THE BRIDGE OF SAN LUIS REY
ish; Don Andrés furnished her with the smart slang of El Buen Retiro.
Uncle Pio was made anxious by Camila’s invitation from the Palace. He would have much preferred that she continue with her little vulgarian love-affairs in the theatrical ware-house. But when he saw that her art was gaining a new finish he was well content. He would sit in the back of the theatre, rolling about in his seat for sheer joy and amusement, watching the Perichole intimate to the audience that she frequented the great world about whom the dramatists wrote. She had a new way of fingering a wine-glass, of exchanging an adieu, a new way of entering a door that told everything. To Uncle Pio nothing else mattered. What was there in the world more lovely than a beautiful woman doing justice to a Spanish masterpiece?—a performance (he asks you), packed with observation, in which the very spacing of the words revealed a comment on life and on the text—delivered by a beautiful voice—
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