Suddenly he jumped: his hands were clutched upon the railing of the gallery, and they remained there; but his feet leaped inches into the air with the shock; for the crash that so startled him came from directly beneath the part of the gallery where he stood. In his nervousness, he seemed about to vault over the railing, but as his feet descended, he recognized the sound: it was of a nature similar to that which had overcome him in his room, and was produced by those whom his sister had defined as “the musicians:” they had just launched the dance music. The clusters of tropical flowers were agitated, broke up. The short black coats seized upon them, and they seized upon the short black coats; something indescribable began.
The dance music did not throb—the nervous gentleman in the gallery remembered dance music that throbbed, dance music that tinkled merrily, dance music that swam, dance music that sang, and sometimes sang sadly and perhaps too sweetly of romantic love—but this was incredible: it beat upon his brain with bludgeons and blackjacks, rose in hideous upheavals of sound, fell into chaos, squawked in convulsions, seemed about to die, so that eighty pairs of shoes and slippers were heard in husky whispers against the waxed floor; then this music leaped to life again more ferociously than ever.
The thumping and howling of it brought to the gallery listener a dim recollection: once, in his boyhood, he had been taken through a slaughter-house; and this was what came back to him now. Pigs have imaginations, and as they are forced, crowding against one another, through the chute, their feet pounding the thunderous floor, the terrible steams they smell warn them of the murderers’ wet knives ahead: the pigs scream horror with their utmost lungs; and the dumfounded gentleman recalled these mortal squealings now, though there was more to this music. There should be added, among other noises, all the agony three poisoned cats can feel in their entrails, the belabourings of hollow-log tomtoms by Aruwimi witch-doctors, and incessant cries of passion from the depths of negroes ecstasized with toddy.
A plump hand touched Mr. Blake’s shoulder, and lifting his pale glance from below he found that his sister had ascended the gallery stairs to speak to him.
“What are they doing down there?” he shouted.
“Toddling.”
“You mean dancing?”
“Yes; toddling. It’s dancing—great fun, too!”
He was still incredulous, and turned to look again. To his perturbed mind everybody seemed bent upon the imitation of an old coloured woman he had once seen swaying on the banks of a creek, at a baptism. She jiggled the upper portions of her, he remembered, as if she were at once afflicted and uplifted by her emotions; and at the same time she shuffled slowly about, her very wide-apart feet keeping well to the ground. All of these couples appeared to have studied some such ancient religious and coloured person anxiously; but this was not all that interested the returned Mr. Blake. Partners in the performance below him clung to each other with a devotion he had never seen except once or twice, and then under chance circumstances which had cost him a hurried apology. Some, indeed, had set their cheeks together for better harmony; moreover, the performers, who in this exhibition of comedy abandoned forever all hope of ever being taken seriously by any spectator, were by no means all of the youthfulness with which any such recklessness of dignity had heretofore been associated in Mr. Blake’s mind: heads white as clouds moved here and there among the toddlers; so did dyed heads, and so did portly figures.
“I came up to point Jeannette out to you,” Mrs. Troup explained, shouting in her brother’s ear. “I wanted you to see her dancing: she looks so beautiful. There she is! See! Doesn’t she look pretty?”