The look of their faces confirmed this view, for nearly all were set and purposeful and strained, as men who have serious work in hand; not soulful, not tense with emotion, but simply expressive of concentration. With few exceptions there was nothing of the joy of life in those faces, the rapture of music or of motion. They meant business. And this was the only thing that could absolve many of them from the charge of public indecency; for it was clear that their motions and the manner of their embraces were not the expression of licence or affection so much as matters of technique.
Upon this whirlpool John Egerton embarked with the gravest misgivings, especially as he was conscious of a strange Miss Atholl clinging to his person. Young George Tarrant had immediately plunged into the storm with her sister, and his fair head was to be seen far off, gleaming and motionless like a lighthouse above the tossing heads and undulant shoulders. Stephen had secured Muriel Tarrant, and poor John was very miserable. If he had been less shy, or more intimate with Miss Atholl, he might have comforted himself with the comedy of it all. And if he had been more ruthless he might have bent Miss Atholl to his will and declined to attempt anything but his own primitive two-step. But he became solemn and panic-stricken, and surrendered his hegemony to her, suffering her to give him intricate advice in a language which was meaningless to him, and to direct him with ineffectual tugs and pushes which only made his bewilderment worse. The noise was deafening, the atmosphere stifling, the floor incredibly slippery. The four black men were now all shouting at once, and playing all their instruments at once, working up to the inconceivable uproar of the finale, and all the dancers began to dance with a last desperate fury and velocity. Bodies buffeted John from behind, and while he was yet looking round in apology or anger, other bodies buffeted him from the flank, and more bodies buffeted his partner and pressed her against his reluctant frame. It was like swimming in a choppy sea, where there is no time to recover from the slap and buffets of one wave before the next one smites you.
Miss Atholl whispered, “Hold me tighter,” and John, blushing faintly at these unnatural advances, tightened a little his ineffectual grip. The result of this was that he kicked her more often on the ankle and trod more often on her toes. Close beside him a couple fell down with a crash and a curse and the harsh tearing of satin. John glanced at them in concern, but was swept swiftly onward with the tide. He was dimly aware now that the black men were standing on their chairs bellowing, and fancied the end must be near. And with this thought he found himself surprisingly in a quiet backwater, a corner between two rows of chairs, from which he determined never to issue till the Last Banjo should indeed sound. And here he sidled and shuffled vaguely for a little, hoping that he gave the impression of a man preparing himself for some vast culminating feat, a sidestep, or a “buzz,” or a double-Jazzspin, or whatever these wonders might be.
Then the noise suddenly ceased; there was a burst of perfunctory clapping, and the company became conscious of the sweat of their bodies. John looked round longingly for Muriel.
But Muriel was happily chattering to Stephen Byrne in a deep sofa surrounded by palms. Stephen, like John, had surveyed the new dancing with dismay, but his dismay was more artistic than personal. He was as much amused as disgusted, and he did not intend, for any woman, to make himself ridiculous by attempting any of the more recent monstrosities.
But, unlike John, he had the natural spirit of dancing in his soul; so that he was able to ignore the freakish stupidities of the scene, and extract an artistic elemental pleasure of his own from the light and the colour and excitement, from the barbaric rhythm of the noise and the seductive contact of Muriel Tarrant. So he took her and swung her defiantly round in an ordinary old-fashioned waltz; and she, because it was the great Stephen Byrne, felt no shame at this sacrilege.
When they had come to the sofa, she talked for a little the idle foolishness which is somehow inseparable from the intervals between dances, and he thought, “I wonder whether she always talks like this. I wonder if she reads my poems. I wonder if she likes them.” He began to wish that she would pay him a compliment about them, even an unintelligent compliment. It might jar upon him intellectually, but, coming from her, it would still be pleasing. For it is a mistake to suppose that great artists are so remote from the weaknesses of other men that they are not sometimes ready to have their vanity tickled by a charming girl at the expense of their professional sensibilities.
But she only said, “It’s a ripping band here. I hope you’ll come here again, Mr. Byrne.” And he thought, “What a conversation!” How could one live permanently with a conversation like this? But old John could!
But as she said it she looked him in the eyes very directly and delightfully, and once again there was the sense of a secret passing between them.
Then they went to look for John, and Muriel determined that she would be very nice to him. The next dance was, nominally, a waltz, and that was a rare event. John asked if he might waltz in the ancient fashion, and though
