قراءة كتاب Berenice

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‏اللغة: English
Berenice

Berenice

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دار النشر: Project Gutenberg
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14]"/>his companion’s face closely, was gratified to find a distinct change there. In Matravers’ altered expression was something more than the transitory sensation of pleasure, called up by the unexpected appearance of a very beautiful woman. The whole impassiveness of that calm, almost marble-still face, with its set, cold lips, and slightly wearied eyes, had suddenly disappeared, and what Ellison had hoped for had arrived. Matravers was, without doubt, interested.

“What I have seen,” Matravers said gravely, “I do not like”“What I have seen,” Matravers said gravely, “I do not like”

Yet the woman, whose appearance had caused a certain thrill to quiver through the house, and whose coming had certainly been an event to Matravers, did absolutely nothing for the remainder of that dreary first act to redeem the forlorn play, or to justify her own peculiar reputation. She acted languidly, her enunciation was imperfect, her gestures were forced and inapt. When the curtain went down upon the first act, Matravers was looking grave. Ellison was obviously uneasy.

“Berenice,” he muttered, “is not herself to-night. She will improve. You must suspend your judgment.”

Matravers fingered his programme nervously.

“You are interested in this production, Ellison,” he said, “and I should be sorry to write anything likely to do it harm. I think it would be better if I went away now. I cannot be blamed if I decline to give an opinion on anything which I have only partially seen.”

Ellison shook his head.

“No, I’ll chance it,” he said. “Don’t go. You haven’t seen Berenice at her best yet. You have not seen her at all, in fact.”

“What I have seen,” Matravers said gravely, “I do not like.”

“At least,” Ellison protested, “she is beautiful.”

“According to what canons of beauty, I wonder?” Matravers remarked. “I hold myself a very poor judge of woman’s looks, but I can at least recognize the classical and Renaissance standards. The beauty which this woman possesses, if any, is of the decadent order. I do not recognize it. I cannot appreciate it!”

Ellison laughed softly. He had a marvellous belief in this woman and in her power of attracting.

“You are not a woman’s man, Matravers, or you would know that her beauty is not a matter of curves and colouring! You cannot judge her as a piece of statuary. All your remarks you would retract if you talked with her for five minutes. I am not sure,” he continued, “that I dare not warrant you to retract them before this evening is over. At least, I ask you to stay. I will run my risk of your pulverization.”

The curtain rang up again, the play proceeded. But not the same play—at least, so it seemed to Matravers—not the same play, surely not the same woman! A situation improbable enough, but dramatic, had occurred at the very beginning of the second act. She had risen to the opportunity, triumphed over it, electrified her audience, delighted Ellison, moved Matravers to silent wonder. Her personality seemed to have dilated with the flash of genius which Matravers himself had been amongst the first to recognize. The strange pallor of her face seemed no longer the legacy of ill-health; her eyes, wonderfully soft and dark, were lit now with all manner of strange fires. She carried herself with supreme grace; there was not the faintest suspicion of staginess in any one of her movements. And more wonderful than anything to Matravers, himself a delighted worshipper of the beautiful in all human sounds, was that marvellously sweet voice, so low and yet so clear, expressing with perfect art the highest and most hallowed emotions, with the least amount of actual sound. She seemed to pour out the vial of her wrath, her outraged womanhood in tones raised little above a whisper, and the man who fronted her seemed turned into the actual semblance of an ashamed and unclean thing. Matravers made no secret now of his interest. He had drawn his chair to the front of the box, and the footlights fell full upon his pale, studious face turned with grave and absolute attention upon the little drama working itself out upon the stage. Ellison in the midst of his jubilation found time to notice what to him seemed a somewhat singular incident. In crossing the stage her eyes had for a moment met Matravers’ earnest gaze, and Ellison could almost have declared that a faint, welcoming light flashed for a moment from the woman to the man. Yet he was sure that the two were strangers. They had never met—her very name had been unknown to him. It must have been his fancy.

The curtain fell upon the second and final act amidst as much applause as the sparsely filled theatre could offer; but mingled with it, almost as the last words of her final speech had left her lips, came a curious hoarse cry from somewhere in the cheaper seats near the back of the house. It was heard very distinctly in every part; it rang out upon the deep quivering stillness which reigns for a second between the end of a play which has left the audience spellbound, and the burst of applause which is its first reawakening instinct. It was drowned in less than a moment, yet many people turned their startled heads towards the rows of back seats. Matravers, one of the first to hear it, was one of the most interested—perhaps because his sensitive ears had recognized in it that peculiar inflection, the true ring of earnestness. For it was essentially a human cry, a cry of sorrow, a strange note charged in its very hoarseness and spontaneity with an unutterable pathos. It was as though it had been actually drawn from the heart to the lips, and long after the house had become deserted, Matravers stood there, his hands resting upon the edge of the box, and his dark face turned steadfastly to that far-away corner, where it seemed to him that he could see a solitary, human figure, sitting with bowed head amongst the wilderness of empty seats.

Ellison touched him upon the elbow.

“You must come with me and be presented to Berenice,” he said.

Matravers shook his head.

“Please excuse me,” he said; “I would really rather not.”

Ellison held out a crumpled half-sheet of notepaper.

“This has just been brought in to me,” he said.

Matravers read the single line, hastily written, and in pencil:—

“Bring your friend to me.—B.”

“It will scarcely take us a moment,” Ellison continued. “Don’t stop to put on your coat; we are the last in the theatre now.”

Matravers, whose will was usually a very dominant one, found himself calmly obeying his companion. Following Ellison, he was bustled down a long, narrow passage, across a bare wilderness of boards and odd pieces of scenery, to the door of a room immediately behind the stage. As Ellison raised his fingers to knock, it was opened from the inside, and Berenice came out wrapped from head to foot in a black satin coat, and with a piece of white lace twisted around her hair. She stopped when she saw the two men, and held out her hand to Ellison, who immediately introduced Matravers.

Again Ellison fancied that in her greeting of him there were some traces of a former knowledge. But

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