Chronicles of Dustypore: A Tale of Modern Anglo-Indian SocietyCunningham, H. S. (Henry Stewart), Sir
History
Chronicles of Dustypore: A Tale of Modern Anglo-Indian Society
Cunningham, H. S. (Henry Stewart), Sir
British -- India -- Fiction; India -- History -- British occupation, 1765-1947 -- Fiction
In the first place, Sutton, all ablaze with medals, tall, majestic,
impressive, and as Maud had come to think with Felicia, undeniably
handsome, had begged her in the morning to keep several dances for him.
The prospect of this among other things had put her in a flutter. She
would have preferred some of the ensigns. It seemed a sort of alarming
familiarity. Could such a being valse and bend, as ordinary mortals do,
to the commonplace movements of a mere quadrille? It was one thing to go
spinning round with another school-girl, under the superintendence of
Madame Millville, to the accompaniment of her husband's violin: but to
be taken possession of by a being like Sutton--to have to write his name
down for two valses and a set of Lancers--to know that in five minutes
one will be whirling about under his guidance--the idea was delightful,
but not without a touch of awe! Sutton, however, quieted these alarms by
dancing in a rather ponderous and old-fashioned manner, and finally
tearing her dress with his spur. Maud had accordingly to be carried off,
in order that the damage might be repaired; and--her mind somewhat
lightened by the sense of responsibility discharged and the ice
satisfactorily broken--looked forward to the rest of the evening with
ummingled pleasure. While her torn dress was being set to rights she
scanned her card, saw Sutton's name duly registered for his promised
dances, and made up her mind, as she compared him with the rest, that
there was no one in the room she liked one-half as well.
But then she had not danced with Desvoeux; and Desvoeux was now waiting
at the door and imploring her not to curtail the rapture of a valse, the
first notes of which had already sounded. Desvoeux's dancing, Maud
speedily acknowledged to herself, bore about the same relation to
Sutton's that her Arab pony's canter did to the imposing movements of
the latter gentleman's first charger. His tongue, too, seemed as nimble
as his feet. He was in the highest possible spirits, and the careless,
joyous extravagance of his talk struck a sympathetic chord in his
companion's nature.
'There!' he cried, as the last notes of the music died away and he
brought his companion to a standstill at a comfortable sofa, 'Such a
valse as that is a joy for ever--a thing to dream of, is it not? Some
ladies, you know, Miss Vernon, dance in epic poems, some in the sternest
prose--Carlyle, for instance--some in sweet-flowing, undulating,
rippling lyrics: Yours is (what shall I say?) an ode of Shelley's or a
song from Tennyson, a smile from Paradise! Where can you have learnt
it?'
'Monsieur Millville taught us all at my school,' said Maud, prosaically
mindful of the many battles she had had in former days with that
gentleman: 'a horrid little wizened Frenchman, with a fiddle. We all
hated him. He was always going on at me about my toes.'
Public-domain text, read in full here on John Shaqi.
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