Ziska (Gothic Classic). Marie Corelli
of the Florentine costume he had adopted, that there was a certain fascination about Gervase which was inborn, a trick of manner which made him seem picturesque at all times; and that even when the great French artist had stayed with him in Scotland and got himself up for the occasion in more or less baggy tweeds, people were fond of remarking that the only man who ever succeeded in making tweeds look artistic was Armand Gervase. And in the white Bedouin garb he now wore he was seen at his best; a certain restless passion betrayed in eyes and lips made him look the savage part he had "dressed" for, and as he bent his head over the Princess Ziska's hand and kissed it with an odd mingling of flippancy and reverence, Denzil suddenly began to think how curiously alike they were, these two! Strong man and fair woman, both had many physical points in common—the same dark, level brows—the same half wild, half tender eyes—the same sinuous grace of form—the same peculiar lightness of movement—and yet both were different, while resembling each other. It was not what is called a "family likeness" which existed between them; it was the cast of countenance or "type" that exists between races or tribes, and had young Murray not known his friend Gervase to be a French Provencal and equally understood the Princess Ziska to be of Russian origin, he would have declared them both, natives of Egypt, of the purest caste and highest breeding. He was so struck by this idea that he might have spoken his thought aloud had he not heard Gervase boldly arranging dance after dance with the Princess, and apparently preparing to write no name but hers down the entire length of his ball programme—a piece of audacity which had the effect of rousing Denzil to assert his own rights.
"You promised me the first waltz, Princess," he said, his face flushing as he spoke.
"Quite true! And you shall have it," she replied, smiling. "Monsieur Gervase will have the second. The music sounds very inviting; shall we not go in?"
"We spoil the effect of your entree crowding about you like this," said Denzil, glancing somewhat sullenly at Gervase and the other men surrounding her; "and, by the way, you have never told us what character you represent to-night; some great queen of old time, no doubt?"
"No, I lay no claim to sovereignty," she answered; "I am for to-night the living picture of a once famous and very improper person who bore half my name, a dancer of old time, known as 'Ziska-Charmazel,' the favorite of the harem of a great Egyptian warrior, described in forgotten histories as 'The Mighty Araxes.'"
She paused; her admirers, fascinated by the sound of her voice, were all silent. She fixed her eyes upon Gervase; and addressing him only, continued:
"Yes, I am 'Charmazel,'" she said. "She was, as I tell you, an 'improper' person, or would be so considered by the good English people. Because, you know, she was never married to Araxes!"
This explanation, given with the demurest naivete, caused a laugh among her listeners.
"That wouldn't make her 'improper' in France," said Gervase gayly. "She would only seem more interesting."
"Ah! Then modern France is like old Egypt?" she queried, still smiling. "And Frenchmen can be found perhaps who are like Araxes in the number of their loves and infidelities?"
"I should say my country is populated entirely with copies of him," replied Gervase, mirthfully. "Was he a very distinguished personage?"
"He was. Old legends say he was the greatest warrior of his time; as you, Monsieur Gervase, are the greatest artist."
Gervase bowed.
"You flatter me, fair Charmazel!" he said; then suddenly as the strange name passed his lips he recoiled as if he had been stung, and seemed for a moment dazed. The Princess turned her dark eyes on him inquiringly.
"Something troubles you, Monsieur Gervase?" she asked.
His brows knitted in a perplexed frown.
"Nothing … the heat … the air … a trifle, I assure you? Will you not join the dancers? Denzil, the music calls you. When your waltz with the Princess is ended I shall claim my turn. For the moment … au revoir!"
He stood aside and let the little group pass him by: the Princess Ziska moving with her floating, noiseless grace, Denzil Murray beside her, the little Nubian boy waving the peacock-plumes in front of them both, and all the other enslaved admirers of this singularly attractive woman crowding together behind. He watched the little cortege with strained, dim sight, till just at the dividing portal between the lounge and the ballroom the Princess turned and looked back at him with a smile. Over all the intervening heads their eyes met in one flash of mutual comprehension! then, as the fair face vanished like a light absorbed into the lights beyond it, Gervase, left alone, dropped heavily into a chair and stared vaguely at the elaborate pattern of the thick carpet at his feet. Passing his hand across his forehead he withdrew it, wet with drops of perspiration.
"What is wrong with me?" he muttered. "Am I sickening for a fever before I have been forty-eight hours in Cairo? What fool's notion is this in my brain? Where have I seen her before? In Paris? St. Petersburg? London? Charmazel! … Charmazel! … What has the name to do with me? Ziska-Charmazel! It is like the name of a romance or a gypsy tune. Bah! I must be dreaming! Her face, her eyes, are perfectly familiar; where, where have I seen her and played the mad fool with her before? Was she a model at one of the studios? Have I seen her by chance thus in her days of poverty, and does her image recall itself vividly now despite her changed surroundings? I know the very perfume of her hair … it seems to creep into my blood … it intoxicates me … it chokes me! … "
He sprang up with a fierce gesture, then after a minute's pause sat down again, and again stared at the floor.
The gay music from the ball-room danced towards him on the air in sweet, broken echoes—he heard nothing and saw nothing.
"My God!" he said at last, under his breath. "Can it be possible that I love this woman?"
CHAPTER III.
Within the ball-room the tide of gayety was rising to its height. It may be a very trivial matter, yet it is certain that fancy dress gives a peculiar charm, freedom, and brightness to festivities of the kind; and men who in the ordinary mournful black evening-suit would be taciturn of speech and conventional in bearing, throw off their customary reserve when they find themselves in the brilliant and becoming attire of some picturesque period when dress was an art as well as a fashion; and not only do they look their best, but they somehow manage to put on "manner" with costume, and to become courteous, witty, and graceful to a degree that sometimes causes their own relatives to wonder at them and speculate as to why they have grown so suddenly interesting. Few have read Sartor Resartus with either comprehension or profit, and are therefore unaware, as Teufelsdrockh was, that "Society is founded upon Cloth"—i.e. that man does adapt his manners very much to suit his clothes; and that as the costume of the days of Louis Quinze or Louis Seize inspired graceful deportment and studied courtesy to women, so does the costume of our nineteenth century inspire brusque demeanor and curt forms of speech, which, however sincere, are not flattering to the fair sex.
More love-making goes on at a fancy-dress ball than at an ordinary one; and numerous were the couples that strolled through the corridors and along the terraces of the Gezireh Palace Hotel when, after the first dozen dances were ended, it was discovered that one of the most glorious of full moons had risen over the turrets and minarets of Cairo, illumining every visible object with as clear a lustre as that of day. Then it was that warriors and nobles of mediaeval days were seen strolling with mythological goddesses and out-of-date peasants of Italy and Spain; then audacious "toreadors" were perceived whispering in the ears of crowned queens, and clowns were caught lingering amorously by the side of impossible flower-girls of all nations. Then it was that Sir Chetwynd Lyle, with his paunch discreetly restrained within the limits of a Windsor uniform which had been made for him some two or three years since, paced up and down complacently in the moonlight, watching his two "girls," Muriel and Dolly, doing business with certain "eligibles"; then it was that Lady Fulkeward, fearfully and wonderfully got up as the "Duchess of Gainsborough" sidled to and fro, flirted