When Lily woke on the morning after her translation to the Emporium Hotel, her first feeling was one of purely physical satisfaction. The force of contrast gave an added keenness to the luxury of lying once more in a soft-pillowed bed, and looking across a spacious sunlit room at a breakfast-table set invitingly near the fire. Analysis and introspection might come later; but for the moment she was not even troubled by the excesses of the upholstery or the restless convolutions of the furniture. The sense of being once more lapped and folded in ease, as in some dense mild medium impenetrable to discomfort, effectually stilled the faintest note of criticism.
When, the afternoon before, she had presented herself to the lady to whom Carry Fisher had directed her, she had been conscious of entering a new world. Carry's vague presentment of Mrs. Norma Hatch (whose reversion to her Christian name was explained as the result of her latest divorce), left her under the implication of coming "from the West," with the not unusual extenuation of having brought a great deal of money with her. She was, in short, rich, helpless, unplaced: the very subject for Lily's hand. Mrs.
Fisher had not specified the line her friend was to take; she owned herself unacquainted with Mrs. Hatch, whom she "knew about"through Melville Stancy, a lawyer in his leisure moments, and the Falstaff of a certain section of festive dub life. Socially, Mr.
Stancy might have been said to form a connecting link between the Gormer world and the more dimly-lit region on which Miss Bart now found herself entering. It was, however, only figuratively that the illumination of Mrs. Hatch's world could be described as dim: in actual fact, Lily found her seated in a blaze of electric light, impartially projected from various ornamental excrescences on a vast concavity of pink damask and gilding, from which she rose like Venus from her shell. The analogy was justified by the appearance of the lady, whose large-eyed prettiness had the fixity of something impaled and shown under glass. This did not preclude the immediate discovery that she was some years younger than her visitor, and that under her showiness, her ease, the aggression of her dress and voice, there persisted that ineradicable innocence which, in ladies of her nationality, so curiously coexists with startling extremes of experience.
The environment in which Lily found herself was as strange to her as its inhabitants. She was unacquainted with the world of the fashionable New York hotel--a world over-heated, over-upholstered, and over-fitted with mechanical appliances for the gratification of fantastic requirements, while the comforts of a civilized life were as unattainable as in a desert. Through this atmosphere of torrid splendour moved wan beings as richly upholstered as the furniture, beings without definite pursuits or permanent relations, who drifted on a languid tide of curiosity from restaurant to concert-hall, from palm-garden to music-room, from "art exhibit" to dress-maker's opening. High-stepping horses or elaborately equipped motors waited to carry these ladies into vague metropolitan distances, whence they returned, still more wan from the weight of their sables, to be sucked back into the stifling inertia of the hotel routine. Somewhere behind them, in the background of their lives, there was doubtless a real past, peopled by real human activities: they themselves were probably the product of strong ambitions, persistent energies, diversified contacts with the wholesome roughness of life; yet they had no more real existence than the poet's shades in limbo.
Lily had not been long in this pallid world without discovering that Mrs. Hatch was its most substantial figure. That lady, though still floating in the void, showed faint symptoms of developing an outline; and in this endeavour she was actively seconded by Mr. Melville Stancy. It was Mr. Stancy, a man of large resounding presence, suggestive of convivial occasions and of a chivalry finding expression in "first-night" boxes and thousand dollar bonbonnieres, who had transplanted Mrs. Hatch from the scene of her first development to the higher stage of hotel life in the metropolis. It was he who had selected the horses with which she had taken the blue ribbon at the Show, had introduced her to the photographer whose portraits of her formed the recurring ornament of "Sunday Supplements," and had got together the group which constituted her social world. It was a small group still, with heterogeneous figures suspended in large unpeopled spaces; but Lily did not take long to learn that its regulation was no longer in Mr. Stancy's hands. As often happens, the pupil had outstripped the teacher, and Mrs. Hatch was already aware of heights of elegance as well as depths of luxury beyond the world of the Emporium. This discovery at once produced in her a craving for higher guidance, for the adroit feminine hand which should give the right turn to her correspondence, the right "look" to her hats, the right succession to the items of her MENUS. It was, in short, as the regulator of a germinating social life that Miss Bart's guidance was required; her ostensible duties as secretary being restricted by the fact that Mrs. Hatch, as yet, knew hardly any one to write to.
The daily details of Mrs. Hatch's existence were as strange to Lily as its general tenor. The lady's habits were marked by an Oriental indolence and disorder peculiarly trying to her companion. Mrs. Hatch and her friends seemed to float together outside the bounds of time and space. No definite hours were kept; no fixed obligations existed: night and day flowed into one another in a blur of confused and retarded engagements, so that one had the impression of lunching at the tea-hour, while dinner was often merged in the noisy after-theatre supper which prolonged Mrs. Hatch's vigil till daylight.
