THE SONG OF THE LARK
fullness of the faith she had kept before she knew its name or its meaning.
Often when she sang, the best she had was unavailable; she could not break through to it, and every sort of distraction and mischance came between it and her. But this afternoon the closed roads opened, the gates dropped. What she had so often tried to reach, lay under her hand. She had only to touch an idea to make it live.
While she was on the stage she was conscious that every movement was the right movement, that her body was absolutely the instrument of her idea. Not for nothing had she kept it so severely, kept it filled with such energy and fire. All that deep-rooted vitality flowered in her voice, her face, in her very finger-tips. She felt like a tree bursting into bloom. And her voice was as flexible as her body; equal to any demand, capable of every nuance. With the sense of its perfect companionship, its entire trustworthiness, she had been able to throw herself into the dramatic exigencies of the part, everything in her at its best and everything working together.
The third act came on, and the afternoon slipped by. Thea Kronborg's friends, old and new, seated about the house on different floors and levels, enjoyed her triumph according to their natures. There was one there, whom nobody knew, who perhaps got greater pleasure out of that afternoon than Harsanyi himself. Up in the top gallery a gray-haired little Mexican, withered and bright as a string of peppers beside a 'dobe door, kept praying and cursing under his breath, beating on the brass railing and shouting "Bravó! Bravó!" until he was repressed by his neighbors.
He happened to be there because a Mexican band was to be a feature of Barnum and Bailey's circus that year. One of the managers of the show had traveled about the Southwest, signing up a lot of Mexican musicians at low wages, and had brought them to New York. Among them
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