Voice of Woman

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“and the Emir who pays court to me. What, then, was I to do?”

She does all this while refusing to admit, in the depths of her soul, that her heart hangs upon the love of Antara. She is woman, Madam — the woman who delights in being always the subject of talk, of love, and of dalliance; the woman who wants all people to love her, and all men to be infatuated with her, and heroes and knights to loiter at her feet. These are some of Abla's traits in the book Eternal Eve.

And would that she stopped at this point; then the matter would be light. But she brought calamity upon her tribe in the dearest of its sons, to feed her reckless vanity and to slake her rancor. And she throws Antara's love to the winds, for in her eyes he is no more than “a drum she beats so that it resounds with her name; and if the drum is torn, she hurries off in search of a new drum!”

Poor “drum” — none of these childish games was hidden from him; but man, Madam, is man, in every time and in every place. So he is, at least, in Taymour's eyes.

And the play reaches its peak when Abla becomes betrothed to Umara to spite Antara — she who loves him, and wishes from the bottom of her heart that he would confess his love to her. Even so, she seizes the chance of her betrothed Umara's absence and meets with Antara, having contrived that meeting in a thousand and one ways. Umara surprises them as they dance together; Abla excuses herself with all ease and all simplicity, as if nothing had happened, then throws her head upon Umara's breast — and Antara goes off to the field of war in fury... As for her, she returns to the dancing and the singing, and goes wild, saying of this:

“He drives me mad... he drives me mad” — meaning Antara. Antara loves Abla, Madam; and yet, despite her knowledge of his love and her certainty of it, she leaves him to wander distraught, to gratify her recklessness and her vanity.

For heaven's sake, Madam, do read “Eternal Eve” and give your opinion of it!