In decency, he lingered but few minutes, returned to the gamblers, and put the entire table in a roar with a well-acted Yiddisher's chagrin and passion at losing entire nickels every few minutes to the fortunate and chesty mine superintendent from Mexico.
Later, when the game of Horrible Fives broke up, Bert and Lute Desten spoiled the Adagio from Beethoven's Sonata Pathetique by exaggeratedly ragging to it in what Dick immediately named "The Loving Slow-Drag," till Paula broke down in a gale of laughter and ceased from playing.
New groupings occurred. A bridge table formed with Weil, Rita, Bishop, and Dick. Donald Ware was driven from his monopoly of Paula by the young people under the leadership of Jeremy Braxton; while Graham and O'Hay paired off in a window-seat and O'Hay talked shop.
After a time, in which all at the piano had sung Hawaiian hulas, Paula sang alone to her own accompaniment. She sang several German love-songs in succession, although it was merely for the group about her and not for the room; and Evan Graham, almost to his delight, decided that at last he had found a weakness in her. She might be a magnificent pianist, horsewoman, diver, and swimmer, but it was patent, despite her singing throat, that she was not a magnificent singer. This conclusion he was quickly compelled to modify. A singer she was, a consummate singer. Weakness was only comparative after all. She lacked the magnificent voice. It was a sweet voice, a rich voice, with the same warm-fibered thrill of her laugh; but the volume so essential to the great voice was not there. Ear and voice seemed effortlessly true, and in her singing were feeling, artistry, training, intelligence. But volume--it was scarcely a fair average, was his judgment.
But quality--there he halted. It was a woman's voice. It was haunted with richness of sex. In it resided all the temperament in the world-- with all the restraint of discipline, was the next step of his analysis. He had to admire the way she refused to exceed the limitations of her voice. In this she achieved triumphs.
And, while he nodded absently to O'Hay's lecturette on the state of the--opera, Graham fell to wondering if Paula Forrest, thus so completely the mistress of her temperament, might not be equally mistress of her temperament in the deeper, passional ways. There was a challenge there--based on curiosity, he conceded, but only partly so based; and, over and beyond, and, deeper and far beneath, a challenge to a man made in the immemorial image of man.
It was a challenge that bade him pause, and even look up and down the great room and to the tree-trunked roof far above, and to the flying gallery hung with the spoils of the world, and to Dick Forrest, master of all this material achievement and husband of the woman, playing bridge, just as he worked, with all his heart, his laughter ringing loud as he caught Rita in renig. For Graham had the courage not to shun the ultimate connotations. Behind the challenge in his speculations lurked the woman. Paula Forrest was splendidly, deliciously woman, all woman, unusually woman. From the blow between the eyes of his first striking sight of her, swimming the great stallion in the pool, she had continued to witch-ride his man's imagination. He was anything but unused to women; and his general attitude was that of being tired of the mediocre sameness of them. To chance upon the unusual woman was like finding the great pearl in a lagoon fished out by a generation of divers.