He looked around him, and began.
"My public, are you seated? My public, are you ready?" he asked, gayly. "Your face a little more this way," he added, in his softest and tenderest tones, motioning to me to turn my full face toward him. "Surely I am not asking too much? You look at the meanest creature that crawls--look at Me. Let me find my inspiration in your eyes. Let me feed my hungry admiration on your form. Come, have one little pitying smile left for the man whose happiness you have wrecked. Thank you, Light of my Life, thank you!" He kissed his hand to me, and threw himself back luxuriously in his chair. "The story," he resumed. "The story at last! In what form shall I cast it? In the dramatic form--the oldest way, the truest way, the shortest way of telling a story! Title first. A short title, a taking title: 'Mistress and Maid.' Scene, the land of romance--Italy. Time, the age of romance--the fifteenth century. Ha! look at Ariel. She knows no more about the fifteenth century than the cat in the kitchen, and yet she is interested already. Happy Ariel!"
Ariel looked at me again, in the double intoxication of the wine and the triumph.
"I know no more than the cat in the kitchen," she repeated, with a broad grin of gratified vanity. "I am 'happy Ariel!' What are you?"
Miserrimus Dexter laughed uproariously.
"Didn't I tell you?" he said. "Isn't she fun?--Persons of the Drama." he resumed: "three in number. Women only. Angelica, a noble lady; noble alike in spirit and in birth. Cunegonda, a beautiful devil in woman's form. Damoride, her unfortunate maid. First scene: a dark vaulted chamber in a castle. Time, evening. The owls are hooting in the wood; the frogs are croaking in the marsh.--Look at Ariel! Her flesh creeps; she shudders audibly. Admirable Ariel!"
My rival in the Master's favor eyed me defiantly. "Admirable Ariel!" she repeated, in drowsy accents. Miserrimus Dexter paused to take up his goblet of Burgundy--placed close at hand on a little sliding table attached to his chair. I watched him narrowly as he sipped the wine. The flush was still mounting in his face; the light was still brightening in his eyes. He set down his glass again, with a jovial smack of his lips--and went on: "Persons present in the vaulted chamber: Cunegonda and Damoride. Cunegonda speaks. 'Damoride!' 'Madam?' 'Who lies ill in the chamber above us?' 'Madam, the noble lady Angelica.' (A pause. Cunegonda speaks again.) 'Damoride!' 'Madam?' 'How does Angelica like you?' 'Madam, the noble lady, sweet and good to all who approach her, is sweet and good to me.' 'Have you attended on her, Damoride?' 'Sometimes, madam, when the nurse was weary.' 'Has she taken her healing medicine from your hand.' 'Once or twice, madam, when I happened to be by.' 'Damoride, take this key and open the casket on the table there.' (Damoride obeys.) 'Do you see a green vial in the casket?' 'I see it, madam.' 'Take it out.' (Damoride obeys.) 'Do you see a liquid in the green vial? can you guess what it is?' 'No, madam.' 'Shall I tell you?' (Damoride bows respectfully ) 'Poison is in the vial.' (Damoride starts; she shrinks from the poison; she would fain put it aside. Her mistress signs to her to keep it in her hand; her mistress speaks.) 'Damoride, I have told you one of my secrets; shall I tell you another?' (Damoride waits, fearing what is to come. Her mistress speaks.) 'I hate the Lady Angelica. Her life stands between me and the joy of my heart. You hold her life in your hand.' (Damoride drops on her knees; she is a devout person; she crosses herself, and then she speaks.) 'Mistress, you terrify me. Mistress, what do I hear?' (Cunegonda advances, stands over her, looks down on her with terrible eyes, whispers the next words.) 'Damoride! the Lady Angelica must die--and I must not be suspected. The Lady Angelica must die--and by your hand.'"