,” he urged, as the cab turned into Fitzjohn’s Avenue.
“That will give you plenty of time to make all arrangements, won’t it?”
“Oh no. Why, it’s July already. I must ask Herbert and Lady Marjorie
——”
“What has Lady Marjorie to do with it?” he broke in almost petulantly.
“Whenever I ask you to decide anything, you always put it on to Lady
Marjorie. She seems to have got you completely under her thumb. There is
no need to ask her advice in everything.”
 Celia’s courage returned. “Why not?” she said warmly. “Lady Marjorie
is about the truest friend I have. She has known me since I was quite a little
girl, and has almost taken the place of the mother whom I lost. I shall never
do badly if I take her advice; she is quite the cleverest and the dearest
woman I know.”
David saw that he had better leave Lady Marjorie out of the question.
“Well, can’t you give me any idea of the date?” he said, determined not
to be put off this time. “The Rosens are sure to ask us about it to-night; they
always do. Such a long engagement as ours is quite exceptional amongst
Jewish people. They will begin to think there is something fishy about it
soon.”
Celia shrugged her shoulders; it was a regular little Jewish shrug.
“It doesn’t matter to us what they think,” she replied, as the cab drew up
before a pretentious-looking red-brick house half-way up the hill. “But you
can tell them that it will take place next spring, if you like. When we have
consulted Herbert we shall be able to say more definitely.”
And with that David was obliged to be content; but he made up his mind
to write to Herbert Karne without delay. He would not rest until the actual
date was fixed.
Mrs. Rosen’s house presented quite a festive appearance. Although it
was not quite dark, lights gleamed from every window, and the front door,
which stood invitingly open, disclosed a profusion of plants and flowers in
the hall.
Inside the porch stood Mike Rosen himself. He was in evening dress, an
ample expanse of shirt-front being adorned by a large and dazzling diamond
stud. When he caught sight of Celia alighting from the hansom, he came
down the steps to greet her, and leaving David to settle with the perspiring
Jehu, escorted her gallantly into the house.
“Well, I am pleased to see you, my dear,” he said, as a maid relieved her
of her wraps. “I’ve just been reading about you in the Society Gossip. Good
gracious me, the number of lords and ladies you’ve been hobnobbing with!
It will be a wonder if it doesn’t make you proud. I suppose you haven’t
brought an earl or a duke in your pocket now, have you? We might exhibit
him behind the nursery guard, penny a view.”
Celia did what was expected of her; she laughed, then followed her host
into the dining-room to have some iced coffee. There were others there for
the same purpose, including Lottie Friedberg, now Mrs. Woolf; and in a
high chair, playing with an indiarubber dog, sat Adeline’s son and heir, aged
eighteen months. Mike adored the baby even more than his beloved
“ferniture,” and had kept him up past his bedtime on purpose to show him
off before his guests: to hear them praise his little son was like music to his
ears.
Celia again did what was expected of her; she said he was the finest boy
for his age that she had ever seen, and kissed him on the top of his head,
and allowed him to play with her tiny jewelled watch. Mike’s face
positively beamed with good humour. He wanted his son to exhibit his
infantile accomplishments, to call the pussy, and clap hands, and various
other things which he had taught him; but his wife suddenly appeared upon
the scene, and commanded him to give the baby over to his nurse.
“They are making up the tables for us in the library,” she said, when she
had given Celia an effusive welcome. “You had better join the gentlemen in
the smoke-room, Mike; they are playing bluff. Celia dear, you don’t play
cards, do you? Will you watch David for a little while—they want him for a
fourth until Mrs. Joseph comes—or would you like to join the young folks
in the drawing-room? We shall all come in to hear you sing a little later on.”
Celia did not mind either way, so at David’s request she went with him
to the library. A number of small tables covered with white damask cloths
filled the room; and at each table sat four players, ready to start their usual
game of solo whist. They all seemed to be talking at once, apparently
indifferent as to whether any one listened to them or not; but a sudden
silence fell as Celia entered. They had heard so much about her that they
knew by instinct who she was, and did not scruple to favour her with a
prolonged stare, which might have embarrassed her, had she been less self-
possessed.
Mrs. Friedberg, resplendent in black satin and Guipure lace, received her
with a kindly dignity assumed for the occasion, and having given a general
introduction, invited her to sit at her own table and watch the play.
Solo whist is undoubtedly a fascinating game to those who take part in
it, but to an outsider it has not much charm. Celia’s interest soon flagged,
and she found herself watching the players rather than the game itself. Most
of them were buxom matrons of comely appearance and cheerful manner.
Their fingers were covered with rings, which flashed and sparkled as they