“Yes, man-of-war ‘Porcupine’, bound for Aden, I think.”
Mrs. Falchion at this laughed strangely, as she leaned forward looking, and then, rising quickly, said: “I prefer to walk.”
“May I accompany you?” I asked.
She inclined her head, and we joined the promenaders. The band was playing, and, for a ship-band, playing very well, the ballet music of Delibes’ ‘Sylvia’. The musicians had caught that unaccentuated and sensuous swing of the melody which the soft, tropical atmosphere rendered still more languorous. With Mrs. Falchion’s hand upon my arm, I felt a sense of capitulation to the music and to her, uncanny in its suddenness. At this distance of time it seems to me absurd. I had once experienced something of the same feeling with the hand of a young medical student, who, skilled in thought-reading, discovered the number of a bank-note that was in my mind.
This woman had an attractiveness compelling and delightful, at least in its earlier application to me. Both professionally and socially I have been brought into contact with women of beauty and grace, but never one who, like Mrs. Falchion, being beautiful, seemed so unconscious of the fact, so indifferent to those about her, so untouched by another’s emotion, so lacking in sensitiveness of heart; and who still drew people to her. I am speaking now of the earlier portion of our acquaintance; of her as she was up to this period in her life.
I was not alone in this opinion of her, for, as time went on, every presentable man and woman on the boat was introduced to her; and if some women criticised and some disliked her, all acknowledged her talent and her imperial attraction. Among the men her name was never spoken but with reserve and respect, and her afternoon teas were like a little court. She had no compromising tenderness of manner for man or woman; she ruled, yet was unapproachable through any avenues of sentiment. She had a quiet aplomb, which would be called ‘sang-froid’ in a man.
“Did you ever see a Spanish-Mexican woman dance?” she asked in one of the pauses of the music.
“Never: never any good dancing, save what one gets at a London theatre.”
“That is graceful,” she said, “but not dancing. You have heard of music stirring the blood; of savage races—and others—working themselves up to ecstatic fury? Maybe you have seen the Dervishes, or the Fijians, or the Australian aboriginals? No? Well, I have, and I have seen—which is so much more—those Spanish-Mexican women dance. Did you ever see anything so thrilling, so splendid, that you felt you must possess it?”—She asked me that with her hand upon my arm!—“Well, that is it. I have felt that way towards a horse which has won a great race, and to a woman who has carried me with her through the fantastic drama of her dance, until she stood at the climax, head thrown back, face glowing—a statue. It is grand to be eloquent like that, not in words, but in person.”
In this was the key to her own nature. Body and mind she was free from ordinary morbidness, unless her dislike of all suffering was morbid. With her this was a dislike of any shock to the senses. She was selfish at all points.