and frivolity were of the seminary period. Now and then he had to glance down at the white hair of the hoyden to reassure himself. The music had the power of an incantation; it had bewitched her back to youth. It seemed to Forbes that this magic alone, which should turn old women back to girlhood for a time, could not be altogether accursed.Perhaps the music had unsettled his reason, but in the logic of the moment he felt that there was a splendid value in the new fashion, which broke down at the same time the barriers of caste and the walls of old age.
It was the Saturnalia come back. The aristocrats mingled as equals with the commoners, and the old became young again for yet a few hours.
He had read so much about the cold, the haughty, and the bored-to-death society of New York, yet here he was, a young lieutenant from the frontier, and he was dancing a breakdown with one of the most important matrons in America. And she was cutting up like a hired girl at a barn-dance. Plainly the nation was still a republic.
When the music ended with a jolt Mrs. Neff clung dizzily[Pg 54] to him, gave him an accolade of approval with her fan, and booked him for the next dance but one. If Forbes had had social ambitions, he would have felt that he was a made man. Yet if he had had social ambitions he would probably have betrayed and so defeated them.
Mrs. Neff having granted him a reprieve of one dance, Forbes made haste to ask Persis for the next. She smiled and gave him that
wren-like nod.
His heart beat with syncopation when he rose at the first note of music. How differently she nestled and fitted into his embrace. Winifred had been more than an arm-load, and gave the impression of an armor of silk and steel and strained elastic. Mrs. Neff was too slender for him, and for all her agility there was a sense of bones and muscles. But Persis was flesh in all its magic. She was not bones nor muscles nor corsets, she was a mysterious embodiment of spirit and beauty, fluid yet shapely, unresisting yet real, gentle and terrible.
23
By now Forbes was familiar enough with the trickeries of the steps to leave his feet to their own devices. He was a musician who knows his instrument and his art well enough to improvise: soul and fingers in such rapport that he hardly knows whether the mood compels the fingers or the fingers suggest the mood.
And the same rapport existed with Persis. They evaded collisions with the other dancers and with the gilded columns by a sort of instinct; they sidled, whirled, dipped, pranced, or pirouetted, composed strange contours of progress as if with one mind and one body.
And now the rapture of the dance was his, and he was enabled to play upon her grace and her miraculously pliant sympathy. Her brow was just at the level of his lips, and he began to wish to press his lips there. Now and then her eyelids rose slowly and she looked up into his downward gaze. They were mysterious looks she gave him. They were to her as impersonal and vague as the rapture that fills the eyes when the west is epic with sun[Pg 55]set, or when an orchestra pours forth a chord of unusual ecstasy, or a rose is so beautiful that it inspires a kind of heavenly sorrow.
But Forbes misunderstood. He usurped to himself the tribute she was unconsciously paying to the mere beatitude of being alive and in rhythmic motion to music.
We have built up strange subtleties of perception. The most intolerable discords are those of tones that lie just next each other; the
harshest of noises rise when an instrument is only a little out of tune or a voice sings a trifle off the key.
Persis had accepted Forbes at Ten Eyck's rating as a gentleman to whom she could intrust her body to embrace and carry through the complex evolutions of a dance on a floor whose very throngs made a solitude and concealment for wantonness of thought and carriage.
So intimate a union is required when two people dance that it is easy to understand why the enemies of the dance denounce it as shameless carnality. It is hard to explain to them how potently custom and minute restraints permit an innocent dalliance with the materials of passion. One can only compare it to skating over thin ice, and say that so long as one keeps on skating a tiny crust of chill permits a joyous exercise without a hint of the depths beneath. And the ice itself gives warning when the danger is too close; its tiny crackling sound is thunder in the ears.
This was Forbes' experience. A beautiful woman of exquisite breeding gave him a certain enfranchisement of her person. He could take her in his arms, and she him in hers. She would make herself one flesh with him; he could sway her this way and that, drag her forward or backward, co-exist with her breast to breast, thigh to thigh, and knee to knee. But he must not ever so slightly take advantage of her faith in him. He must not by the most delicate pressure or quirk of muscle imply anything beyond the nice conventions and romantic pretenses[Pg 56] of the dance. Actresses make the same distinctions with stage kisses, and endure with pride before a thousand eyes what they would count a vile insult in the shadow of the wings or at a dressing-room door.
Forbes made the old mistake. Nothing venture, nothing gain, is a risky proverb. He ventured almost unconsciously, without any baseness of motive. Or, rather, he did not so much venture as relax his chivalry. He breathed too deeply of her incense, paid her the tribute of an enamored thought, constrained her with an ardor that was infinitesimally more personal than the ardor of the dance.
Somehow she understood. Instantly she was a little frightened, a little resentful. As subtle as the pressure of his arm was the resistance of her body. The spell of the dance was dissolving, the thin ice crackling. He whispered hastily:
"Forgive me!"
She simply whispered:
"All right."
And the spirit of the temple of dance was rescued and restored. He had sung a trifle sharp, and she, like a perfect accompanist, had
brought him back to the key.
But even as they whirled on and hopped and skipped in the silly frivolity of the turkey-trot he was solemnly experiencing an awe of her. And now her beauty was less victorious over him than that swift pride which could rebuke so delicately, that good-sportsman- ship which could so instantly accept apology.
24
When the music ended he mumbled:
"Will you ever dance with me again?"
She abashed him with the true forgiveness that forgets, and spoke with all cheerfulness: "Of course! Why not?"
The incident was closed in her heart. Its influence had just begun in his.[Pg 57]
CHAPTER X
THE turbulence of the dance increased as the respectable people were sifted out. Hysteria is a kind of fretful fatigue, and the wearier these children of joy were, the more reckless they grew.
Willie Enslee first insinuated, then declared that he had had enough. He yawned frankly and abysmally. He urged that it was high
time they were all in bed. But the women begged always for yet another dance.
"Just one little 'nother," Winifred wheedled.
Ten Eyck whispered, "About this time Winifred always begins to talk baby-talk."
She was soon calling Forbes "the li'l snojer man." Whether the wine or the dance were the chief intoxicant, a tipsiness of mood prevailed everywhere. It affected individuals individually: this one was idiotically amused, that one idiotically tearful, a third wolfishly sullen, a fourth super-royally dignified, a fifth so audacious that her befuddled companions
