THE VERDICT
In the days of the Doges there was a Gold Book in which the First
Families of Venice shone. In New York there is also a Gold Book,
unprinted but otherwise familiar. The names that appear there have
earned the cataloguing not from medieval prowess, but from money's
more modish might.
At the Metropolitan Opera House, two years and a fraction after the
trial, the Gold Bookers were on view--men who could have married the
Adriatic, dowered her too, whose signatures were potenter than kings.
There also were women fairer than the young empresses of old Rome,
maidens in thousand-dollar frocks, matrons coroneted and tiaraed. On
the grand tier they sat, a family-party air about them, nodding to
each other, exhaling orris, talking animatedly about nothing at all.
Into their boxes young men strolled, lolled awhile, sauntered away.
In one of these boxes was Sylvia, looking like an angel, only, of
course, much better dressed. Behind her was Annandale. They were quite
an old couple. They had been married fully a year. In the box with
them was Orr.
On the stage a festival was in progress, a festival for ear and eye,
the apogee of Italian art, a production of "Aida." A quarter of a
century and more ago when that opera was first given in Cairo, there
was an accompanying splendor more lavish than it, or any other opera,
has had since. But it was difficult to fancy that even then there was
a better cast. Before the tenor had completed the opening romanza he
had enthralled the house. Good-looking, as tenors should be, stout as
tenors are, he suggested Mario resurrected and returned.
"Celeste Aida!" he sang, and it was celestial. Then at once Amneris,
enacted by a debutante, appeared and the house was treated to what it
had not had since Scalchi was in her prime, a voice with a
conservatory in the upper register, a cavern in the lower and, strewn
between, rich loops of light, of opals, flowers, kisses and stars.
Princess she was and looked, yet, despite the glory of her raiment,
rather a princess in a drawing-room than the daughter of a Pharaoh in
a Memphian crypt. She seemed pleased, sure of her charm, and she
pleased and charmed at sight. The house, the most apathetic--save
Covent Garden--in the world, and, musically, the most ignorant as
well, rose to her.
Sylvia turned to Orr. In his gloved hand was a program. "What a dear!"
she murmured. "Who is she?"
Orr, before answering, looked at Annandale. The latter's eyes were on
the roof. He may have been drinking the song, unconscious of the
singer. But it is more probable that his thoughts were elsewhere,
though hardly in the Tombs, where, during his relatively brief
sojourn, he had lived at the relatively reasonable rate of a hundred
dollars a day.
"A debutante," Orr answered. "She is billed as Dellarandi."
The curtain fell. The box was invaded. Men indebted to Mrs. Annandale
for dinner, or who hoped to be, dropped in. Orr got up and went out.
The second act began. There was an alternating chorus. During it
Amneris sat mirroring her beauty in a glass. Presently her voice
mounted, mounting as mounts a bird and higher. She was joining in the
incomparable duo that ensues. It passed. A march, blown from Egyptian
trumpets, followed, preluding the dance of priestesses which precedes
the tenor's return. As that progressed the leader of the orchestra
shook like an epileptic. From his own musicians, from those on the
stage, from chorus and singers, he drew wave after wave of melody, a
full sea of transcendent accords that bathed Sylvia with harmony,
filtered through her, penetrating blissfully from fingertips to spine.
Delightedly she turned to Annandale. The visitors had gone. Orr was
entering. In his bulldog face was an expression vatic and amused.
"Yes," he resumed, seating himself at Sylvia's side, "she is billed as
Dellarandi, but I knew her as Marie Leroy."
Sylvia started, her lips half parted, her eyes dilated with surprise.
Annandale bent forward. "What is it?" he asked.
"Amneris, the contralto. Do you know who she is?"
"I know she is a devilish pretty woman. What about her?"
"She is the girl whose father was the twelfth juror in your case."
Annandale, who had been standing, literally dropped with astonishment
in a chair. But Sylvia was insatiable. She could not ask enough, she
could not get the answers quickly enough in reply. Orr, however, knew
very little, odds and ends merely that he gathered in the lobby,
summarily that the girl had married Tambourini, the music teacher, and
was regarded as destined to be one of the great queens of song.
So interested were all three that the third act was barely noticed. It
took the melting beauty of the final duo to distract them from the
debutante. But the witchery of that aria would distract a moribund. It
was with the bewildering loveliness of it in their ears that they
moved out from the box.
"Terra addio!" Orr repeated from it as they descended the stair.
"No, not addio," said Sylvia; "that poor girl may have said farewell
to many hopes, but there are other and better ones for her now. I feel
that she must have suffered terribly, and because of that suffering we
should acquit her of what she did."
"That is the verdict, is it?" said Orr.
"That is my verdict," Sylvia answered. Then touching Annandale's arm
she looked up at him and added, "It is yours, too, dear, is it not?"
THE END.
PUBLISHERS' NOTE
The publishers beg leave to state that The Perfume of Eros, in serial
form, was entitled The Yellow Fay.
Transcriber's Note:
Punctuation has been standardised. Changes have been made to the
original publication as follows:
Page 40
sometimes with arias from "Aida." _changed to_
sometimes with arias from "Aida."
Page 131
on looking back, her realized that _changed to_
on looking back, he realized that
Page 150
Had Fanny asked him to made _changed to_
Had Fanny asked him to make
Page 171
means are suppose to carry _changed to_
means are supposed to carry