“Her name isn’t Finch,” Tristrem answered, indignantly.
“Yes it is, too—Flossy Finch, her name is; as if I oughtn’t to know! Why, we were at Mrs. Garret and Mlle. de l’Entresol’s school together for years and years. What makes you say her name isn’t Finch? I had you here on purpose to meet her. Did you ever see such hair? There’s only one girl in New York—”
“It is black,” Tristrem assented.
“Black! Why, you must be crazy; it’s orange, and that dress of hers—”
Tristrem looked down the table and saw a young lady whom he had not noticed before. Her hair, as Mrs. Weldon had said, was indeed the color of orange, though of an orange not overripe. “I thought you meant that girl next to Royal,” he said.
“That! Oh! that’s Miss Raritan.”
Mrs. Weldon’s voice had changed. Evidently Miss Raritan did not arouse in her the same enthusiasm as did Miss Finch. For a moment her lips lost their chromo smile, but presently it returned again, and she piped away anew on the subject of the charms of Flossy Finch, and after an interlude, of which Tristrem heard not one word, she turned and cross-questioned the man on her left.
The conversation had become very animated. From Royal’s end of the table came intermittent shrieks of laughter. The novelist was evidently in his finest form. “Do you mean to tell me,” Miss Finch asked him across the table, “do you mean to say that you don’t believe in platonic affection?”
“I never uttered such a heresy in my life,” the novelist replied. “Of course I believe in it; I believe in it thoroughly—between husband and wife.”
At this everyone laughed again, except Tristrem, who had not heard, and Mrs. Weldon, who had not understood. The latter, however, felt that Miss Finch was distinguishing herself, and she turned to Tristrem anew.
“I want you to make yourself very agreeable to her,” she said. “She is just the girl for you. Don’t you think so? Now promise that you will talk to her after dinner.”
“Talk metaphysics to a bull, and the first thing you know—the first thing you know—I beg your pardon, Mrs. Weldon, I didn’t mean to say that—I don’t know how the stupid phrase got in my head or why I said it.” He hesitated a moment, and seemed to think. “H’m,” he went on, “I am a trifle tired, I fancy.”
Mrs. Weldon looked suspiciously at the glasses at his side, but apparently they had not been so much as tasted; they were full to the rim. She turned again to the guest at her left. The dinner was almost done. She asked a few more questions, and then presently, in a general lull, she gave a glance about her. At that signal the women-folk rose in a body, the men rising also, to let them pass.
Tristrem had risen mechanically with the others, and when the ultimate flounce had disappeared he sat down again and busied himself with a cup of coffee. The other men had drawn their chairs together near him, and over the liqueurs were discussing topics of masculine interest and flavor. Tristrem was about to make some effort to join in the conversation, when from beyond there came the running scale that is the prelude to the cabaletta, “Non più mesta,” from Cenerentola. Then, abruptly, a voice rang out as though it vibrated through labyrinths of gold—a voice that charged the air with resonant accords—a voice prodigious and dominating, grave and fluid; a voice that descended into the caverns of sound, soared to the uttermost heights, scattering notes like showers of stars, evoking visions of flesh and dazzling steel, and in its precipitate flights and vertiginous descents disclosing landscapes riotous with flowers, rich with perfume, sentient with beauty, articulate with love; a voice voluptuous as an organ and languorous as the consonance of citherns and guitars.
Tristrem, as one led in leash, moved from the table and passed into the outer room. Miss Raritan was at the piano. Beyond, a group of women sat hushed and mute; and still the resilient waves of song continued. One by one the men issued noiselessly from the inner room. And then, soon, the voice sank and died away like a chorus entering a crypt.
Miss Raritan rose from the piano. As she did so, Weldon, as it becomes a host, hastened to her. There was a confused hum, a murmur of applause, and above it rose a discreet and prolonged brava that must have come from the novelist. Weldon, seemingly, was urging her to sing again. The women had taken up anew some broken thread of gossip, but the men were at the piano, insisting too. Presently Miss Raritan resumed her seat, and the men moved back. Her fingers rippled over the keys like rain. She stayed them a second, and then, in a voice so low that it seemed hardly human, and yet so insistent that it would have filled a cathedral and scaled the dome, she began a ballad that breathed of Provence:
“O Magali, ma bien aimée,
Fuyons tous deux sous la ramée
Au fond du bois silencieux …”
When she had finished, Tristrem started. The earliest notes had sent the blood pulsing through his veins, thrilling him from fingertips to the end of the spine, and then a lethargy enveloped him and he ceased to hear, and it was not until Miss Raritan stood up again from the piano that he was conscious that he had not been listening. He had sat near the entrance to the dining room, and when the applause began afresh he passed out into the hall, found his coat and hat, and left the house.
As he walked down Irving Place he fell to wondering who it was that he had heard complain of being obliged to give up cigarettes, not on account of parental interference but because of a tournament. Yet, after all, what matter did it make? Certainly, he told himself, the Weldons
