The Bride of Mission San José: A Tale of Early CaliforniaCull, John Augustine
HistoryChristian
The Bride of Mission San José: A Tale of Early California
Cull, John Augustine
California -- History -- To 1846 -- Fiction
"We have laid before the Captain our point of view," Hernandez was
saying. "Even the charming Señora Valentino, a stranger here and
altogether free from self-interest, agrees----"
They passed into the ballroom.
Señor Mendoza walked up and down the room, pretending to clap his hands
before this señorita, or that, this being the signal by which the
favored one was notified that she was to set foot to the measures.
Laughter and bantering without stint went around.
"Lolita Hernandez!"
"Lucinda Higuera!"
"Tula Laynez!"
"Juanita Calderon!"
"Alfreda Castro!" from yet another partisan; and so on.
"The Señorita Carmelita!" cried a dozen voices as the doña entered.
"Beautiful! Beautiful!" exclaimed the usually phlegmatic Fulgencio
Higuera. "The señorita Mendoza has stolen the light of stars for her
eyes, and she has robbed the gardens for her cheeks. Let her dance El
Son."
She bowed in appreciation.
"I thank you," she said. Then to her father, "Papacito, a word."
They withdrew.
"Will you ask me to dance El Son?"
Wondrously beautiful she was, her dark eyes glowing, the color flaming
in her cheeks. The chivalry of his young manhood lived again as he saw
the resplendent girl. Joy leaped in his heart that this exquisite
creature was his daughter. She stood before him, every element of her
personality pleading.
"Please, Papacito! I wish it to-night more than anything else."
They walked back among the people. The company unwittingly seconded
her request.
"The Señorita Mendoza, the fairest of the fair! Call her, señor! Call
her, the lily of the valley!"
The old don hesitated.
Again came the request from all sides, increasing insistent.
"Papacito, please!" urged the girl in low voice.
He clapped his hands before her.
In the midst of loud applause she walked to the middle of the room.
The music, now dreamy and insinuating, soon took a livelier turn. The
young woman glided back and forth on the waxed floor as lightly as a
swallow skims the air. In willowy movements, hands and feet in perfect
correspondence, she hovered over the cleared space, seeming scarcely to
touch the floor. Then, in wider step, she circled over this space in
eaglelike sweeps, her arms outstretched and her long hair floating.
Without pausing, the girl's movements became sinuous, gentle. She
advanced, retreated, again came forward, as if entreating, but fearing
rebuff. Rare grace and charm was in every motion.
"Brava! Brava!" shouted the men, while above all was heard the excited
voice of Morando.
With arms extended she fluttered from side to side, as a butterfly
sipping honey from flower-cups here and there, staying but an instant
at any one.
Her hand made gesture to the musicians.
The strain became bold, quick, martial.
She spun on her toe-tips, her long dress billowing, her hair streaming.
As she whirled, her feet described winding figures on the floor, her
skirts repeating the design.
More and more quickly Carmelita circled over the room.
Public-domain text, read in full here on John Shaqi.
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