A Gray Eye or So. In Three Volumes—Volume I

by Frank Frankfort Moore

He knew that his father generally succeeded in making himself interesting to women.

In another part of the hall Lady Innisfail was succeeding in making herself interesting to some of the men. She also was accustomed to meet with success in this direction. She was describing to such as had contrived to escape the walk to Ballycruiskeen, the inexhaustibly romantic charm of the scene on the Curragh while the natives were dancing, and the descriptions certainly were not deficient in colour.

The men listened to her with such an aspect of being enthralled, she felt certain that they were full of regret that they had failed to witness the dance. It so happened, however, that the result of her account of the scene was to lead those of her audience who had remained at the Castle, to congratulate themselves upon a lucky escape.

And all this time, Harold noticed that his father was making himself interesting to Beatrice Avon.

The best way for any man to make himself interesting to a woman is to show himself interested in her. He knew that his father was well aware of this fact, and that he was getting Beatrice Avon to tell him all about herself.

But when Lady Innisfail reached the final situation in her dramatic account of the dance, and hurried her listeners to the brink of the cliff—when she reproduced in a soprano that was still vibratory, the cry that had sounded through the mist—when she pointed to Miss Avon in telling of the white figure that had emerged from the mist—(Lady Innisfail did not think it necessary to allude to Helen Craven, who had gone to bed)—the auditors’ interest was real and not simulated. They looked at the white figure as Lady Innisfail pointed to her, and their interest was genuine.

They could at least appreciate this element of the evening’s entertainment, and as they glanced at Harold, who was eating a number of sandwiches in a self-satisfied way, they thought that they might safely assume that he was the luckiest of the dramatis personae of the comedy—or was it a tragedy?—described by Lady Innisfail.

And all this time Harold was noticing that his father, by increasing his interest in Beatrice, was making himself additionally interesting to her.

But the judge had also—at the intervals between his Homeric nods—been noticing the living things around him. He put aside his glass and its straw—he had been toying with it all the evening, though the liquid that mounted by capillary attraction up the tube was something noisome, without a trace of alcohol—and seated himself on the other side of the girl.

He assured her that he had known her father. Lord Fotheringay did not believe him; but this was not to the point, and he knew it. What was to the point was the fact that the judge understood the elements of the art of interesting a girl almost as fully as Lord Fotheringay did, without having quite made it the serious business of his life. The result was that Miss Avon was soon telling the judge all about herself—this was what the judge professed to be the most anxious to hear—and Lord Fotheringay lit a cigar.