Page:Night and Day (1919).pdf/149

 of literature, she listened attentively. At least, she listened to the first twenty-five lines attentively, and then she frowned. Her attention was only aroused again when Rodney raised his finger—a sign, she knew, that the metre was about to change.

His theory was that every mood has its metre. His mastery of metres was very great; and, if the beauty of a drama depended upon the variety of measures in which the personages speak, Rodney’s plays must have challenged the works of Shakespeare. Katharine’s ignorance of Shakespeare did not prevent her from feeling fairly certain that plays should not produce a sense of chill stupor in the audience, such as overcame her as the lines flowed on, sometimes long and sometimes short, but always delivered with the same lilt of voice, which seemed to nail each line firmly on to the same spot in the hearer’s brain. Still, she reflected, these sorts of skill are almost exclusively masculine; women neither practise them nor know how to value them; and one’s husband’s proficiency in this direction might legitimately increase one’s respect for him, since mystification is no bad basis for respect. No one could doubt that William was a scholar. The reading ended with the finish of the Act; Katharine had prepared a little speech.

“That seems to me extremely well written, William; although, of course, I don’t know enough to criticize in detail.”

“But it’s the skill that strikes you—not the emotion?”

“In a fragment like that, of course, the skill strikes one most.”

“But perhaps—have you time to listen to one more short piece? the scene between the lovers? There’s some real feeling in that, I think. Denham agrees that it’s the best thing I’ve done.”

“You've read it to Ralph Denham?” Katharine