There are faces and figures that compel universal attention and admiration. Commonly there is one woman in a theatre at whom all glances are leveled. It is a mystery why one face makes only an individual appeal, and an appeal much stronger than that of one universally admired. The house certainly concerned itself very little about the shy and dark heiress in the Mavick box, having with regard to her only a moment's curiosity. But the face instantly took hold of Philip. He found it more interesting to read the play in her face than on the stage. He seemed instantly to have established a chain of personal sympathy with her. So intense was his regard that it seemed as if she must, if there is anything in the telepathic theory of the interchange of feeling, have been conscious of it. That she was, however, unconscious of any influence reaching her except from the stage was perfectly evident. She was absorbed in the drama, even when the drama was almost lost in darkness, and only an occasional grunting ejaculation gave evidence that there was at least animal life responsive to the continual pleading, suggesting, inspiring strains of the orchestra. In the semi-gloom and groping of the under-world, it would seem that the girl felt that mystery of life which the instruments were trying to interpret.
At any rate, Philip could see that she was rapt away into that other world of the past, to a practical unconsciousness of her immediate surroundings. Was it the music or the poetic idea that held her? Perhaps only the latter, for it is Wagner's gift to reach by his creations those who have little technical knowledge of music. At any rate, she was absorbed, and so perfectly was the progress of the drama repeated in her face that Philip, always with the help of the orchestra, could trace it there.
But presently something more was evident to this sympathetic student of her face. She was not merely discovering the poet's world, she was finding out herself. As the drama unfolded, Philip was more interested in this phase than in the observation of her enjoyment and appreciation. To see her eyes sparkle and her cheeks glow with enthusiasm during the sword-song was one thing, but it was quite another when Siegfried began his idyl, that nature and bird song of the awakening of the whole being to the passion of love. Then it was that Evelyn's face had a look of surprise, of pain, of profound disturbance; it was suffused with blushes, coming and going in passionate emotion; the eyes no longer blazed, but were softened in a melting tenderness of sympathy, and her whole person seemed to be carried into the stream of the great life passion. When it ceased she sank back in her seat, and blushed still more, as if in fear that some one had discovered her secret.
Afterwards, when Philip had an opportunity of knowing Evelyn Mavick, and knowing her very well, and to some extent having her confidence, he used to say to himself that he had little to learn—the soul of the woman was perfectly revealed to him that night of “Siegfried.”
As the curtain went down, Mrs. Mavick, whose attention had not been specially given to the artists before, was clapping her hands in a great state of excitement.
“Why don't you applaud, child?”
“Oh, mother,” was all the girl could say, with heaving breast and downcast eyes.
X
All winter long that face seemed to get between Philip and his work. It was an inspiration to his pen when it ran in the way of literature, but a distinct damage to progress in his profession. He had seen Evelyn again, more than once, at the opera, and twice been excited by a passing glimpse of her on a crisp, sunny afternoon in the Mavick carriage in the Park-always the same bright, eager face. So vividly personal was the influence upon him that it seemed impossible that she should not be aware of it—impossible that she could not know there was such a person in the world as Philip Burnett.