Detective and mystery stories; English fiction -- 19th century
central object the gaze of everyone in the audience was drawn and fixed.
The music now grew wilder and sharper, the violins began to scream, the
’cellos to swear, and Sound itself, torn into shreds of impatient
vibration, was beginning to protest discordantly at the whole
representation, when lo!—the golden cocoon grew slowly more and more
transparent, as if some invisible hand were winding off the silken
treasure of the spinning, and the white form of a woman was dimly,
delicately seen through the half-opaque covering. Loud murmurs of
applause began, which swelled into a rapturous roar of ecstasy as with a
sudden, sharp noise, which was echoed and repeated in the orchestra, the
cocoon split asunder, and La Marina bounded forward to the footlights.
Clad in diaphanous drapery, which scarcely concealed her form, and
spreading forth two white butterfly wings, illumined in some mysterious
way by electricity, she commenced her gliding dance—an intricate whirl
of wonderful sinuous movements, every one of which might have served as
a study for a sculptor. Her feet moved flyingly without sound; her
face, artistically tinted for stage-effect, was beautiful; her hair of
reddish-brown, lit weirdly by concealed electric dewdrops, flowed about
her in a cloud that resembled a smouldering fire; and as she danced, she
smiled as sweetly and with as perfect an imitation of childlike
innocence as though she had in very truth been newly born in fairyland
that night, just as she seemed,—a creature of light, love and mirth,
with no idea at all of the brandy awaiting her by her own order in her
dressing-room off the ‘wings.’ And Delicia, frozen into a kind of
unnatural calm, watched her steadily, coldly, critically; and watching,
realised that the Bond Street jeweller had not spoken without knowledge,
for there, on Marina’s panting bosom, gleamed the diamond dove carrying
the golden love-token, which said, ‘_Je t’adore ma mie!_’ Flashing
brilliantly with every toss and whirl of the dancer’s pliant body, it
was to Delicia the proof-positive of her husband’s dishonour. And yet
she found it difficult to grasp the truth at once; she was not aware of
any particular emotion of hurt, or rage, or grief; she only felt very
cold and sick, and she could not put so strong a control on herself as
to quite hide these physical sensations altogether, for Mrs Cavendish,
glancing at her in alarm, exclaimed,—
‘Delicia, you are not well! Robert, she’s going to faint; take her out
of the box! Give her some air!’
Delicia forced herself to smile—to speak.
‘It is nothing, I assure you,’ she said, ‘nothing but the heat and the
smoke. Pray do not mind me; it will soon pass.’
But despite her words, she half rose and looked nervously about her as
if seeking for some escape; then, refusing Mr Cavendish’s
hastily-offered arm, she sat down again.
‘I will see this dance out,’ she said tremulously; ‘and then, perhaps,
if you are ready, we will go.’
Public-domain text, read in full here on John Shaqi.
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