The men at table leaned forward, their hands clasped rather loosely between their knees or on the cloth before them, their plates pushed away, their chairs shoved back. Now and then the sudden white ridge of a hard-set muscle showed along the line of a masculine jaw. Their eyes were those of men who follow a game in which they would fain take part. The women listened, a little frightened, their lips parted. They shushed their children when they moved or whimpered, or, that failing, sent them, with a half-tender, half-admonitory slap behind, to play in the sunny dooryard. Sometimes a woman’s hand reached out possessively, remindingly, and was laid on the arm or the hand of the man seated beside her. “I am here,” the hand’s pressure said. “Your place is with me. Don’t listen to him like that. Don’t believe him. I am your wife. I am safety. I am security. I am comfort. I am habit. I am convention. Don’t listen like that. Don’t look like that.”
But the man would shake off the hand, not roughly, but with absentminded resentment.
Of all that circlet of faces, linked by the enchantment of the tale now being unfolded before them, there stood out lambent as a flame the face of Sabra Cravat as she sat there at table, her child Cim in her lap. Though she, like her mother Felice Venable, was definitely of the olive-skinned type, her face seemed luminously white as she listened to the amazing, incredible, and slightly ridiculous story now being unfolded by her husband. It was plain, too, that in her, as in her mother, the strain of the pioneering French Marcys was strong. Her abundant hair was as black, and her eyes; and the strong brows arched with a swooping curve like the twin scimitars that hung above the fireplace in the company room. Sabra was secretly ashamed of her heavy brows and given to surveying them disapprovingly in her mirror while running a forefinger (slightly moistened by her tongue) along their sable curves. For the rest, there was something more New England than Southern in the directness of her glance, the quick turn of her head, the briskness of her speech and manner. Twenty-one now, married at sixteen, mother of a four-year-old boy, and still in love with her picturesque giant of a husband, there was about Sabra Cravat a bloom, a glow, sometimes seen at their exquisite and transitory time in a woman’s life when her chemical, emotional, and physical makeup attains its highest point and fuses.
It was easy to trace the resemblance, both in face and spirit, between this glowing girl and the sallow woman at the foot of the table. But to turn from her to old Lewis Venable was to find one’s self baffled by the mysteries of paternity. Old Lewis Venable was not old, but aged; a futile, fumbling, gentle man, somewhat hag-ridden and rendered the more unvital by malaria. Face and hands had a yellow ivory quality born of generations subjected to hot breads, lowlands, bad liver, port wine. To say nothing of a resident unexplored bullet somewhere between the third and fifth ribs, got at Murfreesboro as a member of Stanford’s Battery, Heavy Artillery, long long before Roentgen had conceived an eye like God’s.
Lewis Venable, in his armchair at the head of the table, was as spellbound as black Isaiah in his high perch above it. Curiously enough, even the boy Cim had listened, or seemed to listen, as he sat in his mother’s lap. Sabra had eaten her dinner over the child’s head in absentminded bites, her eyes always on her husband’s face. She rarely had had to say, “Hush, Cim, hush!” or to wrest a knife or fork or forbidden tidbit from his clutching fingers. Perhaps it was the curiously musical quality of the storyteller’s voice that lulled him. Sabra Venable’s disgruntled suitors had said when she married Yancey Cravat, a stranger, mysterious, out of Texas and the Cimarron, that it was his voice that had bewitched her. They were in a measure right, for though Yancey Cravat was verbose, frequently even windy, and though much that he said was dry enough in actual content, he had those priceless gifts of the born orator, a vibrant and flexible voice, great sweetness and charm of manner, an hypnotic eye, and the power of making each listener feel that what was being said was intended for his ear alone. Something of the charlatan was in him, much of the actor, a dash of the fanatic.
Any tale told by Yancey Cravat was likely to contain enchantment, incredibility (though this last was not present while he was telling it), and a tinge of the absurd. Yancey himself, even at this early time, was a bizarre, glamorous, and slightly mythical figure. No room seemed big enough for his gigantic frame; no chair but dwindled beneath the breadth of his shoulders. He seemed actually to loom more than his six feet two. His black locks he wore overlong, so that they curled a little about his neck in the manner of Booth. His cheeks and forehead were, in places, deeply pitted, as with the pox. Women, perversely enough, found this attractive.
But first of all you noted his head, his huge head, like a buffalo’s, so heavy that it seemed to loll of its own weight. It was with a shock of astonishment that you remarked about him certain things totally at variance with his bulk, his virility, his appearance of enormous power. His mouth, full and sensual, had still an expression of great sweetness. His eyelashes were long and curling, like a beautiful girl’s, and
