What Will People Say? A Novel

by Rupert Hughes

When the music ended with a jolt Mrs. Neff clung dizzily to him, gave him an accolade of approval with her fan, and booked him for the next dance but one. If Forbes had had social ambitions, he would have felt that he was a made man. Yet if he had had social ambitions he would probably have betrayed and so defeated them.

Mrs. Neff having granted him a reprieve of one dance, Forbes made haste to ask Persis for the next. She smiled and gave him that wren-like nod.

His heart beat with syncopation when he rose at the first note of music. How differently she nestled and fitted into his embrace. Winifred had been more than an arm-load, and gave the impression of an armor of silk and steel and strained elastic. Mrs. Neff was too slender for him, and for all her agility there was a sense of bones and muscles. But Persis was flesh in all its magic. She was not bones nor muscles nor corsets, she was a mysterious embodiment of spirit and beauty, fluid yet shapely, unresisting yet real, gentle and terrible.

By now Forbes was familiar enough with the trickeries of the steps to leave his feet to their own devices. He was a musician who knows his instrument and his art well enough to improvise: soul and fingers in such rapport that he hardly knows whether the mood compels the fingers or the fingers suggest the mood.

And the same rapport existed with Persis. They evaded collisions with the other dancers and with the gilded columns by a sort of instinct; they sidled, whirled, dipped, pranced, or pirouetted, composed strange contours of progress as if with one mind and one body.

And now the rapture of the dance was his, and he was enabled to play upon her grace and her miraculously pliant sympathy. Her brow was just at the level of his lips, and he began to wish to press his lips there. Now and then her eyelids rose slowly and she looked up into his downward gaze. They were mysterious looks she gave him. They were to her as impersonal and vague as the rapture that fills the eyes when the west is epic with sunset, or when an orchestra pours forth a chord of unusual ecstasy, or a rose is so beautiful that it inspires a kind of heavenly sorrow.

But Forbes misunderstood. He usurped to himself the tribute she was unconsciously paying to the mere beatitude of being alive and in rhythmic motion to music.

We have built up strange subtleties of perception. The most intolerable discords are those of tones that lie just next each other; the harshest of noises rise when an instrument is only a little out of tune or a voice sings a trifle off the key.

Persis had accepted Forbes at Ten Eyck's rating as a gentleman to whom she could intrust her body to embrace and carry through the complex evolutions of a dance on a floor whose very throngs made a solitude and concealment for wantonness of thought and carriage.

So intimate a union is required when two people dance that it is easy to understand why the enemies of the dance denounce it as shameless carnality. It is hard to explain to them how potently custom and minute restraints permit an innocent dalliance with the materials of passion. One can only compare it to skating over thin ice, and say that so long as one keeps on skating a tiny crust of chill permits a joyous exercise without a hint of the depths beneath. And the ice itself gives warning when the danger is too close; its tiny crackling sound is thunder in the ears.