A friend had given Josephine Ford a box at the opera for one evening; our story continues by night. The box was large and important, near the stage. Josephine and Julia were there, with Robert and Jim—also two more men. The women sat in the front of the box, conspicuously. They were both poor, they were rather excited. But they belonged to a set which looked on social triumphs as a downfall that one allows oneself. The two men, Lilly and Struthers, were artists, the former literary, the latter a painter. Lilly sat by Josephine in the front of the box: he was her little lion of the evening.
Few women can sit in the front of a big box, on a crowded and full-swing opera night, without thrilling and dilating. There is an intoxication in being thus thrust forward, conspicuous and enhanced, right in the eye of the vast crowd that lines the hollow shell of the auditorium. Thus even Josephine and Julia leaned their elbows and poised their heads regally, looking condescendingly down upon the watchful world. They were two poor women, having nothing to do with society. Half bohemians.
Josephine was an artist. In Paris she was a friend of a very fashionable dressmaker and decorator, master of modern elegance. Sometimes she designed dresses for him, and sometimes she accepted from him a commission to decorate a room. Usually at her last sou, it gave her pleasure to dispose of costly and exquisite things for other people, and then be rid of them.
This evening her dress was a simple, but a marvellously poised thing of black and silver: in the words of the correct journal. With her tight, black, bright hair, her arched brows, her dusky-ruddy face and her bare shoulders; her strange equanimity, her long, slow, slanting looks; she looked foreign and frightening, clear as a cameo, but dark, far off. Julia was the English beauty, in a lovely blue dress. Her hair was becomingly untidy on her low brow, her dark blue eyes wandered and got excited, her nervous mouth twitched. Her high-pitched, sing-song voice and her hurried laugh could be heard in the theatre. She twisted a beautiful little fan that a dead artist had given her.
Not being fashionable, they were in the box when the overture began. The opera was Verdi—Aida. If it is impossible to be in an important box at the opera without experiencing the strange intoxication of social pre-eminence, it is just as impossible to be there without some feeling of horror at the sight the stage presents.
Josephine leaned her elbow and looked down: she knew how arresting that proud, rather stiff bend of her head was. She had some aboriginal American in her blood. But as she looked, she pursed her mouth. The artist in her forgot everything, she was filled with disgust. The sham Egypt of Aida hid from her nothing of its shame. The singers were all colour-washed, deliberately colour-washed to a bright orange tint. The men had oblong dabs of black wool under their lower lip; the beard of the mighty Pharaohs. This oblong dab shook and wagged to the singing.
The vulgar bodies of the fleshy women were unendurable. They all looked such good meat. Why were their haunches so prominent? It was a question Josephine could not solve. She scanned their really expensive, brilliant clothing. It was nearly right—nearly splendid. It only lacked that last subtlety which the world always lacks, the last final clinching which puts calm into a sea of fabric, and yet is the opposite pole to machine fixity.
But the leading tenor was the chief pain. He was large, stout, swathed in a cummerbund, and looked like a eunuch. This fattish, emasculated look seems common in stage heroes—even the extremely popular. The tenor sang bravely, his mouth made a large, coffin-shaped, yawning gap in his orange face, his little beard fluttered oddly, like a tail. He turned up his eyes to Josephine's box as he sang—that being the regulation direction. Meanwhile his abdomen shook as he caught his breath, the flesh of his fat, naked arms swayed.
Josephine looked down with the fixed gravity of a Red Indian, immovable, inscrutable. It was not till the scene was ended that she lifted her head as if breaking a spell, sent the point of her tongue rapidly over her dried lips, and looked round into the box. Her brown eyes expressed shame, fear, and disgust. A curious grimace went over her face—a grimace only to be expressed by the exclamation Merde! But she was mortally afraid of society, and its fixed institutions. Rapidly she scanned the eyes of her friends in the box. She rested on the eyes of Lilly, a dark, ugly man.
“Isn't it nasty?” she said.