The Awakening. Kate Chopin

or rather, offered. But there was nothing systematic about the programme, no appearance of prearrangement nor even premeditation.

      At an early hour in the evening the Farival twins were prevailed upon to play the piano. They were girls of fourteen, always clad in the Virgin’s colors, blue and white, having been dedicated to the Blessed Virgin at their baptism. They played a duet from “Zampa,” and at the earnest solicitation of every one present followed it with the overture to “The Poet and the Peasant.”

      “Allez vous-en! Sapristi!” shrieked the parrot outside the door. He was the only being present who possessed sufficient candor to admit that he was not listening to these gracious performances for the first time that summer. Old Monsieur Farival, grandfather of the twins, grew indignant over the interruption, and insisted upon having the bird removed and consigned to regions of darkness. Victor Lebrun objected; and his decrees were as immutable as those of Fate. The parrot fortunately offered no further interruption to the entertainment, the whole venom of his nature apparently having been cherished up and hurled against the twins in that one impetuous outburst.

      Later a young brother and sister gave recitations, which every one present had heard many times at winter evening entertainments in the city.

      A little girl performed a skirt dance in the center of the floor. The mother played her accompaniments and at the same time watched her daughter with greedy admiration and nervous apprehension. She need have had no apprehension. The child was mistress of the situation. She had been properly dressed for the occasion in black tulle and black silk tights. Her little neck and arms were bare, and her hair, artificially crimped, stood out like fluffy black plumes over her head. Her poses were full of grace, and her little black-shod toes twinkled as they shot out and upward with a rapidity and suddenness which were bewildering.

      But there was no reason why every one should not dance. Madame Ratignolle could not, so it was she who gaily consented to play for the others. She played very well, keeping excellent waltz time and infusing an expression into the strains which was indeed inspiring. She was keeping up her music on account of the children, she said; because she and her husband both considered it a means of brightening the home and making it attractive.

      Almost every one danced but the twins, who could not be induced to separate during the brief period when one or the other should be whirling around the room in the arms of a man. They might have danced together, but they did not think of it.

      The children were sent to bed. Some went submissively; others with shrieks and protests as they were dragged away. They had been permitted to sit up till after the icecream, which naturally marked the limit of human indulgence.

      The ice-cream was passed around with cake—gold and silver cake arranged on platters in alternate slices; it had been made and frozen during the afternoon back of the kitchen by two black women, under the supervision of Victor. It was pronounced a great success—excellent if it had only contained a little less vanilla or a little more sugar, if it had been frozen a degree harder, and if the salt might have been kept out of portions of it. Victor was proud of his achievement, and went about recommending it and urging every one to partake of it to excess.

      After Mrs. Pontellier had danced twice with her husband, once with Robert, and once with Monsieur Ratignolle, who was thin and tall and swayed like a reed in the wind when he danced, she went out on the gallery and seated herself on the low window-sill, where she commanded a view of all that went on in the hall and could look out toward the Gulf. There was a soft effulgence in the east. The moon was coming up, and its mystic shimmer was casting a million lights across the distant, restless water.

      “Would you like to hear Mademoiselle Reisz play?” asked Robert, coming out on the porch where she was. Of course Edna would like to hear Mademoiselle Reisz play; but she feared it would be useless to entreat her.

      “I’ll ask her,” he said. “I’ll tell her that you want to hear her. She likes you. She will come.” He turned and hurried away to one of the far cottages, where Mademoiselle Reisz was shuffling away. She was dragging a chair in and out of her room, and at intervals objecting to the crying of a baby, which a nurse in the adjoining cottage was endeavoring to put to sleep. She was a disagreeable little woman, no longer young, who had quarreled with almost every one, owing to a temper which was self-assertive and a disposition to trample upon the rights of others. Robert prevailed upon her without any too great difficulty.

      She entered the hall with him during a lull in the dance. She made an awkward, imperious little bow as she went in. She was a homely woman, with a small weazened face and body and eyes that glowed. She had absolutely no taste in dress, and wore a batch of rusty black lace with a bunch of artificial violets pinned to the side of her hair.

      “Ask Mrs. Pontellier what she would like to hear me play,” she requested of Robert. She sat perfectly still before the piano, not touching the keys, while Robert carried her message to Edna at the window. A general air of surprise and genuine satisfaction fell upon every one as they saw the pianist enter. There was a settling down, and a prevailing air of expectancy everywhere. Edna was a trifle embarrassed at being thus signaled out for the imperious little woman’s favor. She would not dare to choose, and begged that Mademoiselle Reisz would please herself in her selections.

      Edna was what she herself called very fond of music. Musical strains, well rendered, had a way of evoking pictures in her mind. She sometimes liked to sit in the room of mornings when Madame Ratignolle played or practiced. One piece which that lady played Edna had entitled “Solitude.” It was a short, plaintive, minor strain. The name of the piece was something else, but she called it “Solitude.” When she heard it there came before her imagination the figure of a man standing beside a desolate rock on the seashore. He was naked. His attitude was one of hopeless resignation as he looked toward a distant bird winging its flight away from him.

      Another piece called to her mind a dainty young woman clad in an Empire gown, taking mincing dancing steps as she came down a long avenue between tall hedges. Again, another reminded her of children at play, and still another of nothing on earth but a demure lady stroking a cat.

      The very first chords which Mademoiselle Reisz struck upon the piano sent a keen tremor down Mrs. Pontellier’s spinal column. It was not the first time she had heard an artist at the piano. Perhaps it was the first time she was ready, perhaps the first time her being was tempered to take an impress of the abiding truth.

      She waited for the material pictures which she thought would gather and blaze before her imagination. She waited in vain. She saw no pictures of solitude, of hope, of longing, or of despair. But the very passions themselves were aroused within her soul, swaying it, lashing it, as the waves daily beat upon her splendid body. She trembled, she was choking, and the tears blinded her.

      Mademoiselle had finished. She arose, and bowing her stiff, lofty bow, she went away, stopping for neither, thanks nor applause. As she passed along the gallery she patted Edna upon the shoulder.

      “Well, how did you like my music?” she asked. The young woman was unable to answer; she pressed the hand of the pianist convulsively. Mademoiselle Reisz perceived her agitation and even her tears. She patted her again upon the shoulder as she said:

      “You are the only one worth playing for. Those others? Bah!” and she went shuffling and sidling on down the gallery toward her room.

      But she was mistaken about “those others.” Her playing had aroused a fever of enthusiasm. “What passion!” “What an artist!” “I have always said no one could play Chopin like Mademoiselle Reisz!” “That last prelude! Bon Dieu! It shakes a man!”

      It was growing late, and there was a general disposition to disband. But some one, perhaps it was Robert, thought of a bath at that mystic hour and under that mystic moon.

X

      At all events Robert proposed it, and there was not a dissenting voice. There was not one but was ready to follow when he led the way. He did not lead the way, however, he directed the way; and he himself loitered behind with the lovers, who had betrayed