Ariel looked at me again, in the double intoxication of the wine and the triumph.
“I know no more than the cat in the kitchen,” she repeated, with a broad grin of gratified vanity. “I am ‘happy Ariel!’ What are you?”
Miserrimus Dexter laughed uproariously.
“Didn’t I tell you?” he said. “Isn’t she fun?—Persons of the Drama,” he resumed: “three in number. Women only. Angelica, a noble lady; noble alike in spirit and in birth. Cunegonda, a beautiful devil in woman’s form. Damoride, her unfortunate maid. First scene: a dark vaulted chamber in a castle. Time, evening. The owls are hooting in the wood; the frogs are croaking in the marsh.—Look at Ariel! Her flesh creeps; she shudders audibly. Admirable Ariel!”
My rival in the Master’s favor eyed me defiantly. “Admirable Ariel!” she repeated, in drowsy accents. Miserrimus Dexter paused to take up his goblet of Burgundy—placed close at hand on a little sliding table attached to his chair. I watched him narrowly as he sipped the wine. The flush was still mounting in his face; the light was still brightening in his eyes. He set down his glass again, with a jovial smack of his lips—and went on:
“Persons present in the vaulted chamber: Cunegonda and Damoride. Cunegonda speaks. ‘Damoride!’ ‘Madam?’ ‘Who lies ill in the chamber above us?’ ‘Madam, the noble lady Angelica.’ (A pause. Cunegonda speaks again.) ‘Damoride!’ ‘Madam?’ ‘How does Angelica like you?’ ‘Madam, the noble lady, sweet and good to all who approach her, is sweet and good to me.’ ‘Have you attended on her, Damoride?’ ‘Sometimes, madam, when the nurse was weary.’ ‘Has she taken her healing medicine from your hand.’ ‘Once or twice, madam, when I happened to be by.’ ‘Damoride, take this key and open the casket on the table there.’ (Damoride obeys.) ‘Do you see a green vial in the casket?’ ‘I see it, madam.’ ‘Take it out.’ (Damoride obeys.) ‘Do you see a liquid in the green vial? can you guess what it is?’ ‘No, madam.’ ‘Shall I tell you?’ (Damoride bows respectfully ) ‘Poison is in the vial.’ (Damoride starts; she shrinks from the poison; she would fain put it aside. Her mistress signs to her to keep it in her hand; her mistress speaks.) ‘Damoride, I have told you one of my secrets; shall I tell you another?’ (Damoride waits, fearing what is to come. Her mistress speaks.) ‘I hate the Lady Angelica. Her life stands between me and the joy of my heart. You hold her life in your hand.’ (Damoride drops on her knees; she is a devout person; she crosses herself, and then she speaks.) ‘Mistress, you terrify me. Mistress, what do I hear?’ (Cunegonda advances, stands over her, looks down on her with terrible eyes, whispers the next words.) ‘Damoride! the Lady Angelica must die—and I must not be suspected. The Lady Angelica must die—and by your hand.’”
He paused again. To sip the wine once more? No; to drink a deep draught of it this time.
Was the stimulant beginning to fail him already?
I looked at him attentively as he laid himself back again in his chair to consider for a moment before he went on.
The flush on his face was as deep as ever; but the brightness in his eyes was beginning to fade already. I had noticed that he spoke more and more slowly as he advanced to the later dialogue of the scene. Was he feeling the effort of invention already? Had the time come when the wine had done all that the wine could do for him?