Gaylord Ravenal had not meant to fall in love. Certainly he had not dreamed of marrying. He was not, he would have told you, a marrying man. Yet Natchez had come and gone, and here he was, still playing juvenile leads on the Cotton Blossom; still planning, days ahead, for an opportunity to outwit Mrs. Hawks and see Magnolia alone. He was thoroughly and devastatingly in love. Alternately he pranced and cringed. To-day he would leave this dingy scow. What was he, Gaylord Ravenal, doing aboard a show boat, play-acting for a miserable thirty dollars a week! He who had won (and lost) a thousand a night at poker or faro. To-morrow he was resolved to give up gambling for ever; to make himself worthy of this lovely creature; to make himself indispensable to Andy; to find the weak chink in Parthy’s armour.
He had met all sorts of women in his twenty-four years. He had loved some of them, and many of them had loved him. He had never met a woman like Magnolia. She was a paradoxical product of the life she had led. The contact with the curious and unconventional characters that made up the Cotton Blossom troupe; the sights and sounds of river life, sordid, romantic, homely, Rabelaisian, tragic, humorous; the tolerant and meaty wisdom imbibed from her sprightly little father; the spirit of laissez faire that pervaded the whole atmosphere about her, had given her a flavour, a mellowness, a camaraderie found usually only in women twice her age and a hundredfold more experienced. Weaving in and out of this was an engaging primness directly traceable to Parthy. She had, too, a certain dignity that was, perhaps, the result of years of being deferred to as the daughter of a river captain. Sometimes she looked at Ravenal with the wide-eyed gaze of a child. At such times he wished that he might leap into the Mississippi (though muddy) and wash himself clean of his sins as did the pilgrims in the River Jordan.
On that day following Parthy’s excursion ashore at New Orleans there had been between her and Captain Andy a struggle, brief and bitter, from which Andy had emerged battered but victorious.
“That murdering gambler goes or I go,” Parthy had announced, rashly. It was one of those pronunciamentos that can only bring embarrassment to one who utters it.
“He stays.” Andy was iron for once.
He stayed. So did Parthy, of course.
You saw the two—Parthy and Ravenal—eyeing each other, backs to the wall, waiting for a chance to lunge and thrust.
Cotton Blossom business was booming. News of the show boat’s ingénue and juvenile lead filtered up and down the rivers. During the more romantic scenes of this or that play Parthy invariably stationed herself in the wings and glowered and made muttering sounds to which the two on stage—Magnolia starry-eyed as the heroine, Ravenal ardent and passionate as the lover—were oblivious. It was their only opportunity to express to each other what they actually felt. It probably was, too, the most public and convincing love-making that ever graced the stage of this or any other theatre.
Ravenal made himself useful in many ways. He took in hand, for example, the Cotton Blossom’s battered scenery. It was customary on all show boats to use both sides of a set. One canvas side would represent, perhaps, a drawing room. Its reverse would show the greens and browns of leaves and tree trunks in a forest scene. Both economy and lack of stage space were responsible for this. Painted by a clumsy and unimaginative hand, each leaf daubed as a leaf, each inch of wainscoting drawn to scale, the effect of any Cotton Blossom set, when viewed from the other side of the footlights, was unconvincing even to rural and inexperienced eyes. Ravenal set to work with paint and brush and evolved two sets of double scenery which brought forth shrieks of ridicule and protest from the company grouped about the stage.
“It isn’t supposed to look like a forest,” Ravenal explained, slapping on the green paint with a lavish hand. “It’s supposed to give the effect of a forest. The audience isn’t going to sit on the stage, is it? Well, then! Here—this is to be a gate. Well, there’s no use trying to paint a flat thing with slats that nobody will ever believe looks like a gate. I’ll just do this . . . and this . . .”