“... no other than a moving row
Of Magic Shadow-shapes that come and go.”
He reached the hotel early in the evening, and was fortunate in being able to secure a suite of rooms. Soon wearying of the traffic in that world’s fair which caustic New York has nicknamed “Rubberneck Alley,” he bought a newspaper, and retired to his apartments. But the day’s record held no interest for him. He knew little of the men and women who figured therein; even less of the events which called for big type and immense headlines.
But his eye was caught by an announcement of a performance that night of Gounod’s “Faust” at the Metropolitan Opera House. He resolved to go there, never dreaming that the odds were hundreds to one against the chance of obtaining a seat; for New York had just entered the lists against the other capitals of the world, and was determined to capture the leading place in the grand-opera tourney.
He telephoned the office, “Kindly get me a stall for the Metropolitan this evening.”
And, behold! a blasé clerk was actually stirred out of boredom by the surprising statement received from the box-office that a stall had just been returned, and he could have it now if he closed at once. So Power never knew what a trick Fortune had played him, since there can be little doubt that the impression made by the marvelous music and extraordinarily human appeal of “Faust” insensibly prepared him for the tragic events of the coming day. Imagine a man of musical bent, who had dwelt seven years among veritable savages, renewing his acquaintance with the muses by hearing the most poignant of stage love-stories told in Gounod’s impassioned strains and interpreted by famous singers and a superb orchestra!
The exquisite tenderness of the doomed lover’s first address to Marguerite thrilled his inmost being.
“Ne permettrez-vous pas, ma belle demoiselle,
Qu’en vous offre le bras, pour faire le chemin?”
He was struck by the coincidence that the woman to whom he was pledged should be named Marguerite! Faire le chemin! Yes, they would soon be taking the long road of life together. What assured happiness seemed to breathe from each perfect note; yet what horror and despair would be the outcome of the man’s ardor and the maid’s shy diffidence! When Marguerite told Faust that she was ni demoiselle, ni belle, Power could hardly fail to recollect that his own Marguerite, not without cruel cause, was ever tortured by the fear that her disfigurement might some day turn him from her with loathing. Even the slaying of Valentine as the direct outcome of his sister’s frailty seemed, to the overwrought imagination of one member of the audience, to bear an uncanny analogy to his mother’s death. There remained one other point of contact between the story of the opera and Power’s own life; but, fortunately for him, or his surcharged emotions might not have withstood the strain, he could not recognize as yet that last and most terrible similarity.
As it was, his rapt interest in the opera attracted the attention of his neighbors in the stalls. As a girl whispered to her attendant cavalier:
“That man near us—the man with the piercing eyes and worn face—seems to regard ‘Faust’ as history rather than allegory.”