The angry young disciple of Calhoun opposite was moved to reply, but at that moment Mr. Corbin Wood arriving before the steps, he must perforce run down to greet him and help him dismount. A negro had hardly taken the grey, and Mr. Wood was yet speaking to the ladies upon the porch, when two other horsemen appeared, mounted on much more fiery steeds, and coming at a gait that approached the ancient "planter's pace." "Edward and Hilary Preston," said Miss Lucy, "and away down the road, I see Judith and Mr. Stafford."
The two in advance riding up the drive beneath the mighty oaks and dismounting, the gravel space before the white-pillared porch became a scene of animation, with beautiful, spirited horses, leaping dogs, negro servants, and gay horsemen. Edward Cary sprang up the steps. "Aunt Lucy, you remember Hilary Preston!—and this is my sister Unity, Preston—the Quakeress we call her! and this is Molly, the little one!—Mr. Wood, I am very glad to see you, sir! Aunt Lucy! Virginia Page, the two Masons, and Nancy Carter are coming over after supper with Cousin William, and I fancy that Peyton and Dabney and Rives and Lee will arrive about the same time. We might have a little dance, eh? Here's Stafford with Judith, now!"
In the Greenwood drawing-room, after candle-light, they had the little dance. Negro fiddlers, two of them, born musicians, came from the quarter. They were dressed in an elaborate best, they were as suavely happy as tropical children, and beamingly eager for the credit in the dance, as in all things else, of "de fambly." Down came the bow upon the strings, out upon the April night floated "Money Musk!" All the furniture was pushed aside, the polished floor gave back the lights. From the walls men and women of the past smiled upon a stage they no longer trod, and between garlands of roses the shepherds and shepherdesses pursued their long, long courtship. The night was mild, the windows partly open, the young girls dancing in gowns of summery stuff. Their very wide skirts were printed over with pale flowers, their bodices were cut low, with a fall of lace against the white bosom. The hair was worn smooth and drawn over the ear, with on either side a bright cluster of blossoms. The fiddlers played "Malbrook s'en va-t-en guerre." Laughter, quick and gay, or low and ripplingly sweet, flowed through the old room. The dances were all square, for there existed in the country a prejudice against round dancing. Once Edward Cary pushed a friend down on the piano stool, and whirled with Nancy Carter into the middle of the room in a waltz. But Miss Lucy shook her head at her nephew, and Cousin William gazed sternly at Nancy, and the fiddlers looked scandalized. Scipio, the old, old one, who could remember the Lafayette ball, held his bow awfully poised.
Judith Cary, dressed in a soft, strange, dull blue, and wearing a little crown of rosy flowers, danced along like the lady of Saint Agnes Eve. Maury Stafford marked how absent was her gaze, and he hoped that she was dreaming of their ride that afternoon, of the clear green woods and the dogwood stars, and of some words that he had said. In these days he was hoping against hope. Well off and well-bred, good to look at, pleasant of speech, at times indolent, at times ardent, a little silent on the whole, and never failing to match the occasion with just the right shade of intelligence, a certain grip and essence in this man made itself felt like the firm bed of a river beneath the flowing water. He was not of Albemarle; he was of a tide-water county, but he came to Albemarle and stayed with kindred, and no one doubted that he strove for an Albemarle bride. It was the opinion of the county people that he would win her. It was hard to see why he should not. He was desperately in love, and far too determined to take the first "No" for an answer. Until the last eight months it had been his own conclusion that he would win.
The old clock in the hall struck ten; in an interval between the dances Judith slipped away. Stafford wished to follow her, but Cousin William held him like the Ancient Mariner and talked of the long past on the Eastern Shore. Judith, entering the library, came upon the Reverend Mr. Corbin Wood, deep in a great chair and a calf-bound volume. "Come in, come in, Judith my dear, and tell me about the dance."
"It is a pretty dance," said Judith. "Do you think it would be very wrong of you to watch it?"
Mr. Wood, the long thin fingers of one hand lightly touching the long thin fingers of the other hand, considered the matter. "Why, no," he said in a mellow and genial voice. "Why, no—it is always hard for me to think that anything beautiful is wrong. It is this way. I go into the drawing-room and watch you. It is, as you say, a very pretty sight! But if I find it so and still keep a long face, I am to myself something of a hypocrite. And if I testify my delight, if I am absorbed in your evolutions, and think only of springtime and growing things, and show my thought, then to every one of you, and indeed to myself too, my dear, I am something out of my character! So it seems better to sit here and read Jeremy Taylor."
"You have the book upside down," said Judith softly. Her old friend put on his glasses, gravely looked, and reversed the volume. He laughed, and then he sighed. "I was thinking of the country, Judith. It's the only book that is interesting now—and the recital's tragic, my dear; the recital's tragic!"
From the hall came Edward Cary's voice, "Judith, Judith, we want you for the reel!"
In the drawing-room the music quickened. Scipio played with all his soul, his eyes uprolled, his lips parted, his woolly head nodding, his vast foot beating time; young Eli, black and shining, seconded him ably; without the doors and windows gathered the house servants, absorbed, admiring, laughing without noise. The April wind, fragrant of greening forests, ploughed land, and fruit trees, blew in and out the long, thin curtains. Faster went the bow upon the fiddle, the room became more brilliant and more dreamy. The flowers in the old, old blue jars grew pinker, mistier, the lights had halos, the portraits smiled forthright; but from greater distances, the loud ticking of the clock without the door changed to a great rhythm, as though Time were using a violin string. The laughter swelled, waves of brightness went through the ancient room. They danced the "Virginia Reel."
Miss Lucy, sitting beside Cousin William on the sofa, raised her head. "Horses are coming up the drive!"
"That's not unusual," said Cousin William, with a smile. "Why do you look so startled?"
"I don't know. I thought—but that's not possible." Miss Lucy half rose, then took her seat again. Cousin William listened. "The air's very clear to-night, and there must be an echo. It does sound like a great body of horsemen coming out of the distance."
"Balance corners!" called Eli. "Swing yo' partners!—Sachay!"
The music drew to a height, the lights burned with a fuller power, the odour of the flowers spread, subtle and intense. The dancers moved more and more quickly. "There are only three horses," said Cousin William, "two in front and one behind. Two gentlemen and a servant. Now they are crossing the little bridge. Shall I go see who they are?"
Miss Lucy rose. Outside a dog had begun an excited and joyous barking. "That's Gelert! It's my brother he is welcoming!" From the porch came a burst of negro voices. "Who dat comin' up de drive? Who dat, Gelert?—Dat's marster!—Go 'way, 'ooman! don' tell me he in Richmon'! Dat's marster!"
The reel ended suddenly. There was a sound of dismounting, a step upon the porch, a voice. "Father, father!" cried Judith, and ran into the hall.
A minute later the master of Greenwood, his children about him, entered the drawing-room. Behind him came Richard Cleave. There was a momentary confusion of greeting; it passed, and from the two men, travel-stained, fatigued, pale with some suppressed emotion, there sped to the gayer company a subtle wave of expectation and alarm. Miss Lucy was the first whom it reached. "What is it, brother?" she said quickly. Cousin William followed, "For God's sake, Cary, what has happened?" Edward spoke from beside the piano, "Has it come, father?" With his words his hand fell upon the keys, suddenly and startlingly upon the bass.
The vibrations died away. "Yes, it has come, Edward," said the master. Holding up his hand for silence, he moved to the middle of the room, and stood there, beneath the lit candles, the swinging prisms of the chandelier. Peale's portrait of his father hung upon the wall. The resemblance was strong between the dead and the living.
"Be quiet, every one," he said now, speaking