After all, "er brief tour," like an essayist's, perhaps, "included only elementary postures and tricks." What White appears to admire most, in fact, is the efficient way she repairs her broken strap while continuing on course. With an amateur's eye ("a few knee-stands-or whatever they are called"), he focuses more on the girl's quickness and confidence and grace than on her athletic prowess. Then, relying heavily on participial phrases and absolutes to convey the action, White proceeds in the rest of the paragraph to describe the girl's performance. Finally, the "chanting" that ends the paragraph prepares us for the "enchantment" soon to follow. The paragraph concludes, once again, with the image of the circling horse now, however, the young girl has taken the place of her mother, and the independent narrator has replaced the voice of the crowd. The girl is adorned with sensuous epithets ("cleverly proportioned, deeply browned by the sun, dusty, eager, and almost naked") and greeted with the music of alliteration and assonance ("her dirty little feet fighting," "new note," "quick distinction"). Vigorous verbs dramatize the girl's arrival: she "squeezed," "spoke," "stepped," "gave," and "swung." Replacing the dry and efficient adjective clauses of the first paragraph are far more active adverb clauses, absolutes, and participial phrases. Thus, the two main characters of the essay appear simultaneously: the independent voice of the narrator emerging from the crowd the girl emerging from the darkness (in a dramatic appositive in the next sentence) and-with "quick distinction"-emerging likewise from the company of her peers ("any of two or three dozen showgirls"). ") as "a low voice" responds to the rhetorical question at the end of the first paragraph. Immediately, then, in the opening sentence of the second paragraph, the narrator forsakes the role of group spokesman ("Behind me I heard someone say.
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