The Pit: A Story of Chicago. Frank Norris
not wear them after all. My poor little flowers."
But she showed him a single American Beauty, pinned to the shoulder of her gown beneath her cape.
"Yes, Mr. Corthell," she answered, "one. I tried to select the prettiest, and I think I succeeded—don't you? It was hard to choose."
"Since you have worn it, it is the prettiest," he answered.
He was a slightly built man of about twenty-eight or thirty; dark, wearing a small, pointed beard, and a mustache that he brushed away from his lips like a Frenchman. By profession he was an artist, devoting himself more especially to the designing of stained windows. In this, his talent was indisputable. But he was by no means dependent upon his profession for a living, his parents—long since dead—having left him to the enjoyment of a very considerable fortune. He had a beautiful studio in the Fine Arts Building, where he held receptions once every two months, or whenever he had a fine piece of glass to expose. He had travelled, read, studied, occasionally written, and in matters pertaining to the colouring and fusing of glass was cited as an authority. He was one of the directors of the new Art Gallery that had taken the place of the old Exposition Building on the Lake Front.
Laura had known him for some little time. On the occasion of her two previous visits to Page he had found means to see her two or three times each week. Once, even, he had asked her to marry him, but she, deep in her studies at the time, consumed with vague ambitions to be a great actress of Shakespearian roles, had told him she could care for nothing but her art. He had smiled and said that he could wait, and, strangely enough, their relations had resumed again upon the former footing. Even after she had gone away they had corresponded regularly, and he had made and sent her a tiny window—a veritable jewel—illustrative of a scene from "Twelfth Night."
In the foyer, as the gentlemen were checking their coats, Laura overheard Jadwin say to Mr. Cressler:
"Well, how about Helmick?"
The other made an impatient movement of his shoulders.
"Ask me, what was the fool thinking of—a corner! Pshaw!"
There were one or two other men about, making their overcoats and opera hats into neat bundles preparatory to checking them; and instantly there was a flash of a half-dozen eyes in the direction of the two men. Evidently the collapse of the Helmick deal was in the air. All the city seemed interested.
But from behind the heavy curtains that draped the entrance to the theatre proper, came a muffled burst of music, followed by a long salvo of applause. Laura's cheeks flamed with impatience, she hurried after Mrs. Cressler; Corthell drew the curtains for her to pass, and she entered.
Inside it was dark, and a prolonged puff of hot air, thick with the mingled odours of flowers, perfume, upholstery, and gas, enveloped her upon the instant. It was the unmistakable, unforgettable, entrancing aroma of the theatre, that she had known only too seldom, but that in a second set her heart galloping.
Every available space seemed to be occupied. Men, even women, were standing up, compacted into a suffocating pressure, and for the moment everybody was applauding vigorously. On all sides Laura heard:
"Bravo!"
"Good, good!"
"Very well done!"
"Encore! Encore!"
Between the peoples' heads and below the low dip of the overhanging balcony—a brilliant glare in the surrounding darkness—she caught a glimpse of the stage. It was set for a garden; at the back and in the distance a chateau; on the left a bower, and on the right a pavilion. Before the footlights, a famous contralto, dressed as a boy, was bowing to the audience, her arms full of flowers.
"Too bad," whispered Corthell to Laura, as they followed the others down the side-aisle to the box. "Too bad, this is the second act already; you've missed the whole first act—and this song. She'll sing it over again, though, just for you, if I have to lead the applause myself. I particularly wanted you to hear that."
Once in the box, the party found itself a little crowded, and Jadwin and Cressler were obliged to stand, in order to see the stage. Although they all spoke in whispers, their arrival was the signal for certain murmurs of "Sh! Sh!" Mrs. Cressler made Laura occupy the front seat. Jadwin took her cloak from her, and she settled herself in her chair and looked about her. She could see but little of the house or audience. All the lights were lowered; only through the gloom the swaying of a multitude of fans, pale coloured, like night-moths balancing in the twilight, defined itself.
But soon she turned towards the stage. The applause died away, and the contralto once more sang the aria. The melody was simple, the tempo easily followed; it was not a very high order of music. But to Laura it was nothing short of a revelation.
She sat spell-bound, her hands clasped tight, her every faculty of attention at its highest pitch. It was wonderful, such music as that; wonderful, such a voice; wonderful, such orchestration; wonderful, such exaltation inspired by mere beauty of sound. Never, never was this night to be forgotten, this her first night of Grand Opera. All this excitement, this world of perfume, of flowers, of exquisite costumes, of beautiful women, of fine, brave men. She looked back with immense pity to the narrow little life of her native town she had just left forever, the restricted horizon, the petty round of petty duties, the rare and barren pleasures—the library, the festival, the few concerts, the trivial plays. How easy it was to be good and noble when music such as this had become a part of one's life; how desirable was wealth when it could make possible such exquisite happiness as hers of the moment. Nobility, purity, courage, sacrifice seemed much more worth while now than a few moments ago. All things not positively unworthy became heroic, all things and all men. Landry Court was a young chevalier, pure as Galahad. Corthell was a beautiful artist-priest of the early Renaissance. Even Jadwin was a merchant prince, a great financial captain. And she herself—ah, she did not know; she dreamed of another Laura, a better, gentler, more beautiful Laura, whom everybody, everybody loved dearly and tenderly, and who loved everybody, and who should die beautifully, gently, in some garden far away—die because of a great love—beautifully, gently in the midst of flowers, die of a broken heart, and all the world should be sorry for her, and would weep over her when they found her dead and beautiful in her garden, amid the flowers and the birds, in some far-off place, where it was always early morning and where there was soft music. And she was so sorry for herself, and so hurt with the sheer strength of her longing to be good and true, and noble and womanly, that as she sat in the front of the Cresslers' box on that marvellous evening, the tears ran down her cheeks again and again, and dropped upon her tight-shut, white-gloved fingers.
But the contralto had disappeared, and in her place the tenor held the stage—a stout, short young man in red plush doublet and grey silk tights. His chin advanced, an arm extended, one hand pressed to his breast, he apostrophised the pavilion, that now and then swayed a little in the draught from the wings.
The aria was received with furor; thrice he was obliged to repeat it. Even Corthell, who was critical to extremes, approved, nodding his head. Laura and Page clapped their hands till the very last. But Landry Court, to create an impression, assumed a certain disaffection.
"He's not in voice to-night. Too bad. You should have heard him Friday in 'Aida.'"
The opera continued. The great soprano, the prima donna, appeared and delivered herself of a song for which she was famous with astonishing eclat. Then in a little while the stage grew dark, the orchestration lapsed to a murmur, and the tenor and the soprano reentered. He clasped her in his arms and sang a half-dozen bars, then holding her hand, one arm still about her waist, withdrew from her gradually, till she occupied the front-centre of the stage. He assumed an attitude of adoration and wonderment, his eyes uplifted as if entranced, and she, very softly, to the accompaniment of the sustained, dreamy chords of the orchestra, began her solo.
Laura shut her eyes. Never had she felt so soothed, so cradled and lulled and languid. Ah, to love like that! To love and be loved. There was no such love as that to-day. She wished that she could loose her clasp upon the sordid, material modern life that, perforce, she must hold to, she knew not why, and drift, drift off into the past, far away, through rose-coloured mists and diaphanous veils, or resign herself, reclining in a silver skiff drawn by swans, to the gentle