Didactic fiction; Men -- United States -- Fiction; United States -- Social life and customs -- 19th century -- Fiction
Larue had risen, and Ruth triumphantly led him to his place. He knew
that she was laughing at him; in fact, as he went through the figures
calmly, his partner mimicked him to his face. But he was indifferent
alike to her laughter and her mimicry; what he was noticing was her
beauty. If he had been speaking of her, he would have called her
"prettyish"; but as he was only thinking, he allowed himself to note the
charm of her eyes for the moment, the color in her cheeks and lips. For
he was sure that it was only for the moment. "The coloring is
evanescent," was his mental criticism. "Her beauty will not last. For
she is handsome only when she is happy, and happiness for her means
doing exactly as she pleases, and having her own way unchecked. No woman
can do that forever. By the time she is thirty she may be absolutely
plain."
Maud Muriel had laid aside her hat and jacket. She possessed a wealth of
beautiful red hair, whose thick mass was combed so tightly back from her
forehead that it made her wink; her much-exposed countenance was not at
all handsome, though her hazel eyes were large, calm, and clear. She was
a spinster of thirty-six--tall and thin, with large bones. And from her
hair to her heels she was abnormally, extraordinarily straight. She
danced with much vigor, scrutinizing Chase, and talking to him in the
intervals between the figures. These intervals, however, were short, for
Ruth improvised with rapidity. Finally she kept them all flying round in
a circle so long that Mrs. Franklin, breathless, signalled that she must
pause.
"Now we are all hungry," said Ruth. "Zoe, see to the coffee. And, Rinda,
you may make ready here. We won't go to the dining-room, His Grand; it's
much more fun in the kitchen."
Various inviting dishes were soon arrayed upon a table. And then Ruth,
to pass away the time until the coffee should be ready, began to sing.
All the Franklins sang; Miss Billy had a sweet soprano, Maud Muriel a
resonant contralto, and Malachi Hill a tenor of power; Etheridge, when
he chose, could add bass notes.
"Hark, the merry merry Christ-Church bells,
One, two, three, four, five, six;
They sound so strong, so wondrous sweet,
And they troll so merrily, merrily."
Public-domain text, read in full here on John Shaqi.
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