The Freaks of MayfairBenson, E. F. (Edward Frederic)
General
The Freaks of Mayfair
Benson, E. F. (Edward Frederic)
England -- Social life and customs -- 20th century -- Fiction; Humorous stories, English; Short stories, English
But to-night this face of common objects rose out of the most wonderful
gown in shades of orange that was ever seen. It was crowned too in a
winking splendour of diamonds that shouted and sang in her
sandy-coloured hair, and round her neck were half-a-dozen rows of
marvellous pearls. While the curtain was up she sat close to the front
of her box with her eyes undeviatingly fixed on the stage, and when the
curtain fell she stood there a minute more, so that the whole house
should get a good view of her. She did not look about her; she merely
stood there, seemingly unconscious of the opera-glasses that were turned
on her from all quarters of the house. All round, everybody was asking
everybody else who the woman with the diamond Crystal Palace was, and
nobody knew. Nor did anybody know, not even Mrs. Isaacs, the fashionable
clairvoyante, who exposed a considerable portion of her ample form in
the stalls, that through the mists of the horizon there faintly shone
to-night the star of surpassing magnitude that was to climb to the very
zenith, and burn there in unwinking splendour.
For the next week Sarah took no direct step forward, but sat in the Ritz
Hotel, or in her box at the opera, or drove about on shopping errands.
Among these latter must be included a quantity of visits to
house-agents, who had in their hands the letting of furnished houses in
such localities as Grosvenor Square and Brook Street, and what seemed to
interest her more than the houses themselves was the question of who was
wishing to let them. But she was in no hurry: she was perfectly well
aware that the first steps were of the utmost importance, and before she
stepped at all, she wanted to find the largest and strongest
stepping-stone available. The evening usually found her alone in her
opera-box, seemingly absorbed in the presentation of Russian ballet, and
unconscious of the opera-glasses levelled at her. She gave the
opera-glasses something to look at too, for she never appeared twice in
the same gown, but in a series of last cries, most stimulating to the
observer. One night she wore a sort of bonnet of ospreys on her head,
and again everybody asked everybody else who the Cherokee Indian was.
But again nobody knew, and so they all supposed that the ospreys were
made of celluloid. But they had an uncomfortable idea that they might be
genuine. But if so, who’s were they? London began to be genuinely
intrigued.
Public-domain text, read in full here on John Shaqi.
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