Roland Cashel, Volume I (of II). Lever Charles James

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СКАЧАТЬ enthusiastically than the first time. With a precision that called forth many a hearty “bravo” from Roland, Miss Kennyfeck played over the air, catching up all the spirit of its transitions from gay to plaintive, and from tender to a strain bold, daring, and energetic.

      “Now for the dance,” exclaimed Cashel, eagerly, as he busied himself in removing chairs and pushing back sofas. “Will you be kind enough to assist me with this table?”

      Mr. Softly, the gentleman thus addressed, rose to comply, his face exhibiting a very amusing struggle between shame and astonishment at the position he occupied. The space cleared, Roland took Olivia’s hand, and led her forward with an air of exceeding deference.

      “Now, Miss Kenny feck, the step is the easiest thing in the world. It goes so, – one – two; one – two – three; and then change – Exactly, quite right; you have it perfectly. This is, as it were, an introduction to the dance; but the same step is preserved throughout, merely changing its time with the measure.”

      It would be as impossible to follow as it would be unfair to weary the reader with the lesson which now began; and yet we would like to linger on the theme, as our memory brings up every graceful gesture and every proud attitude of the fascinating manolo. Representing, as it does, by pantomimic action a little episode of devotion, in which pursuit and flight, entreaty, rejection, seductive softness, haughty defiance, timid fear, and an even insolent boldness alternate and succeed each other, all the movements which expressive action can command, whether of figure or feature, are called forth. Now, it is the retiring delicacy of shrinking, timid loveliness, half hoping, halt fearing, to be pursued; now the stately defiance of haughty beauty, demanding homage as its due. At one moment the winning seductiveness that invites pursuit, and then, sudden as the lightning, the disdain that repels advance.

      Not the least interesting part of the present scene was to watch how Olivia, who at first made each step and gesture with diffidence and fear, as she went on, became, as it were, seized with the characteristic spirit of the measure; her features varying with each motive of the music, her eyes at one instant half closed in dreamy languor, and at the next flashing in all the brilliancy of conscious beauty. As for Roland, forgetting, as well he might, all his functions as teacher, he moved with the enthusiastic spirit of the dance, – his rapturous gaze displaying the admiration that fettered him; and when at last, as it were, yielding to long-proved devotion, she gave her hand, it needed the explanation of its being a Mexican fashion to excuse the ardor with which he pressed it to his lips.

      Mrs. Kennyfeck’s applause, however, was none the less warm; and if any of the company disapproved, they prudently said nothing, – even Mr. Softly, who only evidenced his feeling by a somewhat hasty resumption of the “Morning Post,” while the elder sister, rising from the piano, whispered, as she passed her sister, “Bad jockey-ship, Livy, dear, to make fast running so early.”

      “And that is the – What d’ye call it, Mr. Cashel?” said Mrs. Kennyfeck.

      “The manolo, madam. It is of Italian origin, rather than Spanish, – Calabrian, I fancy; but, in Mexico, it has become national, and well suits the changeful temper of our Spanish belles, and the style of their light and floating costume.”

      “Yes, I suspect it has a better effect with short drapery than with the sweeping folds of our less picturesque dress,” said Miss Kennyfeck, who, for reasons we must not inquire, took a pleasure in qualifying her approval.

      “I never saw it appear more graceful,” said Cashel, with a blunt abruptness far more flattering than a studied compliment.

      Olivia blushed; Mrs. Kennyfeck looked happy, and the elder sister bit her lips, and threw up her eyebrows, with an expression we cannot attempt to render in words.

      “May I not have the honor of introducing you to the manolo?” said Cashel, presenting himself before her with a deep bow.

      “Thank you, I prefer being a spectator; besides, we could have no music, – my sister does not play.”

      Olivia blushed; and, in her hasty look, there was an expression of gently conveyed reproach, as though to say, “This is unfair.”

      “Do you like music, Mr. Cashel?” continued Miss Kennyfeck, who saw the slight cloud of disappointment that crossed Roland’s features. “Oh, I ‘m certain you do, and I know you sing!”

      “Yes,” said Cashel, carelessly, “as every one sings in that merry land I come from; but I fear the wild carol-lings of a ranchero would scarce find acceptance in the polished ears of Europe.”

      “What are the melodies like, then?” asked Miss Kennyfeck, throwing into the question a most eager interest.

      “You shall hear, if you like,” said Roland, taking up a guitar, and striking a few full chords with a practised hand. “This is one of the war-songs;” and without further preface he began. Had he even been less gifted than he was as to voice and musical taste, there was enough in the bold and manly energy of his manner, in the fiery daring of his dark eyes, and the expressive earnestness of his whole bearing, to attract the admiration of his hearers. But, besides these advantages, he was not unskilled in the science of music, and even made so poor an instrument a full and masterly accompaniment, imitating, as few but Spaniards can do, the distant sound of drums, the dropping fire of cannon, the wild abrupt changes of battle, and the low plaintive sounds of suffering and defeat; so that, as he concluded, the whole character of the performance had ceased to be regarded as a mere musical display, but had the absolute effect of a powerfully told story.

      The Kennyfecks had often been called on in society to award their praises to amateur performances, in whose applause, be it said, en passant, a grateful sense of their being concluded always contributes the enthusiasm; but real admiration and pleasure now made them silent, and as their eyes first turned on the singer and then met, there was a world of intelligence in that one quiet, fleeting glance that revealed more of secret thought and feeling than we, as mere chroniclers of events, dare inquire into.

      Whether it was that this silence, prolonged for some seconds, suggested the move, or that Mr. Jones began to feel how ignoble a part he had been cast for in the whole evening’s entertainment, but he rose to take his leave at once, throwing into his manner a certain air of easy self-sufficiency, with which in the “courts” he had often dismissed a witness under cross-examination, and by a mere look and gesture contrived to disparage his testimony.

      None, save Miss Kennyfeck, perceived his tactic. She saw it, however, and, with a readiness all her own, replied by a slight elevation of the eyebrow. Jones saw his “signal acknowledged,” and went home contented. Poor man, he was not the first who has been taken into partnership because his small resources were all “ready,” and who is ejected from the firm when wider and grander speculations are entered on. I am not certain either that he will be the last!

      Mr. Softly next withdrew, his leave-taking having all the blended humility and cordiality of his first arrival; and now Mr. Kennyfeck was awakened out of a very sound nap by his wife saying in his ear, “Will you ask Mr. Cashel if he ‘ll take a biscuit and a glass of wine before he retires?”

      The proposition was politely declined, and after a very cordial hand-shaking with all the members of the family, Cashel said his good-night and retired.

      CHAPTER VII. PEEPS BEHIND THE CURTAIN

      Ich möchte ihn im Schlafrock sehen.

      Der Reisende Teufel.

      (I ‘d like to see him in his robe-de-chambre.)

      (The Travelling Devil.)

      There СКАЧАТЬ