An American Tragedy - Theodore Dreiser [114]
And once in the Shuman home, which was a large old-fashioned square frame house with a square cupola, very retired among some trees and a lawn, they made themselves at home in a general living room which was much more handsomely furnished than any home with which Clyde had been identified heretofore. Dillard at once began sorting the records, with which he seemed most familiar, and to pull two rather large rugs out of the way, revealing a smooth, hardwood floor.
“There’s one thing about this house and these trees and these soft-toned needles,” he commented for Clyde’s benefit, of course, since he was still under the impression that Clyde might be and probably was a very shrewd person who was watching his every move here. “You can’t hear a note of this Victrola out in the street, can you, Zell? Nor upstairs, either, really, not with the soft needles. We’ve played it down here and danced to it several times, until three and four in the morning and they didn’t even know it upstairs, did they, Zell?”
“That’s right. But then Father’s a little hard of hearing. And Mother don’t hear anything, either, when she gets in her room and gets to reading. But it is hard to hear at that.”
“Why do people object so to dancing here?” asked Clyde.
“Oh, they don’t—not the factory people—not at all,” put in Dillard, “but most of the church people do. My uncle and aunt do. And nearly everyone else we met at the church tonight, except Zell and Rita.” He gave them a most approving and encouraging glance. “And they’re too broadminded to let a little thing like that bother them. Ain’t that right, Zell?”
This young girl, who was very much fascinated by him, laughed and nodded, “You bet, that’s right. I can’t see any harm in it.”
“Nor me, either,” put in Rita, “nor my father and mother. Only they don’t like to say anything about it or make me feel that they want me to do too much of it.”
Dillard by then had started a piece entitled “Brown Eyes” and immediately Clyde and Rita and Dillard and Zella began to dance, and Clyde found himself insensibly drifting into a kind of intimacy with this girl which boded he could scarcely say what. She danced so warmly and enthusiastically—a kind of weaving and swaying motion which suggested all sorts of repressed enthusiasms. And her lips were at once wreathed with a kind of lyric smile which suggested a kind of hunger for this thing. And she was very pretty, more so dancing and smiling than at any other time.
“She is delicious,” thought Clyde, “even if she is a little soft. Any fellow would do almost as well as me, but she likes me because she thinks I’m somebody.” And almost at the same moment she observed: “Isn’t it just too gorgeous? And you’re such a good dancer, Mr. Griffiths.”
“Oh, no,” he replied, smiling into her eyes, “you’re the one that’s the dancer. I can dance because you’re dancing with me.”
He could feel now that her arms were large and soft, her bosom full for one so young. Exhilarated by dancing, she was quite intoxicating, her gestures almost provoking.
“Now we’ll put on ‘The Love Boat,’” called Dillard the moment “Brown Eyes” was ended, “and you and Zella can dance together and Rita and I will have a spin, eh, Rita?”
He was so fascinated by his own skill as a dancer, however, as well as his natural joy in the art, that he could scarcely wait to begin another, but must take Rita by the arms before putting on another record, gliding here and there, doing steps and executing figures which Clyde could not possibly achieve and which at once established Dillard as the superior dancer. Then, having done so, he called to Clyde to put on “The Love Boat.”
But as Clyde could see after dancing with Zella once, this was planned to be a happy companionship of two mutually mated couples who would not interfere with each other in any way, but rather would aid each other in their various schemes to enjoy one another