Rosas, as he appeared within the frame formed by the red curtains, his thin, regular and ruddy face looking pale against the white of his cravat and the bosom of his shirt, looked like a portrait of a Castilian of the time of Philip II., clothed in modern costume, his fashionable black clothes relieved only by a touch of vermilion, a red rosette.  But however fashionable the cut of his clothes might be, on this man with the vague blue eyes, and looking contemplative and sad with his upturned moustache, the black coat assumed the appearance of a doublet of old, on which the red ribbon of the Legion of Honor looked like a diminutive cross of Calatrava upon a velvet cloak.

In fixing, to some extent, his wandering glance on the fervent look of Marianne, this melancholy Spanish face was instinctively lighted up with a fleeting smile that immediately passed and was followed by a slight, respectful bow, quite sufficient, however, to surround the young woman with an atmosphere that seemed to glow.

“He has recognized me! at once! come!—­I am not forgotten.”

As in the glorious moment of victory, her bloodless face was overspread with a dazzling expression of joy.  Boldly raising her head and inviting his glances as she had braved them, she listened, with glowing eyes, drinking each word that flowed from his lips, her nostrils distended as if to scent the approach of an Oriental perfume, to the recital of the narrative commenced by the duke in a measured, cajoling tone, which grew animated and louder.

Everybody listened to Rosas.  Only the slight fluttering of fans was heard like a beating of wings.  Without changing the tone of his discourse, and recounting his travels to his audience as if he were addressing only Marianne, he told in a voice more Italian than Spanish, in musical, non-guttural cadences, of his experiences on the borders of the Nile, of the weariness of the caravans, of the nights passed under star-strewn skies, of the songs of the camel-driver, slowly intoned like prayers, of the gloom of solitary wastes and of the poetic associations of the ruins slumbering amid the red sands of the desert.  At times he recited a translation of an Arabian song or remarked in passing, on some mournful ballad, refined as a Sennett, deep as the infinite, in which the eternal words of love, tender and affecting in all languages, assumed an intensely poetic character under the influence of their Semitic nature; songs in which passers-by, strangers, lovers dead for centuries, who had strewed, as it were, their joys and their sobs over the sands of the desert, told the color of the hair and of the eyes of their dear ones, pleaded with their betrothed dead for the alms of love, and promised to spectres of women rose-colored garments and flowers that time would never wither.

These songs of Arabs dying for Nazarenes, of sons of Mohammed sacrificing themselves for the daughters of Aissa were so translated by this Castilian that the exquisite charm of the original, filtered through his rendering, lost none,—­even in French,—­of the special characteristics of his own nation, a half-daughter of the Orient.  And inevitably, with its melancholy repetition, the poetry he spoke of dwelt on wounded, suffering love, on the anguish of timid hearts, and the sobs of unknown despairing Arabs, buried for ages under the sands of the desert.