In the center of the table sits the Pope, and next to him Lucrezia, and next to her Biseglia. Opposite to Biseglia is seated the Lord of Pesaro, and next to him a woman in a mask. With the heat of the wine and the lateness of the hour the women lie back in their lovers’ arms—all except the masked woman and the Madonna Lucrezia. Lucrezia sits erect like a frightened child, the one pure thing in the freedom that surrounds her. Biseglia pays her no attention, and from across the table the Lord of Pesaro watches.
The Pope twits Biseglia on his coldness, saying, “Think you that my daughter hath a deformity?” And Biseglia gives the irritable answer, “Can a man love a woman while that young spit-fire glowers green envy at him opposite?”
Pesaro leaps to his feet, but the Pope, as though to pacify him, pledges him and hands the goblet to the masked woman to offer to him. Still standing uncertain, Pesaro receives it from her. Raising it slowly, his lips touch the brim; he clutches at his throat, upsetting the cup so that the red stain flows towards Lucrezia. He leans out, gazes in her eyes, and crashes across the table, twisting as he falls, still looking up at her.
The silence that follows is broken by a low rippling laugh. The company gaze in astonishment; it is Lucrezia who is laughing. The child in her face is dead; her expression is inscrutable, wicked and sirenish. She sways towards Biseglia, bending back her head and twining her arms about him. “Hath the Pope’s daughter a deformity that thou canst not love her? Behold, thou shalt judge. She will dance and dance, till she dances thee into rapture and thy soul is poured out upon her.”
From the hand of a servitor she snatches a torch and steps into the open. She commences to dance and, as she dances, unbuckles her girdle so that her gown slips from her. As the beat of the music grows more furious she unbinds her hair, so that it writhes like snakes about her firm white arms and bust. Dwarfs clamber into trees and slide out along their branches, raining rose-leaves on her as she passes. The strangely attired company forget their jaded decadence and sprawl across the table, digging their elbows into its scattered magnificence, following the gleam of her young, white body as it twists and turns beneath the whirling torch.
But her gaze is bent always on Biseglia; her eyes are aslant and beckoning. Her bosom rises and falls more fiercely with the wrenching in-take of the breath. Will he never go to her?
She flings back her hair from her shoulders; her body flashes like an unsheathed sword. Nearer and nearer to him she dances. His eyes rest on her moodily, half-closed. Does he make a movement, quickly she withdraws.
She has flung away her torch and is spinning madly with her hands clasped behind her head. The grass is hidden with rose-leaves; she floats—her feet scarcely stir them. Suddenly she stops; stands erect for an ecstatic moment; sways dizzily; her strength is gone. Her hands, small and pitiful, fly up to cover her eyes. She shakes her hair free to hide her. Her body crumples. She is broken with her shame and futility. Biseglia leaps the table and has her in his arms as she falls, pressing his hot lips against hers. With clenched fists she smites him from her, slips from his embrace, and runs shimmering like a white doe through the forest of blackness.
With a shout the revelers shatter the banquet and pour in pursuit of her. Biseglia leads them, darting ahead into the shadows. Dancing and singing, the disheveled bacchanalians stagger across the dark, trouping along dusky terraces with twining arms, following the fleeing dryad.
Torches are burnt out and smolder in their sockets. Night is tattered by the dawn. Amid the havoc of trampled chalices and glass sprawls the wine-stained figure of the dead Lord of Pesaro—the man who, could she have loved him, would have given her all.