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Anita practised on her violin nearly the whole afternoon, and, not satisfied with that, sent a message to Neroda asking him to come at six o'clock, when she would have returned from her ride, and rehearse with her once more the obligatos she was to play to Broussard's singing. Anita's spirits rose as she rode by her father's side in the biting cold of the wintry afternoon.
Then, there was the weekly dance in the great ball-room and many little dances and dinners, and Broussard always contrived to be with Anita the best part of the evening. He was always willing to sing and Anita was always ready to play the violin obligatos for him.
An orchestra of negro musicians were rattling away on banjos, mandolins, and singing obligatos in deep-voiced improvisations. The drummer and the cymbalist were the busiest of all; their rattling, clanging, banging addition to the music gave it an irresistible rhythmic cadence. Even Burke felt the call of the dance, until he studied the evolutions of the merrymakers.
Anita, dropping the violin, found a book of songs, some of which she had heard Broussard sing. "Come," she cried eagerly, "I must play these obligatos over. You will sing the songs." Neroda sat down once more to the piano and played and sang in a queer, cracked voice, the songs, while Anita, her soul in her eyes and all her heart and strength in her bow arm, played the violin part.
Obligantur, i.e. obligatos esse putant. Forma passiva ad modum medii verbi Graeci. Guen. Cf. note, 20: miscentur. Victus comis. The mode of life between host and guest is courteous. For victus==manner of life, cf. Cic. Inv. 1, 25, 35. XXII. E is not exactly equivalent here to a, nor does it mean simply after, but immediately on awaking out of sleep.
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