"I don't want you to, really," she admitted in an agonized whisper. "I shall never again ask you to do that. Ah, God, how low I am."
He saw, in an unsparing flash of comprehension, that it was useless. She would never marry him as long as the past stayed embodied, actual, to peer into their beings. A return of his familiar irritability, spleen, possessed him. "You are too pure for this world," he said brutally. She turned and stood facing him, meeting his scorn with an uplifted countenance. A shifting reflection from the Furnace stack fell over her in a wan veil, over the vaporous, sprigged white of her dress, her bare throat and arms, her cheeks wet with tears. Out of it her eyes, wide with pain, steadily met his angry scrutiny. Out of it she smiled at him before the reflection died.
III THE METAL
XXIII
In the warm, subdued light of a double lamp with apricot glass shades Howat Penny was turning over the pages, stiff with dry paste, of an album filled with opera programmes. The date of the brief, precisely penned label on the black cover was 1883-84; it was the first of a number of such thick, recording volumes he had gathered; and the operas, the casts, were of absorbing interest. At once a memento of the heroic period of American music and of his first manhood, the faded crudely embellished strips of paper, bearing names, lyric tenors and sopranos of limpid, bird-like song long ago lost in rosy and nebulous clouds of fable and cherished affection, roused remembered pleasures sharper than any calm actuality of to-day. He paused with a quiet exclamation, the single glass adroitly held in his left, astigmatic, eye fastened on the announcement of a famous evening, a famous name. His sense of the leaf before him blurred in the vivid memory of Patti, singing Martha in the campaign brought by Mapleson in the old Academy of Music against the forces of the new Metropolitan Opera House. He had been one of a conservative number that had supported the established opera, declaring heatedly that the Diva and Mapleson were an unapproachable musical combination, before which the shoddier magnificence of its rival, erected practically in a few summer months, would speedily fade.
Nevertheless, he recalled, the widely heralded performance had been coolly received. Patti, although she had not perceptibly failed in voice, had been unable to inspire the customary enthusiasm; and the scene at the evening's end, planned to express her overwhelming triumph and superiority, when the horses had been taken from her carriage and it had been dragged by hand to the portal of the Windsor Hotel, had been no better than perfunctory. The wily Mapleson had arranged that beforehand, Howat Penny realized, with a faint, reminiscent smile on his severe lips—the "enthusiastic mob" had been coldly recruited, at a price, from the choristers. Another memory of Patti, and of that same performance, flooded back—the dinner given her in the Brunswick. He saw again the room where, on a divan, she had received her hosts, the seventy or more men of fashion grouped in irreproachable black and white, with her suave manager, the inevitable tea rose in his lapel, on a knee before Adelina, kissing her hand. The dinner had been laid in the ball room, lit with a multitude of wax candles. The features, appearance, of the more prominent men, of Mahun Stetson and Daly and William Steinway, were clear still. The original plan had been to include ladies at the dinner, but the latter, affecting outrage at the Diva's affair with the Marquis de Caux, had refused to lend their countenance to the singer's occasion. His smile broadened—this was so characteristic of New York in the eighties. How different it had been; but it was no better, he added silently, now.
It was mid-August, and the air floating in through an open door was ladened with the richness of ultra-luxuriant vegetation, the persistent, metallic whirring of locusts, the mechanical repetition of katydids. One of the owls that inhabited the old willow tree before the house cried softly.... How different! He straightened up from the book open on his knees, and the glass fell with a small clatter over his formal, starched linen, swinging for an instant on its narrow ribbon. The unwavering lamp light was deflected in green points through the emeralds of his studs.
The thought of bygone, gala nights of opera fastened on him with a peculiar significance—suddenly they seemed symbolic of his lost youth. Such tides of impassioned song, such poignant, lyric passion, such tragic sacrifice and death, were all in the extravagant key of youth. The very convention of opera, the glorified unreality of its language, the romantic impossibility of its colour, the sparkling dress like the sparkling voices and blue gardens and gilded halls, were the authentic expression of the resplendent vagaries of early years.