F. Harte - Cressy

She was dancing now, and with that same pale restraint and curious quiet that had affected him so strongly. She had not even looked in his direction, yet he was aware by the same instinct that had at first possessed him that she knew he was present. His desire to catch her eye was becoming mingled with a certain dread, as if in a single interchange of glances the illusions of the moment would either vanish utterly or become irrevocably fixed. He forced himself, when the set was finished, to turn away, partly to avoid contact with some acquaintances who had drifted before him, and whom politeness would have obliged him to ask to dance, and partly to collect his thoughts. He determined to make a tour of the rooms and then go quietly home. Those who recognized him made way for him with passive curiosity; the middle-aged and older adding a confidential sympathy and equality that positively irritated him. For an instant he had an idea of seeking out Mrs. Tripp and claiming her as a partner, merely to show her that he danced.

He had nearly made the circuit of the room when he was surprised by the first strains of a waltz. Waltzing was not a strong feature of Indian Spring festivity, partly that the Church people had serious doubts if David's saltatory performances before the Ark included "round dances," and partly that the young had not yet mastered its difficulties. When he yielded to his impulse to look again at the dancers he found that only three or four couples had been bold enough to take the floor. Cressy McKinstry and her former partner were one of them. In his present exaltation he was not astonished to find that she had evidently picked up the art in her late visit, and was now waltzing with quiet grace and precision, but he was surprised that her partner was far from being equally perfect, and that after a few turns she stopped and smilingly disengaged her waist from his arm. As she stepped back she turned with unerring instinct to that part of the room where the master stood, and raised her eyes through the multitude of admiring faces to his. Their eyes met in an isolation as supreme as if they had been alone. It was an attraction the more dangerous because unformulated-a possession without previous pledge, promise, or even intention-a love that did not require to be "made."

He approached her quietly and even more coolly than he thought possible. "Will you allow me a trial?" he asked.

She looked in his face, and as if she had not heard the question but was following her own thought, said, "I knew you would come; I saw you when you first came in." Without another word she put her hand in his, and as if it were part of an instinctive action of drawing closer to him, caught with her advancing foot the accent of the waltz, and the next moment the room seemed to slip away from them into whirling space.

The whole thing had passed so rapidly from the moment he approached her to the first graceful swing of her full skirt at his side, that it seemed to him almost like the embrace of a lovers' meeting. He had often been as near her before, had stood at her side at school, and even leaned over her desk, but always with an irritated instinct of reserve that had equally affected her, and which he now understood. With her conscious but pale face so near his own, with the faint odor of her hair clinging to her, and with the sweet confusion of the half lingering, half withheld contact of her hand and arm, all had changed. He did not dare to reflect that he could never again approach her except with this feeling. He did not dare to think of anything; he abandoned himself to the sense that had begun with the invasion of her hair-bound myrtle in the silent school-room, and seemed to have at last led her to his arms. They were moving now in such perfect rhythm and unison that they seemed scarcely conscious of motion. Once when they neared the open window he caught a glimpse of the round moon rising above the solemn heights of the opposite shore, and felt the cool breath of mountain and river sweep his cheek and mingle a few escaped threads of her fair hair with his own. With that glimpse and that sensation the vulgarity and the tawdriness of their surroundings, the guttering candles in their sconces, the bizarre figures, the unmeaning faces seemed to be whirled far into distant space. They were alone with night and nature; it was they who were still; all else had receded in a vanishing perspective of dull reality, in which they had no part.

Play on, O waltz of Strauss! Whirl on, O love and youth! For you cannot whirl so swiftly but that this receding world will return again with narrowing circle to hem you in. Faster, O cracked clarionet! Louder, O too brazen bassoon! Keep back, O dull and earthy environment, till master and pupil have dreamed their foolish dream!

They are in fancy alone on the river-bank, only the round moon above them and their linked shadows faintly fluttering in the stream. They have drawn so closely together now that her arm is encircling his neck, her soft eyes uplifted like the moon's reflection and drowning into his; closer and closer till their hearts stop beating and their lips have met in a first kiss. Faster, O little feet! swing clear, O Cressy's skirt and keep the narrowing circle back!. . They are again alone; the judges' dais and the emblazoning of the State caught in a single whirling flash of consciousness are changed to an altar, seen dimly through the bridal veil that covers her fair head. There is the murmur of voices mingling two lives in one. They turn and pass proudly down between the aisles of wondering festal faces. Ah! the circle is drawing closer. One more quick whirl to keep them back, O flying skirt and dainty-winged feet! Too late! The music stops. The tawdry walls shut in again, the vulgar crowds return, they stand pale and quiet, the centre of a ring of breathless admiring, frightened, or forbidding faces. Her arms fold like wings at her side. The waltz is over.

A shrill feminine chorus assail her with praises, struck here and there with a metallic ring of envy; a dozen all-daring cavaliers, made reckless by her grace and beauty, clamor for her hand in the next waltz. She replies, not to them, but to him, "Not again," and slips away in the crowd with that strange new shyness that of all her transformations seems the most delicious. Yet so conscious are they of their mutual passion that they do not miss each other, and he turns away as if their next meeting were already an appointed tryst. A few congratulate him on his skill. Johnny's paragon looks after him curiously; certain elders shake hands with him perplexedly, as if not quite sure of the professional consistency of his performance. Those charming tide-waiters on social success, the fair, artfully mingling expectation with compliment, only extract from him the laughing statement that this one waltz was the single exception allowed him from the rule of his professional conduct, and he refers them to his elder critics. A single face, loutish, looming, and vindictive, stands on among the crowd-the face of Seth Davis. He had not seen him since he left the school; he had forgotten his existence; even now he only remembered his successor, Joe Masters, and he looked curiously around to see if that later suitor of Cressy's was present. It was not until he reached the door that he began to think seriously of Seth Davis's jealous face, and was roused to a singular indignation. "Why hadn't this great fool vented his jealousy on the openly compromising Masters," he thought. He even turned and walked back with some vaguely aggressive instinct, but the young man had disappeared. With this incident still in his mind he came upon Uncle Ben and Hiram McKinstry standing among the spectators in the doorway. Why might not Uncle Ben be jealous too? and if his single waltz had really appeared so compromising why should not Cressy's father object? But both men-albeit, McKinstry usually exhibited a vague unreasoning contempt for Uncle Ben-were unanimous in their congratulations and outspoken admiration.