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 bandied from one to another the sentiments and longings inspired by so many beauties.

In the reserved seats, where the ladies seemed to be afraid to venture, as few were to be seen there, a murmur of voices prevailed amid suppressed laughter and clouds of tobacco smoke. They discussed the merits of the players and talked scandal, wondering if his Excellency had quarreled with the friars, if his presence at such a show was a defiance or mere curiosity. Others gave no heed to these matters, but were engaged in attracting the attention of the ladies, throwing themselves into attitudes more or less interesting and statuesque, flashing diamond rings, especially when they thought themselves the foci of insistent opera-glasses, while yet another would address a respectful salute to this or that señora or señorita, at the same time lowering his head gravely to whisper to a neighbor, "How ridiculous she is! And such a bore!"

The lady would respond with one of her most gracious smiles and an enchanting nod of her head, while murmuring to a friend sitting near, amid lazy flourishes of her fan, "How impudent he is! He's madly in love, my dear."

Meanwhile, the noise increased. There remained only two vacant boxes, besides that of his Excellency, which was distinguished by its curtains of red velvet. The orchestra played another waltz, the audience protested, when fortunately there arose a charitable hero to distract their attention and relieve the manager, in the person of a man who had occupied a reserved seat and refused to give it up to its owner, the philosopher Don Primitivo. Finding his own arguments useless, Don Primitivo had appealed to an usher. "I don't care to," the hero responded to the latter's protests, placidly puffing at his cigarette. The usher appealed to the manager. "I don't care to," was the response, as he settled back in the seat. The manager went away, while the artillerymen in the gallery began to sing out encouragement to the usurper.

Our hero, now that he had attracted general attention,