The fame of Chiquita's dancing had naturally aroused her curiosity. She would ask her to dance; not that she believed the half of what she heard concerning it, but it would be a satisfaction to see it. Besides, she had a certain motive of her own for so doing which she imparted to no one; the subtlest of a woman's thoughts which only the intuition of a woman could have prompted. She laughed to herself at the thought which invariably aroused within her a feeling akin to triumph. Why had she not thought of it before? She knew the Captain had already seen her dance, but then that was before he knew who she was. It had been in a theater, and his enthusiasm must have been prompted in a measure by that of the audience about him. The emotion of a large assembly was always contagious—sweeping the individual along with it. Whereas, in private, her dancing, lacking the glamour and artificiality of the stage, would be a very different thing. It would appear in a more realistic, commonplace light. Any faults which the atmosphere of the stage might have concealed would immediately become apparent in the light of natural surroundings and her performance sink to the level of the commonplace.
Her dancing could only be amateurish at its best, for where could she possibly have learned to dance? What instruction could she, living in this out-of-the-way corner of the world, have received in the art? As for local enthusiasm, it counted for little—amateurs were always so popular at home. And after all was said, what did the achievements of the great dancers really amount to? Their creations were not ranked with those of other artistic achievements. In fact, dancing could scarcely be ranked with the legitimate branches of art at all. At its best, it was only a pastime; something to amuse. This, of course, was the light in which she viewed one of the greatest arts which few ever succeed in mastering. Possibly because the world has really seen no dancing to speak of since the days of the great Taglioni, until the Pavlowa appeared. Even parts of the latter's art were questionable, but then, she was the Pavlowa!
Chiquita's dancing differed from anything Captain Forest had ever seen. As a matter of fact, much of it would not have been called dancing at all by many people, so different has the modern conception of the art become since the days of the ancients. But where had she received her instruction? The ability to dance, like any other talent, is born in one, not acquired. True, it must be developed through constant practice just like any other talent, if ever it is to amount to anything; but even then, great dancers are born just as great painters, poets and musicians are born.
The Indian's greatest pastime and amusement is dancing, and Chiquita had danced almost daily from earliest childhood to her sixteenth year when fate had led her to Padre Antonio's door. Then she went to the City of Mexico and also had visited Europe. In both places she had had the opportunity of seeing some of the greatest dancers of the day and was able to draw comparisons between their conceptions of the art and hers. But when she began the study of ancient history her attention was called to the Greeks' conception of the art, and she soon discovered that modern dancing was a direct violation of that which was most plastic in art, and consisted chiefly of contortions, high kicking and pirouetting on the toes. She also discovered that the conceptions of her own people regarding the art stood nearer that of the ancients than did modern man's. To her it was an interesting discovery. It was as natural for her to dance as to breathe, and from that hour she began to study and practice the art with renewed interest.
Shortly after her admittance to the convent, it was also discovered that she possessed a voice of unusual quality and range; and, as Padre Antonio had instructed the Sisters to do their utmost to develop any natural talent she might possess to a marked degree, the best teacher in voice culture which the city afforded was procured for her. These were Padre Antonio's wishes and they had been obeyed conscientiously by the Sisters who recognized Chiquita's strong dramatic ability.
The years passed, and, as the day finally arrived on which she was to leave school, the performances which marked the closing exercises were given as usual by the pupils. The last number on the programme represented an ancient Greek festival arranged by Padre Alesandro, the instructor in classic literature, in which Chiquita took the leading part, and in which, at her request, she was permitted to introduce a dance of her own creation. Among the many guests that had been invited to attend the closing ceremonies was one Signor Tosti, a ballet-master, who at the time was visiting the Capitol with an Italian opera company. A friend whose daughter took part in the exercises had persuaded him, much against his will, to attend; for what possible interest could a veteran of the ballet take in such amateurish exhibitions?
Touring the world with a troup of quarrelsome artists was arduous work for a tired old gentleman at its best. So, like the sensible man that he was, he promptly went to sleep at the opening of the performance and probably would have slept through the entire evening, had he not been aroused from his slumbers in the midst of the last number on the programme by the sound of a glorious voice—a deep mezzo-soprano of the richest contralto quality. Opening his eyes, he saw an assembly of beautifully clad, flower-bedecked Grecian youths and maidens drawn up across the back of the stage, chanting the chorus, and in their midst, in the foreground, one of the most beautiful women he had ever seen. He drew himself up with a start and rubbed his eyes to assure himself that he was really awake. And then, considering the occasion and the time and the place, he witnessed a performance that fairly took his breath away.
His Southern temperament became thoroughly aroused, and at the conclusion of the dance, he suddenly rose from his seat and without waiting for an introduction, rushed to the stage and springing upon it, bowed low before Chiquita and seizing her hand, kissed it in view of the audience. No one knew better than he did that, in his profession, a new star had just fallen from heaven to earth. The following day he and the director of his company waited upon Chiquita and offered her any sum she might choose to name if she would consent to join the company and return to Europe with them. But they did not know what Chiquita's past had been—that she was still the Amazon as of old—that the woman who had been trained to battle in her early youth the same as the men of her people had been trained, regarded as mere pastime that which they considered one of the heights of earthly attainment. The woman who at sunrise had listened daily to the song of the Memnon, who had experienced the shock of battle, whose life lived close to nature had taught her the meaning of the ethics of the dust and instilled into her veins the rippling laughter of water and sunshine and the song of the winds, and whose every breath had been the rapturous breath of freedom, viewed life from a different standpoint than that of men debased by centuries of servitude. The world of their creation was trifling in comparison to that of God's which to her was all sufficing and enabled her to look upon their doings with the same equanimity and indulgence as that with which the parent regards the frolicsome gambols of the child.
Twenty years of almost uninterrupted practice had kept her body and limbs supple and pliant, but this Blanch did not know.