smiled almost intolerantly and sank back with a sigh just as a huge and elderly man of capitalistic appearance skipped across the floor and bowed to her knees. She fairly bounded into his arms. The two white polls mingled their venerable locks, but their curvettings were remarkably coltish. Mrs. Neff, who had sons in college and daughters of marriageable age, was giving an amazing exhibition. She backed and filled like a yacht in stays; she bucked and ducked like a yacht in a squawl; she whirled like a dervish, slanting and swooping; her lithe little body draped itself closely about the capitalist's great curves; her little feet followed his big feet or retreated from them like two white mice pursued by two black cats.
At first Forbes was disgusted; the one epithet he could think of was "obscene." As he watched the mêlée he felt that he was witnessing a tribe of savages in a mating-season orgy. He had seen the Moros, the Igorrotes, the Samoans, and the Nautch girls of Chicago, and the meaning of this turmoil was the same. He knew that the dance was the invention of negroes. Its wanton barbarity was only emphasized by the fact that it was celebrated on Broadway, in the greatest city of what we are pleased to admit is the most civilized nation in the world.
He could not adjust it to his mind. In the eddies he saw women of manifest respectability, mothers and wives in the arms of their husbands, young women who were plainly what are called "nice girls," and wholesome-looking young men of deferential bearing; yet mingled with them almost inextricably, brushing against them, tripping over their feet, tangling elbows with them, were youth of precocious salacity, shop-girls of their own bodies, and repulsive veterans from the barracks of evil. And the music seemed to unite them all into one congress met with one motive: to exploit their sensual impulses over the very borders of lawlessness.
Thus Forbes, left alone with Willie Enslee, regarded the spectacle with amazement verging on horror, and thought in the terms of Jeremiah and Ezekiel denouncing Jerusalem, Moab, and Baal.
Meanwhile Willie Enslee studied the menu and gave his orders to the waiter. When the supper was commanded Enslee lifted his eyes to the dancers, shook his head hopelessly, and, reaching across the table, tapped Forbes on the arm and demanded:
"Look at 'em! Just look at 'em! Can you believe your own eyes, uh? Now I ask you, I ask you, if you can see how a white woman could hold herself so cheap as to mix with those muckers, and forget her self-respect so far?"
It was a weak voicing of Forbes' own repugnance, yet as soon as Willie spoke Forbes began to disagree with him. Willie was fatally established among those people with whom one hates to agree. As soon as one found Willie holding similar views, one's own views became suspect and distasteful—like food that is turned from in disgust because another's fork has touched it.
And there might have been a trace of jealousy in Forbes' immediate anger at Enslee's opinions. In any case, here he was, in the notorious haunts of society, seated in its very unholy of unholies, and gazing on its pernicious rites, and saying to his host:
"I must say I don't see anything wrong."
CHAPTER VIII
HARVEY FORBES came of a Southern stock that inherited its manners with its silver. Both were a trifle formal, yet very gracious and graceful.
The family had lost its silver in the Civil War; but the formalities and the good manners remained as heirlooms that could be neither confiscated nor sold off.
He had known something of New York as a cadet at West Point. He had seen the streets as he paraded them on one or two great occasions; he had known a few of its prominent families; but principally Southrons.
He knew that the careful people of that day would have shuddered at the thought of dancing even a minuet in public. They surrounded admission to their festivities with every possible difficulty, and conducted themselves with rigid dignity in the general eye. Even the annual event of the Charity Ball had been countenanced only for the sake of charity, and fell into disfavor because of the promiscuity of it.
In the Philippines Forbes had seen the two-step drive out the waltz; but it had not there, as here, almost ended the vogue of dancing altogether.
And now, after a few years of immunity, people were tripping again as if the plague of the dancing sickness had broken out. The epidemic had taken a new form. Grace and romance were banished for grotesque and cynical antics. The very names of the dances were atrocious—bunny-hug, Texas Tommy, grizzly bear, turkey-trot.
It was a peculiar revolution in social history that people who for so long had refused to dance in public or at all should take up the dance and lay down their exclusiveness at the same time, and with a sort of mania; and that they should be converted to these steps by a dance that had first startled the country from the vaudeville stage, and had been greeted as a disgusting exhibition even for the cheaper theaters.
By a strange insidiousness the evil rhythms had infected the general public. The oligarchy was infatuated to the point of finding any place a fit place. The aged were hobbling about. The very children were capering and refusing the more hallowed dances.
Forbes was not ready to see how quickly such things lose their wickedness as they lose their novelty and rarity. "The devil has had those tunes long enough," said John Wesley, as he turned the ribald street ballads into hymns.
But with Forbes, as with everybody, vice lost her hideous mien when her face became familiar. Like everybody else, he first endured, then pitied, then embraced. Later he would talk as Persis did and Ten Eyck; he would proclaim the turkey-trot a harmless romp, and the tango a simple walk around. Later still he would turn from them all in disgust, not because he repented, but because they were tiresome. But for the present he was smitten with revulsion. The very quality of the company had served as a proof of the evil motive.
Even though he told Willie Enslee he saw nothing wrong, he sat gasping as at a turbulent pool of iniquity.
Motherly dowagers in ball costumes bumped and caromed from the ample forms of procuresses. Young women of high degree in the arms of the scions of great houses jostled and drifted with walkers of the better streets, chorus-girls who "saved their salary," sirens from behind the counters.
As the dance swirled round and round among the gilded pillars, the same couples reeled again and again into view and out, like passengers on a merry-go-round.
Forbes watched with the eager eyes of a fisher the reappearance of Persis. It pleased him to see in her manner, and in Ten Eyck's, an entire absence of grossness; but it hurt him surprisingly to see her in such a crew and responding to the music of songs whose words, unsung but easily remembered or imagined, were all concerned with "teasing," "squeezing," "tantalizing," "hypnotizing," "honey babe," "hold me tight," "keep on a-playin'," "don't stop till I drop," and all the amorous animality of the slums.
He found himself indignant at Ten Eyck's intimacy with the wonderful girl. They clung together as closely as they could and breathe. Now they sidled, now they trotted, now twirled madly as on a pivot. Their feet seemed to be manacled together except when they dipped a knee almost to the ground and thrust the other foot far back.
Then gradually, in spite of him, the music began to invade his own feet. He felt a yearning in his ankles. The tune took on a kind of care-free swagger, a flip boastfulness. He wanted to get up and brag, too. His feeling for Ten Eyck was not of reproof, but of envy. He longed to take his place.
When at length the music ended he felt
