I
Crammon had been a true prophet. Ten months had sufficed to fix the eyes of the world upon the dancer, Eva Sorel. The great newspapers coupled her name with the celebrated ones of the earth; her art was regarded everywhere as the fine flower of its age.
All those to whose restless spiritual desires she had given form and body were at her feet. The leaders of sorely driven humanity drew a breath and looked up to her. The adorers of form and the proclaimers of new rhythms vied for a smile from her lips.
She remained calm and austere with herself. Sometimes the noise of plaudits wearied her. Hard beset by the vast promises of greedy managers, she felt not rarely a breath of horror. Her inner vision, fixed upon a far and ideal goal, grew dim at the stammered thanks of the easily contented. These, it seemed to her, would cheat her. Then she fled to Susan Rappard and was scolded for her pains.
“We wandered out to conquer the world,” said Susan, “and the world has submitted almost without a struggle. Why don’t you enjoy your triumph?”
“What my hands hold and my eyes grasp gives me no cause to feel very triumphant yet,” Eva answered.
Susan lamented loudly. “You little fool, you’ve literally gone hungry. Take your fill now!”
“Be quiet,” Eva replied, “what do you know of my hunger?”
People besieged her threshold, but she received only a few and chose them carefully. She lived in a world of flowers. Jean Cardillac had furnished her an exquisite house, the garden terrace of which was like a tropical paradise. When she reclined or sat there in the evening under the softened light of the lamps, surrounded by her gently chatting friends, whose most casual glance was an act of homage, she seemed removed from the world of will and of the senses and to be present in this realm of space only as a beautiful form.
Yet even those who thought her capable of any metamorphosis were astonished when a sudden one came upon her and when its cause seemed to be an unknown and inconsiderable person. Prince Alexis Wiguniewski had introduced the man, and his name was Ivan Michailovitch Becker. He was short and homely, with deep-set Sarmatian eyes, lips that looked swollen, and a straggling beard about his chin and cheeks. Susan was afraid of him.
It was on a December night when the snow was banked up at the windows that Ivan Michailovitch Becker had talked with Eva Sorel for eight hours in the little room spread with Italian rugs. In the adjoining room Susan walked shivering up and down, wondering when her mistress would call for help. She had an old shawl about her shoulders. From time to time she took an almond from her pocket, cracked it with her teeth, and threw the shells into the fireplace.
But on this night Eva did not go to bed, not even when the Russian had left her. She entered her sleeping chamber and let her hair roll down unrestrained so that it hid her head and body, and she sat on a low stool holding her fevered cheeks in her hollow hands. Susan, who had come to help her undress, crouched near her on the floor and waited for a word.
At last her young mistress spoke. “Read me the thirty-third canto of the Inferno,” she begged.
Susan brought two candles and the book. She placed the candles on the floor and the volume on Eva’s lap. Then she read with a monotonous sound of lamentation. But toward the end, especially where the poet speaks of petrified and frozen tears, her clear voice grew firmer and more eloquent.
“Lo pianto stesso lì pianger non lascia;
E il duol, che trova in sugli occhi rintoppo,
Si volve in entro a far crescer l’ambascia:
Chè le lagrime prime fanno groppo,
E, sì come visiere di cristallo,
Riempion sotto il ciglio tutto il coppo.”[1]
When she had finished she was frightened by the gleaming moisture in Eva’s eyes.
Eva arose and bent her head far backward and closed her eyes and said: “I shall dance all that—damnation in hell and then redemption!”
Then Susan embraced Eva’s knees and pressed her cheek against the bronze coloured silk of the girl’s garment and murmured: “You can do anything you wish.”
From that night on Eva was filled with a more urgent passion, and her dancing had lines in which beauty hovered on the edge of pain. Ecstatic prophets asserted that she was dancing the new century, the sunset of old ideas, the revolution that is to come.