The House by the RiverHerbert, A. P. (Alan Patrick)
General
The House by the River
Herbert, A. P. (Alan Patrick)
London (England) -- Social life and customs -- 20th century -- Fiction; Murder -- Fiction; Poets -- Fiction
Then they went to look for John, and Muriel determined that she would be
very nice to him. The next dance was, nominally, a waltz, and that was a
rare event. John asked if he might waltz in the ancient fashion, and
though she was being conscientiously sweet and gracious to him, and
though she had made no murmur when Stephen had done as John would like
to do, some devil within her made her refuse. She said that he must do
the Hesitation Waltz as other people were doing. The chief point of this
seemed to be that you imitated the dog, not by spasms, but
consistently. Even the most expert practitioner failed to invest this
feat with elegance and dignity, and the remainder, poising themselves
pathetically with one leg in the air, as if waiting for the happy signal
when they might put it down, would have looked ridiculous if they had
not looked so sad. Stephen, revolving wearily with the younger Miss
Atholl, wished that the Medusa's head might be smuggled into the room
for the attitudes of this dance to be imperishably recorded in cold
stone. Then he caught sight of the unhappy John, and was smitten with an
amused sympathy. John's study of the habits of dogs had evidently been
superficial, and he did not greatly enjoy his first dance with his love.
He held her very reverently and loosely, though dimly aware that this
made things much more difficult, but he could not bring himself to seize
that soft and altogether sacred form in the kind of intimate clutch
which the other men affected--Stephen, he noticed, included. It was a
maddening complexity of emotion, that dance--the incredible awe and
rapture of holding his adored, however lightly, in his arms, the
intoxication of her nearness the fragrance of her dress, and the touch
of her hair upon his face--and all this ruined by the exasperating
futility of the actual dance, the vile necessity of thinking whether he
was in time with the music and in time with Muriel, and if he was going
to run into the couple ahead, and if there was room to reverse in that
corner, and whether he should cock his leg up farther, or not so far, or
not at all. He envied bitterly the easy accomplishment of the circling
youths about him, who, for all the earnestness of their expressions, had
each of them, no doubt, time to appreciate the fact that they held on
their arms some warm and lovely girl.
Public-domain text, read in full here on John Shaqi.
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