Part 16

It came out in the talk that Mr. Lyon had been in Washington for a week, and would return there later on.

“We had a claim on him,” said Mrs. Eschelle, “for his kindness to us in London, and we are trying to convince him that New York is the real capital.”

“Unfortunately,” added Miss Eschelle, looking up in Mr. Lyon's face, “he visited Brandon first, and you seem to have bewitched him with your simple country ways. I can get him to talk of nothing else.”

“You mean to say,” Mr. Lyon replied, with the air of retorting, “that you have asked me about nothing else.”

“Oh, you know we felt a little responsible for you; and there is no place so dangerous as the country. Now here you are protected--we put all the wickedness on the stage, and learn to recognize and shun it.”

“It may be wicked,” said her mother, “but it is dull. Don't you find it so, Mr. Henderson? I am passionately fond of Wagner, but it is too noisy for anything tonight.”

“I notice, dear,” the dutiful daughter replied for all of us, “that you have to raise your voice. But there is the ballet. Let us all listen now.”

Mr. Lyon excused himself from going with me, saying that he would call at our hotel, and I took Henderson. “I shall count the minutes you are going to lose,” the girl said as we went out-to our box. The lobbies in the interact were thronged with men--for the most part the young speculators of the Chamber turned into loungers in the foyer--knowing, alert, attitudinizing in the extreme of the mode, unable even in this hour to give beauty the preference to business, well knowing, perhaps, that beauty itself in these days has a fine eye for business.

I liked Henderson better in our box than in his own. Was it because the atmosphere was more natural and genuine? Or was it Margaret's transparent nature, her sincere enjoyment of the scene, her evident pleasure in the music, the color, the gayety of the house, that made him drop the slight cynical air of the world which had fitted him so admirably a moment before? He already knew my wife and the Morgans, and, after the greetings were made, he took a seat by Margaret, quite content while the act was going on to watch its progress in the play of her responsive features. How quickly she felt, how the frown followed the smile, how, she seemed to weigh and try to apprehend the meaning of what went on--how her every sense enjoyed life!

“It is absurd,” she said, turning her bright face to him when the curtain dropped, “to be so interested in fictitious trouble.”

“I'm not so sure that it is,” he replied, in her own tone; “the opera is a sort of pulpit, and not seldom preaches an awful sermon--more plainly than the preacher dares to make it.”

“But not in nomine Dei.”

“No. But who can say what is most effective? I often wonder, as I watch the congregations coming from the churches on the Avenue, if they are any more solemnized than the audiences that pour out of this house. I confess that I cannot shake off 'Lohengrin' in a good while after I hear it.”

“And so you think the theatres have a moral influence?”

“Honestly”--and I heard his good-natured laugh--“I couldn't swear to that. But then we don't know what New York might be without them.”

“I don't know,” said Margaret, reflectively, “that my own good impulses, such as I have, are excited by anything I see on the stage; perhaps I am more tolerant, and maybe toleration is not good. I wonder if I should grow worldly, seeing more of it?”

“Perhaps it is not the stage so much as the house,” Henderson replied, beginning to read the girl's mind.

“Yes, it would be different if one came alone and saw the play, unconscious of the house, as if it were a picture. I think it is the house that disturbs one, makes one restless and discontented.”

“I never analyzed my emotions,” said Henderson, “but when I was a boy and came to the theatre I well remember that it made me ambitious; every sort of thing seemed possible of attainment in the excitement of the crowded house, the music, the lights, the easy successes on the stage; nothing else is more stimulating to a lad; nothing else makes the world more attractive.”

“And does it continue to have the same effect, Mr. Henderson?”

“Hardly,” and he smiled; “the illusion goes, and the stage is about as real as the house--usually less interesting. It can hardly compete with the comedy in the boxes.”

“Perhaps it is lack of experience, but I like the play for itself.”

“Oh yes; desire for the dramatic is natural. People will have it somehow. In the country village where there are no theatres the people make dramas out of each other's lives; the most trivial incidents are magnified and talked about--dramatized, in short.”

“You mean gossiped about?”

“Well, you may call it gossip--nothing can be concealed; everybody knows about everybody else; there is no privacy; everything is used to create that illusory spectacle which the stage tries to give. I think that in the country village a good theatre would be a wholesome influence, satisfy a natural appetite indicated by the inquisition into the affairs of neighbors, and by the petty scandal.”

“We are on the way to it,” said Mr. Morgan, who sat behind them; “we have theatricals in the church parlors, which may grow into a nineteenth century substitute for the miracle-plays. You mustn't, Margaret, let Mr. Henderson prejudice you against the country.”

“No,” said the latter, quickly; “I was only trying to defend the city. We country people always do that. We must base our theatrical life on something in nature.”

“What is the difference, Mr. Henderson,” asked Margaret, “between the gossip in the boxes and the country gossip you spoke of?”