University of Virginia Library

6. PART VI
KRONBORG
Ten Years Later

1. I

It is a glorious winter day. Denver, standing on her high plateau under a thrilling green-blue sky, is masked in snow and glittering with sunlight. The Capitol building is actually in armor, and throws off the shafts of the sun until the beholder is dazzled and the outlines of the building are lost in a blaze of reflected light. The stone terrace is a white field over which fiery reflections dance, and the trees and bushes are faithfully repeated in snow—on every black twig a soft, blurred line of white. From the terrace one looks directly over to where the mountains break in their sharp, familiar lines against the sky. Snow fills the gorges, hangs in scarfs on the great slopes, and on the peaks the fiery sunshine is gathered up as by a burning-glass.

Howard Archie is standing at the window of his private room in the offices of the San Felipe Mining Company, on the sixth floor of the Raton Building, looking off at the mountain glories of his State while he gives dictation to his secretary. He is ten years older than when we saw him last, and emphatically ten years more prosperous. A decade of coming into things has not so much aged him as it has fortified, smoothed, and assured him. His sandy hair and imperial conceal whatever gray they harbor. He has not grown heavier, but more flexible, and his massive shoulders carry fifty years and the control of his great mining interests more lightly than they carried forty years and a country practice. In short, he is one of the friends to whom we feel grateful for having got on in the world, for helping to

keep up the general temperature and our own confidence in life. He is an acquaintance that one would hurry to overtake and greet among a hundred. In his warm handshake and generous smile there is the stimulating cordiality of good fellows come into good fortune and eager to pass it on; something that makes one think better of the lottery of life and resolve to try again.

When Archie had finished his morning mail, he turned away from the window and faced his secretary. "Did anything come up yesterday afternoon while I was away, T. B.?"

Thomas Burk turned over the leaf of his calendar. "Governor Alden sent down to say that he wanted to see you before he sends his letter to the Board of Pardons. Asked if you could go over to the State House this morning."

Archie shrugged his shoulders. "I'll think about it."

The young man grinned.

"Anything else?" his chief continued.

T. B. swung round in his chair with a look of interest on his shrewd, clean-shaven face. "Old Jasper Flight was in, Dr. Archie. I never expected to see him alive again. Seems he's tucked away for the winter with a sister who's a housekeeper at the Oxford. He's all crippled up with rheumatism, but as fierce after it as ever. Wants to know if you or the company won't grub-stake him again. Says he's sure of it this time; had located something when the snow shut down on him in December. He wants to crawl out at the first break in the weather, with that same old burro with the split ear. He got somebody to winter the beast for him. He's superstitious about that burro, too; thinks it's divinely guided. You ought to hear the line of talk he put up here yesterday; said when he rode in his carriage, that burro was a-going to ride along with him."

Archie laughed. "Did he leave you his address?"

"He didn't neglect anything," replied the clerk cynically.

"Well, send him a line and tell him to come in again. I like to hear him. Of all the crazy prospectors I've ever known, he's the most interesting, because he's really crazy. It's a religious conviction with him, and with most of 'em it's a gambling fever or pure vagrancy. But Jasper Flight believes that the Almighty keeps the secret of the silver deposits in these hills, and gives it away to the deserving. He's a downright noble figure. Of course I'll stake him! As long as he can crawl out in the spring. He and that burro are a sight together. The beast is nearly as white as Jasper; must be twenty years old."

"If you stake him this time, you won't have to again," said T. B. knowingly. "He'll croak up there, mark my word. Says he never ties the burro at night now, for fear he might be called sudden, and the beast would starve. I guess that animal could eat a lariat rope, all right, and enjoy it."

"I guess if we knew the things those two have eaten, and haven't eaten, in their time, T. B., it would make us vegetarians." The doctor sat down and looked thoughtful. "That's the way for the old man to go. It would be pretty hard luck if he had to die in a hospital. I wish he could turn up something before he cashes in. But his kind seldom do; they're bewitched. Still, there was Stratton. I've been meeting Jasper Flight, and his side meat and tin pans, up in the mountains for years, and I'd miss him. I always halfway believe the fairy tales he spins me. Old Jasper Flight," Archie murmured, as if he liked the name or the picture it called up.

A clerk came in from the outer office and handed Archie a card. He sprang up and exclaimed, "Mr. Ottenburg? Bring him in."

Fred Ottenburg entered, clad in a long, fur-lined coat, holding a checked-cloth hat in his hand, his cheeks and eyes bright with the outdoor cold. The two men met before Archie's desk and their handclasp was longer than friendship prompts except in regions where the blood warms and

quickens to meet the dry cold. Under the general keying-up of the altitude, manners take on a heartiness, a vivacity, that is one expression of the half-unconscious excitement which Colorado people miss when they drop into lower strata of air. The heart, we are told, wears out early in that high atmosphere, but while it pumps it sends out no sluggish stream. Our two friends stood gripping each other by the hand and smiling.

"When did you get in, Fred? And what have you come for?" Archie gave him a quizzical glance.

"I've come to find out what you think you're doing out here," the younger man declared emphatically. "I want to get next, I do. When can you see me?"

"Anything on to-night? Then suppose you dine with me. Where can I pick you up at five-thirty?"

"Bixby's office, general freight agent of the Burlington." Ottenburg began to button his overcoat and drew on his gloves. "I've got to have one shot at you before I go, Archie. Didn't I tell you Pinky Alden was a cheap squirt?"

Alden's backer laughed and shook his head. "Oh, he's worse than that, Fred. It isn't polite to mention what he is, outside of the Arabian Nights. I guessed you'd come to rub it into me."

Ottenburg paused, his hand on the doorknob, his high color challenging the doctor's calm. "I'm disgusted with you, Archie, for training with such a pup. A man of your experience!"

"Well, he's been an experience," Archie muttered. "I'm not coy about admitting it, am I?"

Ottenburg flung open the door. "Small credit to you. Even the women are out for capital and corruption, I hear. Your Governor's done more for the United Breweries in six months than I've been able to do in six years. He's the lily-livered sort we're looking for. Good-morning."

That afternoon at five o'clock Dr. Archie emerged from the State House after his talk with Governor Alden, and

crossed the terrace under a saffron sky. The snow, beaten hard, was blue in the dusk; a day of blinding sunlight had not even started a thaw. The lights of the city twinkled pale below him in the quivering violet air, and the dome of the State House behind him was still red with the light from the west. Before he got into his car, the doctor paused to look about him at the scene of which he never tired. Archie lived in his own house on Colfax Avenue, where he had roomy grounds and a rose garden and a conservatory. His housekeeping was done by three Japanese boys, devoted and resourceful, who were able to manage Archie's dinner parties, to see that he kept his engagements, and to make visitors who stayed at the house so comfortable that they were always loath to go away.

Archie had never known what comfort was until he became a widower, though with characteristic delicacy, or dishonesty, he insisted upon accrediting his peace of mind to the San Felipe, to Time, to anything but his release from Mrs. Archie.

Mrs. Archie died just before her husband left Moonstone and came to Denver to live, six years ago. The poor woman's fight against dust was her undoing at last. One summer day when she was rubbing the parlor upholstery with gasoline,—the doctor had often forbidden her to use it on any account, so that was one of the pleasures she seized upon in his absence,—an explosion occurred. Nobody ever knew exactly how it happened, for Mrs. Archie was dead when the neighbors rushed in to save her from the burning house. She must have inhaled the burning gas and died instantly.

Moonstone severity relented toward her somewhat after her death. But even while her old cronies at Mrs. Smiley's millinery store said that it was a terrible thing, they added that nothing but a powerful explosive could have killed Mrs. Archie, and that it was only right the doctor should have a chance.

Archie's past was literally destroyed when his wife died. The house burned to the ground, and all those material reminders which have such power over people disappeared in an hour. His mining interests now took him to Denver so often that it seemed better to make his headquarters there. He gave up his practice and left Moonstone for good. Six months afterward, while Dr. Archie was living at the Brown Palace Hotel, the San Felipe mine began to give up that silver hoard which old Captain Harris had always accused it of concealing, and San Felipe headed the list of mining quotations in every daily paper, East and West. In a few years Dr. Archie was a very rich man. His mine was such an important item in the mineral out-put of the State, and Archie had a hand in so many of the new industries of Colorado and New Mexico, that his political influence was considerable. He had thrown it all, two years ago, to the new reform party, and had brought about the election of a governor of whose conduct he was now heartily ashamed. His friends believed that Archie himself had ambitious political plans.

2. II

WHEN Ottenburg and his host reached the house on Colfax Avenue, they went directly to the library, a long double room on the second floor which Archie had arranged exactly to his own taste. It was full of books and mounted specimens of wild game, with a big writing-table at either end, stiff, old-fashioned engravings, heavy hangings and deep upholstery.

When one of the Japanese boys brought the cocktails, Fred turned from the fine specimen of peccoray he had been examining and said, "A man is an owl to live in such a place alone, Archie. Why don't you marry? As for me, just because I can't marry, I find the world full of charming, unattached women, any one of whom I could fit up a house for with alacrity."

"You're more knowing than I." Archie spoke politely. "I'm not very wide awake about women. I'd be likely to pick out one of the uncomfortable ones—and there are a few of them, you know." He drank his cocktail and rubbed his hands together in a friendly way. "My friends here have charming wives, and they don't give me a chance to get lonely. They are very kind to me, and I have a great many pleasant friendships."

Fred put down his glass. "Yes, I've always noticed that women have confidence in you. You have the doctor's way of getting next. And you enjoy that kind of thing?"

"The friendship of attractive women? Oh, dear, yes! I depend upon it a great deal."

The butler announced dinner, and the two men went downstairs to the dining-room. Dr. Archie's dinners were always good and well served, and his wines were excellent.

"I saw the Fuel and Iron people to-day," Ottenburg said,

looking up from his soup. "Their heart is in the right place. I can't see why in the mischief you ever got mixed up with that reform gang, Archie. You've got nothing to reform out here. The situation has always been as simple as two and two in Colorado; mostly a matter of a friendly understanding."

"Well,"—Archie spoke tolerantly,—"some of the young fellows seemed to have red-hot convictions, and I thought it was better to let them try their ideas out."

Ottenburg shrugged his shoulders. "A few dull young men who haven't ability enough to play the old game the old way, so they want to put on a new game which doesn't take so much brains and gives away more advertising that's what your anti-saloon league and vice commission amounts to. They provide notoriety for the fellows who can't distinguish themselves at running a business or practicing law or developing an industry. Here you have a mediocre lawyer with no brains and no practice, trying to get a look-in on something. He comes up with the novel proposition that the prostitute has a hard time of it, puts his picture in the paper, and the first thing you know, he's a celebrity. He gets the rake-off and she's just where she was before. How could you fall for a mouse-trap like Pink Alden, Archie?"

Dr. Archie laughed as he began to carve. "Pink seems to get under your skin. He's not worth talking about. He's gone his limit. People won't read about his blameless life any more. I knew those interviews he gave out would cook him. They were a last resort. I could have stopped him, but by that time I'd come to the conclusion that I'd let the reformers down. I'm not against a general shaking-up, but the trouble with Pinky's crowd is they never get beyond a general writing-up. We gave them a chance to do something, and they just kept on writing about each other and what temptations they had overcome."

While Archie and his friend were busy with Colorado politics, the impeccable Japanese attended swiftly and intelligently to his duties, and the dinner, as Ottenburg at last remarked, was worthy of more profitable conversation.

"So it is," the doctor admitted. "Well, we'll go upstairs for our coffee and cut this out. Bring up some cognac and arak, Tai," he added as he rose from the table.

They stopped to examine a moose's head on the stairway, and when they reached the library the pine logs in the fireplace had been lighted, and the coffee was bubbling before the hearth. Tai placed two chairs before the fire and brought a tray of cigarettes.

"Bring the cigars in my lower desk drawer, boy," the doctor directed. "Too much light in here, isn't there, Fred? Light the lamp there on my desk, Tai." He turned off the electric glare and settled himself deep into the chair opposite Ottenburg's.

"To go back to our conversation, doctor," Fred began while he waited for the first steam to blow off his coffee; "why don't you make up your mind to go to Washington? There'd be no fight made against you. I needn't say the United Breweries would back you. There'd be some kudos coming to us, too; backing a reform candidate."

Dr. Archie measured his length in his chair and thrust his large boots toward the crackling pitch-pine. He drank his coffee and lit a big black cigar while his guest looked over the assortment of cigarettes on the tray. "You say why don't I," the doctor spoke with the deliberation of a man in the position of having several courses to choose from, "but, on the other hand, why should I?" He puffed away and seemed, through his half-closed eyes, to look down several long roads with the intention of luxuriously rejecting all of them and remaining where he was. "I'm sick of politics. I'm disillusioned about serving my crowd, and I don't particularly want to serve yours. Nothing in it that I particularly want; and a man's not effective in politics

unless he wants something for himself, and wants it hard. I can reach my ends by straighter roads. There are plenty of things to keep me busy. We haven't begun to develop our resources in this State; we haven't had a look in on them yet. That's the only thing that isn't fake— making men and machines go, and actually turning out a product."

The doctor poured himself some white cordial and looked over the little glass into the fire with an expression which led Ottenburg to believe that he was getting at something in his own mind. Fred lit a cigarette and let his friend grope for his idea.

"My boys, here," Archie went on, "have got me rather interested in Japan. Think I'll go out there in the spring, and come back the other way, through Siberia. I've always wanted to go to Russia." His eyes still hunted for something in his big fireplace. With a slow turn of his head he brought them back to his guest and fixed them upon him. "Just now, I'm thinking of running on to New York for a few weeks," he ended abruptly.

Ottenburg lifted his chin. "Ah!" he exclaimed, as if he began to see Archie's drift. "Shall you see Thea?"

"Yes." The doctor replenished his cordial glass. "In fact, I suspect I am going exactly to see her. I'm getting stale on things here, Fred. Best people in the world and always doing things for me. I'm fond of them, too, but I've been with them too much. I'm getting ill-tempered, and the first thing I know I'll be hurting people's feelings. I snapped Mrs. Dandridge up over the telephone this afternoon when she asked me to go out to Colorado Springs on Sunday to meet some English people who are staying at the Antlers. Very nice of her to want me, and I was as sour as if she'd been trying to work me for something. I've got to get out for a while, to save my reputation."

To this explanation Ottenburg had not paid much attention. He seemed to be looking at a fixed point: the yellow

glass eyes of a fine wildcat over one of the bookcases. "You've never heard her at all, have you?" he asked reflectively. "Curious, when this is her second season in New York."

"I was going on last March. Had everything arranged. And then old Cap Harris thought he could drive his car and me through a lamp-post and I was laid up with a compound fracture for two months. So I didn't get to see Thea."

Ottenburg studied the red end of his cigarette attentively. "She might have come out to see you. I remember you covered the distance like a streak when she wanted you."

Archie moved uneasily. "Oh, she couldn't do that. She had to get back to Vienna to work on some new parts for this year. She sailed two days after the New York season closed."

"Well, then she couldn't, of course." Fred smoked his cigarette close and tossed the end into the fire. "I'm tremendously glad you're going now. If you're stale, she'll jack you up. That's one of her specialties. She got a rise out of me last December that lasted me all winter."

"Of course," the doctor apologized, "you know so much more about such things. I'm afraid it will be rather wasted on me. I'm no judge of music."

"Never mind that." The younger man pulled himself up in his chair. "She gets it across to people who aren't judges. That's just what she does." He relapsed into his former lassitude. "If you were stone deaf, it wouldn't all be wasted. It's a great deal to watch her. Incidentally, you know, she is very beautiful. Photographs give you no idea."

Dr. Archie clasped his large hands under his chin. "Oh, I'm counting on that. I don't suppose her voice will sound natural to me. Probably I wouldn't know it."

Ottenburg smiled. "You'll know it, if you ever knew it. It's the same voice, only more so. You'll know it."

"Did you, in Germany that time, when you wrote me? Seven years ago, now. That must have been at the very beginning."

"Yes, somewhere near the beginning. She sang one of the Rhine daughters." Fred paused and drew himself up again. "Sure, I knew it from the first note. I'd heard a good many young voices come up out of the Rhine, but, by gracious, I hadn't heard one like that!" He fumbled for another cigarette. "Mahler was conducting that night. I met him as he was leaving the house and had a word with him. `Interesting voice you tried out this evening,' I said. He stopped and smiled. `Miss Kronborg, you mean? Yes, very. She seems to sing for the idea. Unusual in a young singer.' I'd never heard him admit before that a singer could have an idea. She not only had it, but she got it across. The Rhine music, that I'd known since I was a boy, was fresh to me, vocalized for the first time. You realized that she was beginning that long story, adequately, with the end in view. Every phrase she sang was basic. She simply was the idea of the Rhine music." Ottenburg rose and stood with his back to the fire. "And at the end, where you don't see the maidens at all, the same thing again: two pretty voices and the Rhine voice." Fred snapped his fingers and dropped his hand.

The doctor looked up at him enviously. "You see, all that would be lost on me," he said modestly. "I don't know the dream nor the interpretation thereof. I'm out of it. It's too bad that so few of her old friends can appreciate her."

"Take a try at it," Fred encouraged him. "You'll get in deeper than you can explain to yourself. People with no personal interest do that."

"I suppose," said Archie diffidently, "that college German, gone to seed, wouldn't help me out much. I used to be able to make my German patients understand me."

"Sure it would!" cried Ottenburg heartily. "Don't be

above knowing your libretto. That's all very well for musicians, but common mortals like you and me have got to know what she's singing about. Get out your dictionary and go at it as you would at any other proposition. Her diction is beautiful, and if you know the text you'll get a great deal. So long as you're going to hear her, get all that's coming to you. You bet in Germany people know their librettos by heart! You Americans are so afraid of stooping to learn anything."

"I am a little ashamed," Archie admitted. "I guess that's the way we mask our general ignorance. However, I'll stoop this time; I'm more ashamed not to be able to follow her. The papers always say she's such a fine actress." He took up the tongs and began to rearrange the logs that had burned through and fallen apart. "I suppose she has changed a great deal?" he asked absently.

"We've all changed, my dear Archie,—she more than most of us. Yes, and no. She's all there, only there's a great deal more of her. I've had only a few words with her in several years. It's better not, when I'm tied up this way. The laws are barbarous, Archie."

"Your wife is—still the same?" the doctor asked sympathetically.

"Absolutely. Hasn't been out of a sanitarium for seven years now. No prospect of her ever being out, and as long as she's there I'm tied hand and foot. What does society get out of such a state of things, I'd like to know, except a tangle of irregularities? If you want to reform, there's an opening for you!"

"It's bad, oh, very bad; I agree with you!" Dr. Archie shook his head. "But there would be complications under another system, too. The whole question of a young man's marrying has looked pretty grave to me for a long while. How have they the courage to keep on doing it? It depresses me now to buy wedding presents." For some time the doctor watched his guest, who was sunk in bitter reflections

"Such things used to go better than they do now, I believe. Seems to me all the married people I knew when I was a boy were happy enough." He paused again and bit the end off a fresh cigar. "You never saw Thea's mother, did you, Ottenburg? That's a pity. Mrs. Kronborg was a fine woman. I've always been afraid Thea made a mistake, not coming home when Mrs. Kronborg was ill, no matter what it cost her."

Ottenburg moved about restlessly. "She couldn't, Archie, she positively couldn't. I felt you never understood that, but I was in Dresden at the time, and though I wasn't seeing much of her, I could size up the situation for myself. It was by just a lucky chance that she got to sing Elizabeth that time at the Dresden Opera, a complication of circumstances. If she'd run away, for any reason, she might have waited years for such a chance to come again. She gave a wonderful performance and made a great impression. They offered her certain terms; she had to take them and follow it up then and there. In that game you can't lose a single trick. She was ill herself, but she sang. Her mother was ill, and she sang. No, you mustn't hold that against her, Archie. She did the right thing there." Ottenburg drew out his watch. "Hello! I must be traveling. You hear from her regularly?"

"More or less regularly. She was never much of a letter-writer. She tells me about her engagements and contracts, but I know so little about that business that it doesn't mean much to me beyond the figures, which seem very impressive. We've had a good deal of business correspondence, about putting up a stone to her father and mother, and, lately, about her youngest brother, Thor. He is with me now; he drives my car. To-day he's up at the mine."

Ottenburg, who had picked up his overcoat, dropped it. "Drives your car?" he asked incredulously.

"Yes. Thea and I have had a good deal of bother about Thor. We tried a business college, and an engineering

school, but it was no good. Thor was born a chauffeur before there were cars to drive. He was never good for anything else; lay around home and collected postage stamps and took bicycles to pieces, waiting for the automobile to be invented. He's just as much a part of a car as the steering-gear. I can't find out whether he likes his job with me or not, or whether he feels any curiosity about his sister. You can't find anything out from a Kronborg nowadays. The mother was different."

Fred plunged into his coat. "Well, it's a queer world, Archie. But you'll think better of it, if you go to New York. Wish I were going with you. I'll drop in on you in the morning at about eleven. I want a word with you about this Interstate Commerce Bill. Good-night."

Dr. Archie saw his guest to the motor which was waiting below, and then went back to his library, where he replenished the fire and sat down for a long smoke. A man of Archie's modest and rather credulous nature develops late, and makes his largest gain between forty and fifty. At thirty, indeed, as we have seen, Archie was a soft-hearted boy under a manly exterior, still whistling to keep up his courage. Prosperity and large responsibilities—above all, getting free of poor Mrs. Archie—had brought out a good deal more than he knew was in him. He was thinking tonight as he sat before the fire, in the comfort he liked so well, that but for lucky chances, and lucky holes in the ground, he would still be a country practitioner, reading his old books by his office lamp. And yet, he was not so fresh and energetic as he ought to be. He was tired of business and of politics. Worse than that, he was tired of the men with whom he had to do and of the women who, as he said, had been kind to him. He felt as if he were still hunting for something, like old Jasper Flight. He knew that this was an unbecoming and ungrateful state of mind, and he reproached himself for it. But he could not help wondering why it was that life, even when it gave so much,

after all gave so little. What was it that he had expected and missed? Why was he, more than he was anything else, disappointed?

He fell to looking back over his life and asking himself which years of it he would like to live over again,—just as they had been,—and they were not many. His college years he would live again, gladly. After them there was nothing he would care to repeat until he came to Thea Kronborg. There had been something stirring about those years in Moonstone, when he was a restless young man on the verge of breaking into larger enterprises, and when she was a restless child on the verge of growing up into something unknown. He realized now that she had counted for a great deal more to him than he knew at the time. It was a continuous sort of relationship. He was always on the lookout for her as he went about the town, always vaguely expecting her as he sat in his office at night. He had never asked himself then if it was strange that he should find a child of twelve the most interesting and companionable person in Moonstone. It had seemed a pleasant, natural kind of solicitude. He explained it then by the fact that he had no children of his own. But now, as he looked back at those years, the other interests were faded and inanimate. The thought of them was heavy. But wherever his life had touched Thea Kronborg's, there was still a little warmth left, a little sparkle. Their friendship seemed to run over those discontented years like a leafy pattern, still bright and fresh when the other patterns had faded into the dull background. Their walks and drives and confidences, the night they watched the rabbit in the moonlight,— why were these things stirring to remember? Whenever he thought of them, they were distinctly different from the other memories of his life; always seemed humorous, gay, with a little thrill of anticipation and mystery about them. They came nearer to being tender secrets than any others he possessed. Nearer than anything else

they corresponded to what he had hoped to find in the world, and had not found. It came over him now that the unexpected favors of fortune, no matter how dazzling, do not mean very much to us. They may excite or divert us for a time, but when we look back, the only things we cherish are those which in some way met our original want; the desire which formed in us in early youth, undirected, and of its own accord.

3. III

FOR the first four years after Thea went to Germany things went on as usual with the Kronborg family. Mrs. Kronborg's land in Nebraska increased in value and brought her in a good rental. The family drifted into an easier way of living, half without realizing it, as families will. Then Mr. Kronborg, who had never been ill, died suddenly of cancer of the liver, and after his death Mrs. Kronborg went, as her neighbors said, into a decline. Hearing discouraging reports of her from the physician who had taken over his practice, Dr. Archie went up from Denver to see her. He found her in bed, in the room where he had more than once attended her, a handsome woman of sixty with a body still firm and white, her hair, faded now to a very pale primrose, in two thick braids down her back, her eyes clear and calm. When the doctor arrived, she was sitting up in her bed, knitting. He felt at once how glad she was to see him, but he soon gathered that she had made no determination to get well. She told him, indeed, that she could not very well get along without Mr. Kronborg. The doctor looked at her with astonishment. Was it possible that she could miss the foolish old man so much? He reminded her of her children.

"Yes," she replied; "the children are all very well, but they are not father. We were married young."

The doctor watched her wonderingly as she went on knitting, thinking how much she looked like Thea. The difference was one of degree rather than of kind. The daughter had a compelling enthusiasm, the mother had none. But their framework, their foundation, was very much the same.

In a moment Mrs. Kronborg spoke again. "Have you heard anything from Thea lately?"

During his talk with her, the doctor gathered that what Mrs. Kronborg really wanted was to see her daughter Thea. Lying there day after day, she wanted it calmly and continuously. He told her that, since she felt so, he thought they might ask Thea to come home.

"I've thought a good deal about it," said Mrs. Kronborg slowly. "I hate to interrupt her, now that she's begun to get advancement. I expect she's seen some pretty hard times, though she was never one to complain. Perhaps she'd feel that she would like to come. It would be hard, losing both of us while she's off there."

When Dr. Archie got back to Denver he wrote a long letter to Thea, explaining her mother's condition and how much she wished to see her, and asking Thea to come, if only for a few weeks. Thea had repaid the money she had borrowed from him, and he assured her that if she happened to be short of funds for the journey, she had only to cable him.

A month later he got a frantic sort of reply from Thea. Complications in the opera at Dresden had given her an unhoped-for opportunity to go on in a big part. Before this letter reached the doctor, she would have made her debut as Elizabeth, in "Tannhauser." She wanted to go to her mother more than she wanted anything else in the world, but, unless she failed,—which she would not,—she absolutely could not leave Dresden for six months. It was not that she chose to stay; she had to stay—or lose everything. The next few months would put her five years ahead, or would put her back so far that it would be of no use to struggle further. As soon as she was free, she would go to Moonstone and take her mother back to Germany with her. Her mother, she was sure, could live for years yet, and she would like German people and German ways, and could be hearing music all the time. Thea said she was writing her mother and begging her to help her one last time; to get strength and to wait for her six months, and

then she (Thea) would do everything. Her mother would never have to make an effort again.

Dr. Archie went up to Moonstone at once. He had great confidence in Mrs. Kronborg's power of will, and if Thea's appeal took hold of her enough, he believed she might get better. But when he was shown into the familiar room off the parlor, his heart sank. Mrs. Kronborg was lying serene and fateful on her pillows. On the dresser at the foot of her bed there was a large photograph of Thea in the character in which she was to make her debut. Mrs. Kronborg pointed to it.

"Isn't she lovely, doctor? It's nice that she hasn't changed much. I've seen her look like that many a time."

They talked for a while about Thea's good fortune. Mrs. Kronborg had had a cablegram saying, "First performance well received. Great relief." In her letter Thea said; "If you'll only get better, dear mother, there's nothing I can't do. I will make a really great success, if you'll try with me. You shall have everything you want, and we will always be together. I have a little house all picked out where we are to live."

"Bringing up a family is not all it's cracked up to be," said Mrs. Kronborg with a flicker of irony, as she tucked the letter back under her pillow. "The children you don't especially need, you have always with you, like the poor. But the bright ones get away from you. They have their own way to make in the world. Seems like the brighter they are, the farther they go. I used to feel sorry that you had no family, doctor, but maybe you're as well off."

"Thea's plan seems sound to me, Mrs. Kronborg. There's no reason I can see why you shouldn't pull up and live for years yet, under proper care. You'd have the best doctors in the world over there, and it would be wonderful to live with anybody who looks like that." He nodded at the photograph of the young woman who must have been singing "Dich, theure Halle, grüss' ich wieder,"

her eyes looking up, her beautiful hands outspread with pleasure.

Mrs. Kronborg laughed quite cheerfully. "Yes, would n't it? If father were here, I might rouse myself. But sometimes it's hard to come back. Or if she were in trouble, maybe I could rouse myself."

"But, dear Mrs. Kronborg, she is in trouble," her old friend expostulated. "As she says, she's never needed you as she needs you now. I make my guess that she's never begged anybody to help her before."

Mrs. Kronborg smiled. "Yes, it's pretty of her. But that will pass. When these things happen far away they don't make such a mark; especially if your hands are full and you've duties of your own to think about. My own father died in Nebraska when Gunner was born,—we were living in Iowa then,—and I was sorry, but the baby made it up to me. I was father's favorite, too. That's the way it goes, you see."

The doctor took out Thea's letter to him, and read it over to Mrs. Kronborg. She seemed to listen, and not to listen.

When he finished, she said thoughtfully: "I'd counted on hearing her sing again. But I always took my pleasures as they come. I always enjoyed her singing when she was here about the house. While she was practicing I often used to leave my work and sit down in a rocker and give myself up to it, the same as if I'd been at an entertainment. I was never one of these housekeepers that let their work drive them to death. And when she had the Mexicans over here, I always took it in. First and last,"—she glanced judicially at the photograph,—"I guess I got about as much out of Thea's voice as anybody will ever get."

"I guess you did!" the doctor assented heartily; "and I got a good deal myself. You remember how she used to sing those Scotch songs for me, and lead us with her head, her hair bobbing?"

"`Flow Gently, Sweet Afton,'—I can hear it now,"

said Mrs. Kronborg; "and poor father never knew when he sang sharp! He used to say, `Mother, how do you always know when they make mistakes practicing?'" Mrs. Kronborg chuckled.

Dr. Archie took her hand, still firm like the hand of a young woman. "It was lucky for her that you did know. I always thought she got more from you than from any of her teachers."

"Except Wunsch; he was a real musician," said Mrs. Kronborg respectfully. "I gave her what chance I could, in a crowded house. I kept the other children out of the parlor for her. That was about all I could do. If she wasn't disturbed, she needed no watching. She went after it like a terrier after rats from the first, poor child. She was down-right afraid of it. That's why I always encouraged her taking Thor off to outlandish places. When she was out of the house, then she was rid of it."

After they had recalled many pleasant memories together, Mrs. Kronborg said suddenly: "I always understood about her going off without coming to see us that time. Oh, I know! You had to keep your own counsel. You were a good friend to her. I've never forgot that." She patted the doctor's sleeve and went on absently. "There was something she didn't want to tell me, and that's why she didn't come. Something happened when she was with those people in Mexico. I worried for a good while, but I guess she's come out of it all right. She'd had a pretty hard time, scratching along alone like that when she was so young, and my farms in Nebraska were down so low that I couldn't help her none. That's no way to send a girl out. But I guess, whatever there was, she wouldn't be afraid to tell me now." Mrs. Kronborg looked up at the photograph with a smile. "She doesn't look like she was beholding to anybody, does she?"

"She isn't, Mrs. Kronborg. She never has been. That was why she borrowed the money from me."

"Oh, I knew she'd never have sent for you if she'd done anything to shame us. She was always proud." Mrs. Kronborg paused and turned a little on her side. "It's been quite a satisfaction to you and me, doctor, having her voice turn out so fine. The things you hope for don't always turn out like that, by a long sight. As long as old Mrs. Kohler lived, she used always to translate what it said about Thea in the German papers she sent. I could make some of it out myself,—it's not very different from Swedish,—but it pleased the old lady. She left Thea her piece-picture of the burning of Moscow. I've got it put away in moth-balls for her, along with the oboe her grand-father brought from Sweden. I want her to take father's oboe back there some day." Mrs. Kronborg paused a moment and compressed her lips. "But I guess she'll take a finer instrument than that with her, back to Sweden!" she added.

Her tone fairly startled the doctor, it was so vibrating with a fierce, defiant kind of pride he had heard often in Thea's voice. He looked down wonderingly at his old friend and patient. After all, one never knew people to the core. Did she, within her, hide some of that still passion of which her daughter was all-compact?

"That last summer at home wasn't very nice for her," Mrs. Kronborg began as placidly as if the fire had never leaped up in her. "The other children were acting-up because they thought I might make a fuss over her and give her the big-head. We gave her the dare, somehow, the lot of us, because we couldn't understand her changing teachers and all that. That's the trouble about giving the dare to them quiet, unboastful children; you never know how far it'll take 'em. Well, we ought not to complain, doctor; she's given us a good deal to think about."

The next time Dr. Archie came to Moonstone, he came to be a pall-bearer at Mrs. Kronborg's funeral. When he

last looked at her, she was so serene and queenly that he went back to Denver feeling almost as if he had helped to bury Thea Kronborg herself. The handsome head in the coffin seemed to him much more really Thea than did the radiant young woman in the picture, looking about at the Gothic vaultings and greeting the Hall of Song.

4. IV

ONE bright morning late in February Dr. Archie was breakfasting comfortably at the Waldorf. He had got into Jersey City on an early train, and a red, windy sunrise over the North River had given him a good appetite. He consulted the morning paper while he drank his coffee and saw that "Lohengrin" was to be sung at the opera that evening. In the list of the artists who would appear was the name "Kronborg." Such abruptness rather startled him. "Kronborg": it was impressive and yet, somehow, disrespectful; somewhat rude and brazen, on the back page of the morning paper. After breakfast he went to the hotel ticket office and asked the girl if she could give him something for "Lohengrin," "near the front." His manner was a trifle awkward and he wondered whether the girl noticed it. Even if she did, of course, she could scarcely suspect. Before the ticket stand he saw a bunch of blue posters announcing the opera casts for the week. There was "Lohengrin," and under it he saw:—

That looked better. The girl gave him a ticket for a seat which she said was excellent. He paid for it and went out to the cabstand. He mentioned to the driver a number on Riverside Drive and got into a taxi. It would not, of course, be the right thing to call upon Thea when she was going to sing in the evening. He knew that much, thank goodness! Fred Ottenburg had hinted to him that, more than almost anything else, that would put one in wrong.

When he reached the number to which he directed his letters, he dismissed the cab and got out for a walk. The

house in which Thea lived was as impersonal as the Waldorf, and quite as large. It was above 116th Street, where the Drive narrows, and in front of it the shelving bank dropped to the North River. As Archie strolled about the paths which traversed this slope, below the street level, the fourteen stories of the apartment hotel rose above him like a perpendicular cliff. He had no idea on which floor Thea lived, but he reflected, as his eye ran over the many windows, that the outlook would be fine from any floor. The forbidding hugeness of the house made him feel as if he had expected to meet Thea in a crowd and had missed her. He did not really believe that she was hidden away behind any of those glittering windows, or that he was to hear her this evening. His walk was curiously uninspiring and unsuggestive. Presently remembering that Ottenburg had encouraged him to study his lesson, he went down to the opera house and bought a libretto. He had even brought his old "Adler's German and English" in his trunk, and after luncheon he settled down in his gilded suite at the Waldorf with a big cigar and the text of "Lohengrin."

The opera was announced for seven-forty-five, but at half-past seven Archie took his seat in the right front of the orchestra circle. He had never been inside the Metropolitan Opera House before, and the height of the audience room, the rich color, and the sweep of the balconies were not without their effect upon him. He watched the house fill with a growing feeling of expectation. When the steel curtain rose and the men of the orchestra took their places, he felt distinctly nervous. The burst of applause which greeted the conductor keyed him still higher. He found that he had taken off his gloves and twisted them to a string. When the lights went down and the violins began the overture, the place looked larger than ever; a great pit, shadowy and solemn. The whole atmosphere, he reflected, was somehow more serious than he had anticipated.

After the curtains were drawn back upon the scene beside

the Scheldt, he got readily into the swing of the story. He was so much interested in the bass who sang King Henry that he had almost forgotten for what he was waiting so nervously, when the Herald began in stentorian tones to summon Elsa Von Brabant. Then he began to realize that he was rather frightened. There was a flutter of white at the back of the stage, and women began to come in: two, four, six, eight, but not the right one. It flashed across him that this was something like buck-fever, the paralyzing moment that comes upon a man when his first elk looks at him through the bushes, under its great antlers; the moment when a man's mind is so full of shooting that he forgets the gun in his hand until the buck nods adieu to him from a distant hill.

All at once, before the buck had left him, she was there. Yes, unquestionably it was she. Her eyes were downcast, but the head, the cheeks, the chin—there could be no mistake; she advanced slowly, as if she were walking in her sleep. Some one spoke to her; she only inclined her head. He spoke again, and she bowed her head still lower. Archie had forgotten his libretto, and he had not counted upon these long pauses. He had expected her to appear and sing and reassure him. They seemed to be waiting for her. Did she ever forget? Why in thunder didn't she— She made a sound, a faint one. The people on the stage whispered together and seemed confounded. His nervousness was absurd. She must have done this often before; she knew her bearings. She made another sound, but he could make nothing of it. Then the King sang to her, and Archie began to remember where they were in the story. She came to the front of the stage, lifted her eyes for the first time, clasped her hands and began, "Einsam in truben Tagen.

Yes, it was exactly like buck-fever. Her face was there, toward the house now, before his eyes, and he positively could not see it. She was singing, at last, and he positively

could not hear her. He was conscious of nothing but an uncomfortable dread and a sense of crushing disappointment. He had, after all, missed her. Whatever was there, she was not there—for him.

The King interrupted her. She began again, "In lichter Waffen Scheine." Archie did not know when his buck-fever passed, but presently he found that he was sitting quietly in a darkened house, not listening to but dreaming upon a river of silver sound. He felt apart from the others, drifting alone on the melody, as if he had been alone with it for a long while and had known it all before. His power of attention was not great just then, but in so far as it went he seemed to be looking through an exalted calmness at a beautiful woman from far away, from another sort of life and feeling and understanding than his own, who had in her face something he had known long ago, much brightened and beautified. As a lad he used to believe that the faces of people who died were like that in the next world; the same faces, but shining with the light of a new understanding. No, Ottenburg had not prepared him!

What he felt was admiration and estrangement. The homely reunion, that he had somehow expected, now seemed foolish. Instead of feeling proud that he knew her better than all these people about him, he felt chagrined at his own ingenuousness. For he did not know her better. This woman he had never known; she had somehow devoured his little friend, as the wolf ate up Red Ridinghood. Beautiful, radiant, tender as she was, she chilled his old affection; that sort of feeling was not appropriate. She seemed much, much farther away from him than she had seemed all those years when she was in Germany. The ocean he could cross, but there was something here he could not cross. There was a moment, when she turned to the King and smiled that rare, sunrise smile of her child-hood, when he thought she was coming back to him. After the Herald's second call for her champion, when she knelt

in her impassioned prayer, there was again something familiar, a kind of wild wonder that she had had the power to call up long ago. But she merely reminded him of Thea; this was not the girl herself.

After the tenor came on, the doctor ceased trying to make the woman before him fit into any of his cherished recollections. He took her, in so far as he could, for what she was then and there. When the knight raised the kneeling girl and put his mailed hand on her hair, when she lifted to him a face full of worship and passionate humility, Archie gave up his last reservation. He knew no more about her than did the hundreds around him, who sat in the shadow and looked on, as he looked, some with more understanding, some with less. He knew as much about Ortrude or Lohengrin as he knew about Elsa—more, because he went further than they, she sustained the legendary beauty of her conception more consistently. Even he could see that. Attitudes, movements, her face, her white arms and fingers, everything was suffused with a rosy tenderness, a warm humility, a gracious and yet— to him—wholly estranging beauty.

During the balcony singing in the second act the doctor's thoughts were as far away from Moonstone as the singer's doubtless were. He had begun, indeed, to feel the exhilaration of getting free from personalities, of being released from his own past as well as from Thea Kronborg's. It was very much, he told himself, like a military funeral, exalting and impersonal. Something old died in one, and out of it something new was born. During the duet with Ortrude, and the splendors of the wedding processional, this new feeling grew and grew. At the end of the act there were many curtain calls and Elsa acknowledged them, brilliant, gracious, spirited, with her far-breaking smile; but on the whole she was harder and more self-contained before the curtain than she was in the scene behind it. Archie did his part in the applause that greeted her, but it was the new

and wonderful he applauded, not the old and dear. His personal, proprietary pride in her was frozen out.

He walked about the house during the entr'acte, and here and there among the people in the foyer he caught the name "Kronborg." On the staircase, in front of the coffee-room, a long-haired youth with a fat face was discoursing to a group of old women about "die Kronborg." Dr. Archie gathered that he had crossed on the boat with her.

After the performance was over, Archie took a taxi and started for Riverside Drive. He meant to see it through to-night. When he entered the reception hall of the hotel before which he had strolled that morning, the hall porter challenged him. He said he was waiting for Miss Kronborg. The porter looked at him suspiciously and asked whether he had an appointment. He answered brazenly that he had. He was not used to being questioned by hall boys. Archie sat first in one tapestry chair and then in another, keeping a sharp eye on the people who came in and went up in the elevators. He walked about and looked at his watch. An hour dragged by. No one had come in from the street now for about twenty minutes, when two women entered, carrying a great many flowers and followed by a tall young man in chauffeur's uniform. Archie advanced toward the taller of the two women, who was veiled and carried her head very firmly. He confronted her just as she reached the elevator. Although he did not stand directly in her way, something in his attitude compelled her to stop. She gave him a piercing, defiant glance through the white scarf that covered her face. Then she lifted her hand and brushed the scarf back from her head. There was still black on her brows and lashes. She was very pale and her face was drawn and deeply lined. She looked, the doctor told himself with a sinking heart, forty years old. Her suspicious, mystified stare cleared slowly.

"Pardon me," the doctor murmured, not knowing just how to address her here before the porters, "I came up

from the opera. I merely wanted to say good-night to you."

Without speaking, still looking incredulous, she pushed him into the elevator. She kept her hand on his arm while the cage shot up, and she looked away from him, frowning, as if she were trying to remember or realize something. When the cage stopped, she pushed him out of the elevator through another door, which a maid opened, into a square hall. There she sank down on a chair and looked up at him.

"Why didn't you let me know?" she asked in a hoarse voice.

Archie heard himself laughing the old, embarrassed laugh that seldom happened to him now. "Oh, I wanted to take my chance with you, like anybody else. It's been so long, now!"

She took his hand through her thick glove and her head dropped forward. "Yes, it has been long," she said in the same husky voice, "and so much has happened."

"And you are so tired, and I am a clumsy old fellow to break in on you to-night," the doctor added sympathetically. "Forgive me, this time." He bent over and put his hand soothingly on her shoulder. He felt a strong shudder run through her from head to foot.

Still bundled in her fur coat as she was, she threw both arms about him and hugged him. "Oh, Dr. Archie, Dr. Archie,"—she shook him,—"don't let me go. Hold on, now you're here," she laughed, breaking away from him at the same moment and sliding out of her fur coat. She left it for the maid to pick up and pushed the doctor into the sitting-room, where she turned on the lights. "Let me look at you. Yes; hands, feet, head, shoulders—just the same. You've grown no older. You can't say as much for me, can you?"

She was standing in the middle of the room, in a white silk shirtwaist and a short black velvet skirt, which somehow

suggested that they had `cut off her petticoats all round about.' She looked distinctly clipped and plucked. Her hair was parted in the middle and done very close to her head, as she had worn it under the wig. She looked like a fugitive, who had escaped from something in clothes caught up at hazard. It flashed across Dr. Archie that she was running away from the other woman down at the opera house, who had used her hardly.

He took a step toward her. "I can't tell a thing in the world about you, Thea—if I may still call you that."

She took hold of the collar of his overcoat. "Yes, call me that. Do: I like to hear it. You frighten me a little, but I expect I frighten you more. I'm always a scarecrow after I sing a long part like that—so high, too." She absently pulled out the handkerchief that protruded from his breast pocket and began to wipe the black paint off her eyebrows and lashes. "I can't take you in much to-night, but I must see you for a little while." She pushed him to a chair. "I shall be more recognizable to-morrow. You mustn't think of me as you see me to-night. Come at four to-morrow afternoon and have tea with me. Can you? That's good."

She sat down in a low chair beside him and leaned forward, drawing her shoulders together. She seemed to him inappropriately young and inappropriately old, shorn of her long tresses at one end and of her long robes at the other.

"How do you happen to be here?" she asked abruptly. "How can you leave a silver mine? I couldn't! Sure nobody'll cheat you? But you can explain everything tomorrow." She paused. "You remember how you sewed me up in a poultice, once? I wish you could to-night. I need a poultice, from top to toe. Something very disagreeable happened down there. You said you were out front? Oh, don't say anything about it. I always know exactly how it goes, unfortunately. I was rotten in the balcony.

I never get that. You didn't notice it? Probably not, but I did."

Here the maid appeared at the door and her mistress rose. "My supper? Very well, I'll come. I'd ask you to stay, doctor, but there wouldn't be enough for two. They seldom send up enough for one,"—she spoke bitterly. "I haven't got a sense of you yet,"—turning directly to Archie again. "You haven't been here. You've only announced yourself, and told me you are coming to-morrow. You haven't seen me, either. This is not I. But I'll be here waiting for you to-morrow, my whole works! Goodnight, till then." She patted him absently on the sleeve and gave him a little shove toward the door.

5. V

WHEN Archie got back to his hotel at two o'clock in the morning, he found Fred Ottenburg's card under his door, with a message scribbled across the top: "When you come in, please call up room 811, this hotel." A moment later Fred's voice reached him over the telephone.

"That you, Archie? Won't you come up? I'm having some supper and I'd like company. Late? What does that matter? I won't keep you long."

Archie dropped his overcoat and set out for room 811. He found Ottenburg in the act of touching a match to a chafing-dish, at a table laid for two in his sitting-room. "I'm catering here," he announced cheerfully. "I let the waiter off at midnight, after he'd set me up. You'll have to account for yourself, Archie."

The doctor laughed, pointing to three wine-coolers under the table. "Are you expecting guests?"

"Yes, two." Ottenburg held up two fingers,—"you, and my higher self. He's a thirsty boy, and I don't invite him often. He has been known to give me a headache. Now, where have you been, Archie, until this shocking hour?"

"Bah, you've been banting!" the doctor exclaimed, pulling out his white gloves as he searched for his handkerchief and throwing them into a chair. Ottenburg was in evening clothes and very pointed dress shoes. His white waistcoat, upon which the doctor had fixed a challenging eye, went down straight from the top button, and he wore a camelia. He was conspicuously brushed and trimmed and polished. His smoothly controlled excitement was wholly different from his usual easy cordiality, though he had his face, as well as his figure, well in hand. On the

serving-table there was an empty champagne pint and a glass. He had been having a little starter, the doctor told himself, and would probably be running on high gear before he got through. There was even now an air of speed about him.

"Been, Freddy?"—the doctor at last took up his question. "I expect I've been exactly where you have. Why didn't you tell me you were coming on?"

"I wasn't, Archie." Fred lifted the cover of the chafing-dish and stirred the contents. He stood behind the table, holding the lid with his handkerchief. "I had never thought of such a thing. But Landry, a young chap who plays her accompaniments and who keeps an eye out for me, telegraphed me that Madame Rheinecker had gone to Atlantic City with a bad throat, and Thea might have a chance to sing Elsa. She has sung it only twice here before, and I missed it in Dresden. So I came on. I got in at four this afternoon and saw you registered, but I thought I would n't butt in. How lucky you got here just when she was coming on for this. You couldn't have hit a better time." Ottenburg stirred the contents of the dish faster and put in more sherry. "And where have you been since twelve o'clock, may I ask?"

Archie looked rather self-conscious, as he sat down on a fragile gilt chair that rocked under him, and stretched out his long legs. "Well, if you'll believe me, I had the brutality to go to see her. I wanted to identify her. Couldn't wait."

Ottenburg placed the cover quickly on the chafing-dish and took a step backward. "You did, old sport? My word! None but the brave deserve the fair. Well,"—he stooped to turn the wine,—"and how was she?"

"She seemed rather dazed, and pretty well used up. She seemed disappointed in herself, and said she hadn't done herself justice in the balcony scene."

"Well, if she didn't, she's not the first. Beastly stuff to

sing right in there; lies just on the `break' in the voice." Fred pulled a bottle out of the ice and drew the cork. Lifting his glass he looked meaningly at Archie. "You know who, doctor. Here goes!" He drank off his glass with a sigh of satisfaction. After he had turned the lamp low under the chafing-dish, he remained standing, looking pensively down at the food on the table. "Well, she rather pulled it off! As a backer, you're a winner, Archie. I congratulate you." Fred poured himself another glass. "Now you must eat something, and so must I. Here, get off that bird cage and find a steady chair. This stuff ought to be rather good; head waiter's suggestion. Smells all right." He bent over the chafing-dish and began to serve the contents. "Perfectly innocuous: mushrooms and truffles and a little crab-meat. And now, on the level, Archie, how did it hit you?"

Archie turned a frank smile to his friend and shook his head. "It was all miles beyond me, of course, but it gave me a pulse. The general excitement got hold of me, I suppose. I like your wine, Freddy." He put down his glass. "It goes to the spot to-night. She was all right, then? You weren't disappointed?"

"Disappointed? My dear Archie, that's the high voice we dream of; so pure and yet so virile and human. That combination hardly ever happens with sopranos." Ottenburg sat down and turned to the doctor, speaking calmly and trying to dispel his friend's manifest bewilderment. "You see, Archie, there's the voice itself, so beautiful and individual, and then there's something else; the thing in it which responds to every shade of thought and feeling, spontaneously, almost unconsciously. That color has to be born in a singer, it can't be acquired; lots of beautiful voices haven't a vestige of it. It's almost like another gift—the rarest of all. The voice simply is the mind and is the heart. It can't go wrong in interpretation, because it has in it the thing that makes all interpretation. That's

why you feel so sure of her. After you've listened to her for an hour or so, you aren't afraid of anything. All the little dreads you have with other artists vanish. You lean back and you say to yourself, `No, that voice will never betray.' Treulich geführt, treulich bewacht."

Archie looked envyingly at Fred's excited, triumphant face. How satisfactory it must be, he thought, to really know what she was doing and not to have to take it on hearsay. He took up his glass with a sigh. "I seem to need a good deal of cooling off to-night. I'd just as lief forget the Reform Party for once.

"Yes, Fred," he went on seriously; "I thought it sounded very beautiful, and I thought she was very beautiful, too. I never imagined she could be as beautiful as that."

"Wasn't she? Every attitude a picture, and always the right kind of picture, full of that legendary, supernatural thing she gets into it. I never heard the prayer sung like that before. That look that came in her eyes; it went right out through the back of the roof. Of course, you get an Elsa who can look through walls like that, and visions and Grail-knights happen naturally. She becomes an abbess, that girl, after Lohengrin leaves her. She's made to live with ideas and enthusiasms, not with a husband." Fred folded his arms, leaned back in his chair, and began to sing softly:—

"Doesn't she die, then, at the end?" the doctor asked guardedly.

Fred smiled, reaching under the table. "Some Elsas do; she didn't. She left me with the distinct impression that she was just beginning. Now, doctor, here's a cold one." He twirled a napkin smoothly about the green glass, the cork gave and slipped out with a soft explosion. "And now we must have another toast. It's up to you, this time."

The doctor watched the agitation in his glass. "The same," he said without lifting his eyes. "That's good enough. I can't raise you."

Fred leaned forward, and looked sharply into his face. "That's the point; how could you raise me? Once again!"

"Once again, and always the same!" The doctor put down his glass. "This doesn't seem to produce any symptoms in me to-night." He lit a cigar. "Seriously, Freddy, I wish I knew more about what she's driving at. It makes me jealous, when you are so in it and I'm not."

"In it?" Fred started up. "My God, haven't you seen her this blessed night?—when she'd have kicked any other man down the elevator shaft, if I know her. Leave me something; at least what I can pay my five bucks for."

"Seems to me you get a good deal for your five bucks," said Archie ruefully. "And that, after all, is what she cares about,—what people get."

Fred lit a cigarette, took a puff or two, and then threw it away. He was lounging back in his chair, and his face was pale and drawn hard by that mood of intense concentration which lurks under the sunny shallows of the vineyard. In his voice there was a longer perspective than usual, a slight remoteness. "You see, Archie, it's all very simple, a natural development. It's exactly what Mahler said back there in the beginning, when she sang Woglinde. It's the idea, the basic idea, pulsing behind every bar she sings. She simplifies a character down to the musical idea it's built on, and makes everything conform to that. The people who chatter about her being a great actress don't seem to get the notion of where she gets the notion. It all goes back to her original endowment, her tremendous musical talent. Instead of inventing a lot of business and expedients to suggest character, she knows the thing at the root, and lets the musical pattern take care of her. The score pours her into all those lovely postures, makes the light and shadow go over her face, lifts her and drops her. She lies on it, the

way she used to lie on the Rhine music. Talk about rhythm!"

The doctor frowned dubiously as a third bottle made its appearance above the cloth. "Aren't you going in rather strong?"

Fred laughed. "No, I'm becoming too sober. You see this is breakfast now; kind of wedding breakfast. I feel rather weddingish. I don't mind. You know," he went on as the wine gurgled out, "I was thinking to-night when they sprung the wedding music, how any fool can have that stuff played over him when he walks up the aisle with some dough-faced little hussy who's hooked him. But it isn't every fellow who can see—well, what we saw tonight. There are compensations in life, Dr. Howard Archie, though they come in disguise. Did you notice her when she came down the stairs? Wonder where she gets that bright-and-morning star look? Carries to the last row of the family circle. I moved about all over the house. I'll tell you a secret, Archie: that carrying power was one of the first things that put me wise. Noticed it down there in Arizona, in the open. That, I said, belongs only to the big ones." Fred got up and began to move rhythmically about the room, his hands in his pockets. The doctor was astonished at his ease and steadiness, for there were slight lapses in his speech. "You see, Archie, Elsa isn't a part that's particularly suited to Thea's voice at all, as I see her voice. It's over-lyrical for her. She makes it, but there's nothing in it that fits her like a glove, except, maybe, that long duet in the third act. There, of course,"—he held out his hands as if he were measuring something,—"we know exactly where we are. But wait until they give her a chance at something that lies properly in her voice, and you'll see me rosier than I am to-night."

Archie smoothed the tablecloth with his hand. "I am sure I don't want to see you any rosier, Fred."

Ottenburg threw back his head and laughed. "It's enthusiasm,

doctor. It's not the wine. I've got as much inflated as this for a dozen trashy things: brewers' dinners and political orgies. You, too, have your extravagances, Archie. And what I like best in you is this particular enthusiasm, which is not at all practical or sensible, which is downright Quixotic. You are not altogether what you seem, and you have your reservations. Living among the wolves, you have not become one. Lupibus vivendi non lupus sum."

The doctor seemed embarrassed. "I was just thinking how tired she looked, plucked of all her fine feathers, while we get all the fun. Instead of sitting here carousing, we ought to go solemnly to bed."

"I get your idea." Ottenburg crossed to the window and threw it open. "Fine night outside; a hag of a moon just setting. It begins to smell like morning. After all, Archie, think of the lonely and rather solemn hours we've spent waiting for all this, while she's been—reveling."

Archie lifted his brows. "I somehow didn't get the idea to-night that she revels much."

"I don't mean this sort of thing." Fred turned toward the light and stood with his back to the window. "That," with a nod toward the wine-cooler, "is only a cheap imitation, that any poor stiff-fingered fool can buy and feel his shell grow thinner. But take it from me, no matter what she pays, or how much she may see fit to lie about it, the real, the master revel is hers." He leaned back against the window sill and crossed his arms. "Anybody with all that voice and all that talent and all that beauty, has her hour. Her hour," he went on deliberately, "when she can say, 'there it is, at last, wei im Traum ich—

He stood silent a moment, twisting the flower from his coat by the stem and staring at the blank wall with haggard

abstraction. "Even I can say to-night, Archie," he brought out slowly,

Now, doctor, you may leave me. I'm beautifully drunk, but not with anything that ever grew in France."

The doctor rose. Fred tossed his flower out of the window behind him and came toward the door. "I say," he called, "have you a date with anybody?"

The doctor paused, his hand on the knob. "With Thea, you mean? Yes. I'm to go to her at four this afternoon— if you haven't paralyzed me."

"Well, you won't eat me, will you, if I break in and send up my card? She'll probably turn me down cold, but that won't hurt my feelings. If she ducks me, you tell her for me, that to spite me now she'd have to cut off more than she can spare. Good-night, Archie."

6. VI

IT was late on the morning after the night she sang Elsa, when Thea Kronborg stirred uneasily in her bed. The room was darkened by two sets of window shades, and the day outside was thick and cloudy. She turned and tried to recapture unconsciousness, knowing that she would not be able to do so. She dreaded waking stale and disappointed after a great effort. The first thing that came was always the sense of the futility of such endeavor, and of the absurdity of trying too hard. Up to a certain point, say eighty degrees, artistic endeavor could be fat and comfortable, methodical and prudent. But if you went further than that, if you drew yourself up toward ninety degrees, you parted with your defenses and left yourself exposed to mischance. The legend was that in those upper reaches you might be divine; but you were much likelier to be ridiculous. Your public wanted just about eighty degrees; if you gave it more it blew its nose and put a crimp in you. In the morning, especially, it seemed to her very probable that whatever struggled above the good average was not quite sound. Certainly very little of that superfluous ardor, which cost so dear, ever got across the footlights. These misgivings waited to pounce upon her when she wakened. They hovered about her bed like vultures.

She reached under her pillow for her handkerchief, without opening her eyes. She had a shadowy memory that there was to be something unusual, that this day held more disquieting possibilities than days commonly held. There was something she dreaded; what was it? Oh, yes, Dr. Archie was to come at four.

A reality like Dr. Archie, poking up out of the past, reminded

one of disappointments and losses, of a freedom that was no more: reminded her of blue, golden mornings long ago, when she used to waken with a burst of joy at recovering her precious self and her precious world; when she never lay on her pillows at eleven o'clock like something the waves had washed up. After all, why had he come? It had been so long, and so much had happened. The things she had lost, he would miss readily enough. What she had gained, he would scarcely perceive. He, and all that he recalled, lived for her as memories. In sleep, and in hours of illness or exhaustion, she went back to them and held them to her heart. But they were better as memories. They had nothing to do with the struggle that made up her actual life. She felt drearily that she was not flexible enough to be the person her old friend expected her to be, the person she herself wished to be with him.

Thea reached for the bell and rang twice,—a signal to her maid to order her breakfast. She rose and ran up the window shades and turned on the water in her bathroom, glancing into the mirror apprehensively as she passed it. Her bath usually cheered her, even on low mornings like this. Her white bathroom, almost as large as her sleeping-room, she regarded as a refuge. When she turned the key behind her, she left care and vexation on the other side of the door. Neither her maid nor the management nor her letters nor her accompanist could get at her now.

When she pinned her braids about her head, dropped her nightgown and stepped out to begin her Swedish movements, she was a natural creature again, and it was so that she liked herself best. She slid into the tub with anticipation and splashed and tumbled about a good deal. Whatever else she hurried, she never hurried her bath. She used her brushes and sponges and soaps like toys, fairly playing in the water. Her own body was always a cheering sight to her. When she was careworn, when her mind

felt old and tired, the freshness of her physical self, her long, firm lines, the smoothness of her skin, reassured her. This morning, because of awakened memories, she looked at herself more carefully than usual, and was not discouraged. While she was in the tub she began to whistle softly the tenor aria, "Ah! Fuyez, douce image," somehow appropriate to the bath. After a noisy moment under the cold shower, she stepped out on the rug flushed and glowing, threw her arms above her head, and rose on her toes, keeping the elevation as long as she could. When she dropped back on her heels and began to rub herself with the towels, she took up the aria again, and felt quite in the humor for seeing Dr. Archie. After she had returned to her bed, the maid brought her letters and the morning papers with her breakfast.

"Telephone Mr. Landry and ask him if he can come at half-past three, Theresa, and order tea to be brought up at five."

When Howard Archie was admitted to Thea's apartment that afternoon, he was shown into the music-room back of the little reception room. Thea was sitting in a davenport behind the piano, talking to a young man whom she later introduced as her friend Mr. Landry. As she rose, and came to meet him, Archie felt a deep relief, a sudden thankfulness. She no longer looked clipped and plucked, or dazed and fleeing.

Dr. Archie neglected to take account of the young man to whom he was presented. He kept Thea's hands and held her where he met her, taking in the light, lively sweep of her hair, her clear green eyes and her throat that came up strong and dazzlingly white from her green velvet gown. The chin was as lovely as ever, the cheeks as smooth. All the lines of last night had disappeared. Only at the outer corners of her eyes, between the eye and the temple, were the faintest indications of a future attack—mere

kitten scratches that playfully hinted where one day the cat would claw her. He studied her without any embarrassment. Last night everything had been awkward; but now, as he held her hands, a kind of harmony came between them, a reestablishment of confidence.

"After all, Thea,—in spite of all, I still know you," he murmured.

She took his arm and led him up to the young man who was standing beside the piano. "Mr. Landry knows all about you, Dr. Archie. He has known about you for many years." While the two men shook hands she stood between them, drawing them together by her presence and her glances. "When I first went to Germany, Landry was studying there. He used to be good enough to work with me when I could not afford to have an accompanist for more than two hours a day. We got into the way of working together. He is a singer, too, and has his own career to look after, but he still manages to give me some time. I want you to be friends." She smiled from one to the other.

The rooms, Archie noticed, full of last night's flowers, were furnished in light colors, the hotel bleakness of them a little softened by a magnificent Steinway piano, white bookshelves full of books and scores, some drawings of ballet dancers, and the very deep sofa behind the piano.

"Of course," Archie asked apologetically, "you have seen the papers?"

"Very cordial, aren't they? They evidently did not expect as much as I did. Elsa is not really in my voice. I can sing the music, but I have to go after it."

"That is exactly," the doctor came out boldly, "what Fred Ottenburg said this morning."

They had remained standing, the three of them, by the piano, where the gray afternoon light was strongest. Thea turned to the doctor with interest. "Is Fred in town? They were from him, then—some flowers that came last

night without a card." She indicated the white lilacs on the window sill. "Yes, he would know, certainly," she said thoughtfully. "Why don't we sit down? There will be some tea for you in a minute, Landry. He's very dependent upon it," disapprovingly to Archie. "Now tell me, Doctor, did you really have a good time last night, or were you uncomfortable? Did you feel as if I were trying to hold my hat on by my eyebrows?"

He smiled. "I had all kinds of a time. But I had no feeling of that sort. I couldn't be quite sure that it was you at all. That was why I came up here last night. I felt as if I'd lost you."

She leaned toward him and brushed his sleeve reassuringly. "Then I didn't give you an impression of painful struggle? Landry was singing at Weber and Fields' last night. He didn't get in until the performance was half over. But I see the Tribune man felt that I was working pretty hard. Did you see that notice, Oliver?"

Dr. Archie looked closely at the red-headed young man for the first time, and met his lively brown eyes, full of a droll, confiding sort of humor. Mr. Landry was not prepossessing. He was undersized and clumsily made, with a red, shiny face and a sharp little nose that looked as if it had been whittled out of wood and was always in the air, on the scent of something. Yet it was this queer little beak, with his eyes, that made his countenance anything of a face at all. From a distance he looked like the grocery-man's delivery boy in a small town. His dress seemed an acknowledgment of his grotesqueness: a short coat, like a little boys' roundabout, and a vest fantastically sprigged and dotted, over a lavender shirt.

At the sound of a muffled buzz, Mr. Landry sprang up.

"May I answer the telephone for you?" He went to the writing-table and took up the receiver. "Mr. Ottenburg is downstairs," he said, turning to Thea and holding the mouthpiece against his coat.

"Tell him to come up," she replied without hesitation. "How long are you going to be in town, Dr. Archie?"

"Oh, several weeks, if you'll let me stay. I won't hang around and be a burden to you, but I want to try to get educated up to you, though I expect it's late to begin."

Thea rose and touched him lightly on the shoulder. "Well, you'll never be any younger, will you?"

"I'm not so sure about that," the doctor replied gallantly.

The maid appeared at the door and announced Mr. Frederick Ottenburg. Fred came in, very much got up, the doctor reflected, as he watched him bending over Thea's hand. He was still pale and looked somewhat chastened, and the lock of hair that hung down over his forehead was distinctly moist. But his black afternoon coat, his gray tie and gaiters were of a correctness that Dr. Archie could never attain for all the efforts of his faithful slave, Van Deusen, the Denver haberdasher. To be properly up to those tricks, the doctor supposed, you had to learn them young. If he were to buy a silk hat that was the twin of Ottenburg's, it would be shaggy in a week, and he could never carry it as Fred held his.

Ottenburg had greeted Thea in German, and as she replied in the same language, Archie joined Mr. Landry at the window. "You know Mr. Ottenburg, he tells me?"

Mr. Landry's eyes twinkled. "Yes, I regularly follow him about, when he's in town. I would, even if he didn't send me such wonderful Christmas presents: Russian vodka by the half-dozen!"

Thea called to them, "Come, Mr. Ottenburg is calling on all of us. Here's the tea."

The maid opened the door and two waiters from down-stairs appeared with covered trays. The tea-table was in the parlor. Thea drew Ottenburg with her and went to inspect it. "Where's the rum? Oh, yes, in that thing! Everything seems to be here, but send up some currant

preserves and cream cheese for Mr. Ottenburg. And in about fifteen minutes, bring some fresh toast. That's all, thank you."

For the next few minutes there was a clatter of teacups and responses about sugar. "Landry always takes rum. I'm glad the rest of you don't. I'm sure it's bad." Thea poured the tea standing and got through with it as quickly as possible, as if it were a refreshment snatched between trains. The tea-table and the little room in which it stood seemed to be out of scale with her long step, her long reach, and the energy of her movements. Dr. Archie, standing near her, was pleasantly aware of the animation of her figure. Under the clinging velvet, her body seemed independent and unsubdued.

They drifted, with their plates and cups, back to the music-room. When Thea followed them, Ottenburg put down his tea suddenly. "Aren't you taking anything? Please let me." He started back to the table.

"No, thank you, nothing. I'm going to run over that aria for you presently, to convince you that I can do it. How did the duet go, with Schlag?"

She was standing in the doorway and Fred came up to her: "That you'll never do any better. You've worked your voice into it perfectly. Every nuance—wonderful!"

"Think so?" She gave him a sidelong glance and spoke with a certain gruff shyness which did not deceive anybody, and was not meant to deceive. The tone was equivalent to "Keep it up. I like it, but I'm awkward with it."

Fred held her by the door and did keep it up, furiously, for full five minutes. She took it with some confusion, seeming all the while to be hesitating, to be arrested in her course and trying to pass him. But she did not really try to pass, and her color deepened. Fred spoke in German, and Archie caught from her an occasional Ja? So? muttered rather than spoken.

When they rejoined Landry and Dr. Archie, Fred took up his tea again. "I see you're singing Venus Saturday night. Will they never let you have a chance at Elizabeth?"

She shrugged her shoulders. "Not here. There are so many singers here, and they try us out in such a stingy way. Think of it, last year I came over in October, and it was the first of December before I went on at all! I'm often sorry I left Dresden."

"Still," Fred argued, "Dresden is limited."

"Just so, and I've begun to sigh for those very limitations. In New York everything is impersonal. Your audience never knows its own mind, and its mind is never twice the same. I'd rather sing where the people are pig-headed and throw carrots at you if you don't do it the way they like it. The house here is splendid, and the night audiences are exciting. I hate the matinees; like singing at a Kaffeklatsch." She rose and turned on the lights.

"Ah!" Fred exclaimed, "why do you do that? That is a signal that tea is over." He got up and drew out his gloves.

"Not at all. Shall you be here Saturday night?" She sat down on the piano bench and leaned her elbow back on the keyboard. "Necker sings Elizabeth. Make Dr. Archie go. Everything she sings is worth hearing."

"But she's failing so. The last time I heard her she had no voice at all. She is a poor vocalist!"

Thea cut him off. "She's a great artist, whether she's in voice or not, and she's the only one here. If you want a big voice, you can take my Ortrude of last night; that's big enough, and vulgar enough."

Fred laughed and turned away, this time with decision. "I don't want her!" he protested energetically. "I only wanted to get a rise out of you. I like Necker's Elizabeth well enough. I like your Venus well enough, too."

"It's a beautiful part, and it's often dreadfully sung. It's very hard to sing, of course."

Ottenburg bent over the hand she held out to him. "For an uninvited guest, I've fared very well. You were nice to let me come up. I'd have been terribly cut up if you'd sent me away. May I?" He kissed her hand lightly and backed toward the door, still smiling, and promising to keep an eye on Archie. "He can't be trusted at all, Thea. One of the waiters at Martin's worked a Tourainian hare off on him at luncheon yesterday, for seven twenty-five."

Thea broke into a laugh, the deep one he recognized. "Did he have a ribbon on, this hare? Did they bring him in a gilt cage?"

"No,"—Archie spoke up for himself,—"they brought him in a brown sauce, which was very good. He didn't taste very different from any rabbit."

"Probably came from a push-cart on the East Side." Thea looked at her old friend commiseratingly. "Yes, do keep an eye on him, Fred. I had no idea," shaking her head. "Yes, I'll be obliged to you."

"Count on me!" Their eyes met in a gay smile, and Fred bowed himself out.

7. VII

ON Saturday night Dr. Archie went with Fred Ottenburg to hear "Tannhauser." Thea had a rehearsal on Sunday afternoon, but as she was not on the bill again until Wednesday, she promised to dine with Archie and Ottenburg on Monday, if they could make the dinner early.

At a little after eight on Monday evening, the three friends returned to Thea's apartment and seated themselves for an hour of quiet talk.

"I'm sorry we couldn't have had Landry with us tonight," Thea said, "but he's on at Weber and Fields' every night now. You ought to hear him, Dr. Archie. He often sings the old Scotch airs you used to love."

"Why not go down this evening?" Fred suggested hopefully, glancing at his watch. "That is, if you'd like to go. I can telephone and find what time he comes on."

Thea hesitated. "No, I think not. I took a long walk this afternoon and I'm rather tired. I think I can get to sleep early and be so much ahead. I don't mean at once, however," seeing Dr. Archie's disappointed look. "I always like to hear Landry," she added. "He never had much voice, and it's worn, but there's a sweetness about it, and he sings with such taste."

"Yes, doesn't he? May I?" Fred took out his cigarette case. "It really doesn't bother your throat?"

"A little doesn't. But cigar smoke does. Poor Dr. Archie! Can you do with one of those?"

"I'm learning to like them," the doctor declared, taking one from the case Fred proffered him.

"Landry's the only fellow I know in this country who can do that sort of thing," Fred went on. "Like the best

English ballad singers. He can sing even popular stuff by higher lights, as it were."

Thea nodded. "Yes; sometimes I make him sing his most foolish things for me. It's restful, as he does it. That's when I'm homesick, Dr. Archie."

"You knew him in Germany, Thea?" Dr. Archie had quietly abandoned his cigarette as a comfortless article. "When you first went over?"

"Yes. He was a good friend to a green girl. He helped me with my German and my music and my general discouragement. Seemed to care more about my getting on than about himself. He had no money, either. An old aunt had loaned him a little to study on.— Will you answer that, Fred?"

Fred caught up the telephone and stopped the buzz while Thea went on talking to Dr. Archie about Landry. Telling some one to hold the wire, he presently put down the instrument and approached Thea with a startled expression on his face.

"It's the management," he said quietly. "Gloeckler has broken down: fainting fits. Madame Rheinecker is in Atlantic City and Schramm is singing in Philadelphia tonight. They want to know whether you can come down and finish Sieglinde."

"What time is it?"

"Eight fifty-five. The first act is just over. They can hold the curtain twenty-five minutes."

Thea did not move. "Twenty-five and thirty-five makes sixty," she muttered. "Tell them I'll come if they hold the curtain till I am in the dressing-room. Say I'll have to wear her costumes, and the dresser must have everything ready. Then call a taxi, please."

Thea had not changed her position since he first interrupted her, but she had grown pale and was opening and shutting her hands rapidly. She looked, Fred thought, terrified. He half turned toward the telephone, but hung on one foot.

"Have you ever sung the part?" he asked.

"No, but I've rehearsed it. That's all right. Get the cab." Still she made no move. She merely turned perfectly blank eyes to Dr. Archie and said absently, "It's curious, but just at this minute I can't remember a bar of 'Walkure' after the first act. And I let my maid go out." She sprang up and beckoned Archie without so much, he felt sure, as knowing who he was. "Come with me." She went quickly into her sleeping-chamber and threw open a door into a trunk-room. "See that white trunk? It's not locked. It's full of wigs, in boxes. Look until you find one marked `Ring 2.' Bring it quick!" While she directed him, she threw open a square trunk and began tossing out shoes of every shape and color.

Ottenburg appeared at the door. "Can I help you?"

She threw him some white sandals with long laces and silk stockings pinned to them. "Put those in something, and then go to the piano and give me a few measures in there—you know." She was behaving somewhat like a cyclone now, and while she wrenched open drawers and closet doors, Ottenburg got to the piano as quickly as possible and began to herald the reappearance of the Volsung pair, trusting to memory.

In a few moments Thea came out enveloped in her long fur coat with a scarf over her head and knitted woolen gloves on her hands. Her glassy eye took in the fact that Fred was playing from memory, and even in her distracted state, a faint smile flickered over her colorless lips. She stretched out a woolly hand, "The score, please. Behind you, there."

Dr. Archie followed with a canvas box and a satchel. As they went through the hall, the men caught up their hats and coats. They left the music-room, Fred noticed, just seven minutes after he got the telephone message. In the elevator Thea said in that husky whisper which had so perplexed Dr. Archie when he first heard it, "Tell the driver

he must do it in twenty minutes, less if he can. He must leave the light on in the cab. I can do a good deal in twenty minutes. If only you hadn't made me eat— Damn that duck!" she broke out bitterly; "why did you?"

"Wish I had it back! But it won't bother you, to-night. You need strength," he pleaded consolingly.

But she only muttered angrily under her breath, "Idiot, idiot!"

Ottenburg shot ahead and instructed the driver, while the doctor put Thea into the cab and shut the door. She did not speak to either of them again. As the driver scrambled into his seat she opened the score and fixed her eyes upon it. Her face, in the white light, looked as bleak as a stone quarry.

As her cab slid away, Ottenburg shoved Archie into a second taxi that waited by the curb. "We'd better trail her," he explained. "There might be a hold-up of some kind." As the cab whizzed off he broke into an eruption of profanity.

"What's the matter, Fred?" the doctor asked. He was a good deal dazed by the rapid evolutions of the last ten minutes.

"Matter enough!" Fred growled, buttoning his over-coat with a shiver. "What a way to sing a part for the first time! That duck really is on my conscience. It will be a wonder if she can do anything but quack! Scrambling on in the middle of a performance like this, with no rehearsal! The stuff she has to sing in there is a fright—rhythm, pitch,—and terribly difficult intervals."

"She looked frightened," Dr. Archie said thoughtfully, "but I thought she looked—determined."

Fred sniffed. "Oh, determined! That's the kind of rough deal that makes savages of singers. Here's a part she's worked on and got ready for for years, and now they give her a chance to go on and butcher it. Goodness knows when she's looked at the score last, or whether she can use

the business she's studied with this cast. Necker's singing Brünnhilde; she may help her, if it's not one of her sore nights."

"Is she sore at Thea?" Dr. Archie asked wonderingly.

"My dear man, Necker's sore at everything. She's breaking up; too early; just when she ought to be at her best. There's one story that she is struggling under some serious malady, another that she learned a bad method at the Prague Conservatory and has ruined her organ. She's the sorest thing in the world. If she weathers this winter through, it'll be her last. She's paying for it with the last rags of her voice. And then—" Fred whistled softly.

"Well, what then?"

"Then our girl may come in for some of it. It's dog eat dog, in this game as in every other."

The cab stopped and Fred and Dr. Archie hurried to the box office. The Monday-night house was sold out. They bought standing room and entered the auditorium just as the press representative of the house was thanking the audience for their patience and telling them that although Madame Gloeckler was too ill to sing, Miss Kronborg had kindly consented to finish her part. This announcement was met with vehement applause from the upper circles of the house.

"She has her—constituents," Dr. Archie murmured.

"Yes, up there, where they're young and hungry. These people down here have dined too well. They won't mind, however. They like fires and accidents and divertissements. Two Sieglindes are more unusual than one, so they'll be satisfied."

After the final disappearance of the mother of Siegfried, Ottenburg and the doctor slipped out through the crowd and left the house. Near the stage entrance Fred found the driver who had brought Thea down. He dismissed him and got a larger car. He and Archie waited on the sidewalk,

and when Kronborg came out alone they gathered her into the cab and sprang in after her.

Thea sank back into a corner of the back seat and yawned. "Well, I got through, eh?" Her tone was reassuring. "On the whole, I think I've given you gentlemen a pretty lively evening, for one who has no social accomplishments."

"Rather! There was something like a popular uprising at the end of the second act. Archie and I couldn't keep it up as long as the rest of them did. A howl like that ought to show the management which way the wind is blowing. You probably know you were magnificent."

"I thought it went pretty well," she spoke impartially. "I was rather smart to catch his tempo there, at the beginning of the first recitative, when he came in too soon, don't you think? It's tricky in there, without a rehearsal. Oh, I was all right! He took that syncopation too fast in the beginning. Some singers take it fast there—think it sounds more impassioned. That's one way!" She sniffed, and Fred shot a mirthful glance at Archie. Her boastfulness would have been childish in a schoolboy. In the light of what she had done, of the strain they had lived through during the last two hours, it made one laugh,—almost cry. She went on, robustly: "And I didn't feel my dinner, really, Fred. I am hungry again, I'm ashamed to say, —and I forgot to order anything at my hotel."

Fred put his hand on the door. "Where to? You must have food."

"Do you know any quiet place, where I won't be stared at? I've still got make-up on."

"I do. Nice English chop-house on Forty-fourth Street. Nobody there at night but theater people after the show, and a few bachelors." He opened the door and spoke to the driver.

As the car turned, Thea reached across to the front seat and drew Dr. Archie's handkerchief out of his breast pocket.

"This comes to me naturally," she said, rubbing her cheeks and eyebrows. "When I was little I always loved your handkerchiefs because they were silk and smelled of Cologne water. I think they must have been the only really clean handkerchiefs in Moonstone. You were always wiping my face with them, when you met me out in the dust, I remember. Did I never have any?"

"I think you'd nearly always used yours up on your baby brother."

Thea sighed. "Yes, Thor had such a way of getting messy. You say he's a good chauffeur?" She closed her eyes for a moment as if they were tired. Suddenly she looked up. "Isn't it funny, how we travel in circles? Here you are, still getting me clean, and Fred is still feeding me. I would have died of starvation at that boarding-house on Indiana Avenue if he hadn't taken me out to the Buckingham and filled me up once in a while. What a cavern I was to fill, too. The waiters used to look astonished. I'm still singing on that food."

Fred alighted and gave Thea his arm as they crossed the icy sidewalk. They were taken upstairs in an antiquated lift and found the cheerful chop-room half full of supper parties. An English company playing at the Empire had just come in. The waiters, in red waistcoats, were hurrying about. Fred got a table at the back of the room, in a corner, and urged his waiter to get the oysters on at once.

"Takes a few minutes to open them, sir," the man expostulated.

"Yes, but make it as few as possible, and bring the lady's first. Then grilled chops with kidneys, and salad."

Thea began eating celery stalks at once, from the base to the foliage. "Necker said something nice to me tonight. You might have thought the management would say something, but not they." She looked at Fred from under her blackened lashes. "It was a stunt, to jump in

and sing that second act without rehearsal. It doesn't sing itself."

Ottenburg was watching her brilliant eyes and her face. She was much handsomer than she had been early in the evening. Excitement of this sort enriched her. It was only under such excitement, he reflected, that she was entirely illuminated, or wholly present. At other times there was something a little cold and empty, like a big room with no people in it. Even in her most genial moods there was a shadow of restlessness, as if she were waiting for something and were exercising the virtue of patience. During dinner she had been as kind as she knew how to be, to him and to Archie, and had given them as much of herself as she could. But, clearly, she knew only one way of being really kind, from the core of her heart out; and there was but one way in which she could give herself to people largely and gladly, spontaneously. Even as a girl she had been at her best in vigorous effort, he remembered; physical effort, when there was no other kind at hand. She could be expansive only in explosions. Old Nathanmeyer had seen it. In the very first song Fred had ever heard her sing, she had unconsciously declared it.

Thea Kronborg turned suddenly from her talk with Archie and peered suspiciously into the corner where Ottenburg sat with folded arms, observing her. "What's the matter with you, Fred? I'm afraid of you when you're quiet,—fortunately you almost never are. What are you thinking about?"

"I was wondering how you got right with the orchestra so quickly, there at first. I had a flash of terror," he replied easily.

She bolted her last oyster and ducked her head. "So had I! I don't know how I did catch it. Desperation, I suppose; same way the Indian babies swim when they're thrown into the river. I had to. Now it's over, I'm glad I had to. I learned a whole lot to-night."

Archie, who usually felt that it behooved him to be silent during such discussions, was encouraged by her geniality to venture, "I don't see how you can learn anything in such a turmoil; or how you can keep your mind on it, for that matter."

Thea glanced about the room and suddenly put her hand up to her hair. "Mercy, I've no hat on! Why didn't you tell me? And I seem to be wearing a rumpled dinner dress, with all this paint on my face! I must look like something you picked up on Second Avenue. I hope there are no Colorado reformers about, Dr. Archie. What a dreadful old pair these people must be thinking you! Well, I had to eat." She sniffed the savor of the grill as the waiter uncovered it. "Yes, draught beer, please. No, thank you, Fred, no champagne.— To go back to your question, Dr. Archie, you can believe I keep my mind on it. That's the whole trick, in so far as stage experience goes; keeping right there every second. If I think of anything else for a flash, I'm gone, done for. But at the same time, one can take things in—with another part of your brain, maybe. It's different from what you get in study, more practical and conclusive. There are some things you learn best in calm, and some in storm. You learn the delivery of a part only before an audience."

"Heaven help us," gasped Ottenburg. "Weren't you hungry, though! It's beautiful to see you eat."

"Glad you like it. Of course I'm hungry. Are you staying over for `Rheingold' Friday afternoon?"

"My dear Thea,"—Fred lit a cigarette,—"I'm a serious business man now. I have to sell beer. I'm due in Chicago on Wednesday. I'd come back to hear you, but Fricka is not an alluring part."

"Then you've never heard it well done." She spoke up hotly. "Fat German woman scolding her husband, eh? That's not my idea. Wait till you hear my Fricka. It's a beautiful part." Thea leaned forward on the table and

touched Archie's arm. "You remember, Dr. Archie, how my mother always wore her hair, parted in the middle and done low on her neck behind, so you got the shape of her head and such a calm, white forehead? I wear mine like that for Fricka. A little more coronet effect, built up a little higher at the sides, but the idea's the same. I think you'll notice it." She turned to Ottenburg reproachfully: "It's noble music, Fred, from the first measure. There's nothing lovelier than the wonniger Hausrath. It's all such comprehensive sort of music—fateful. Of course, Fricka knows," Thea ended quietly.

Fred sighed. "There, you've spoiled my itinerary. Now I'll have to come back, of course. Archie, you'd better get busy about seats to-morrow."

"I can get you box seats, somewhere. I know nobody here, and I never ask for any." Thea began hunting among her wraps. "Oh, how funny! I've only these short woolen gloves, and no sleeves. Put on my coat first. Those English people can't make out where you got your lady, she's so made up of contradictions." She rose laughing and plunged her arms into the coat Dr. Archie held for her. As she settled herself into it and buttoned it under her chin, she gave him an old signal with her eyelid. "I'd like to sing another part to-night. This is the sort of evening I fancy, when there's something to do. Let me see: I have to sing in `Trovatore' Wednesday night, and there are rehearsals for the `Ring' every day this week. Consider me dead until Saturday, Dr. Archie. I invite you both to dine with me on Saturday night, the day after `Rheingold.' And Fred must leave early, for I want to talk to you alone. You've been here nearly a week, and I haven't had a serious word with you. Tak fom mad, Fred, as the Norwegians say."

8. VIII

THE "Ring of the Niebelungs" was to be given at the Metropolitan on four successive Friday afternoons. After the first of these performances, Fred Ottenburg went home with Landry for tea. Landry was one of the few public entertainers who own real estate in New York. He lived in a little three-story brick house on Jane Street, in Greenwich Village, which had been left to him by the same aunt who paid for his musical education.

Landry was born, and spent the first fifteen years of his life, on a rocky Connecticut farm not far from Cos Cob. His father was an ignorant, violent man, a bungling farmer and a brutal husband. The farmhouse, dilapidated and damp, stood in a hollow beside a marshy pond. Oliver had worked hard while he lived at home, although he was never clean or warm in winter and had wretched food all the year round. His spare, dry figure, his prominent larynx, and the peculiar red of his face and hands belonged to the chore-boy he had never outgrown. It was as if the farm, knowing he would escape from it as early as he could, had ground its mark on him deep. When he was fifteen Oliver ran away and went to live with his Catholic aunt, on Jane Street, whom his mother was never allowed to visit. The priest of St. Joseph's Parish discovered that he had a voice.

Landry had an affection for the house on Jane Street, where he had first learned what cleanliness and order and courtesy were. When his aunt died he had the place done over, got an Irish housekeeper, and lived there with a great many beautiful things he had collected. His living expenses were never large, but he could not restrain himself from buying graceful and useless objects. He was a collector for much the same reason that he was a Catholic, and

he was a Catholic chiefly because his father used to sit in the kitchen and read aloud to his hired men disgusting "exposures" of the Roman Church, enjoying equally the hideous stories and the outrage to his wife's feelings.

At first Landry bought books; then rugs, drawings, china. He had a beautiful collection of old French and Spanish fans. He kept them in an escritoire he had brought from Spain, but there were always a few of them lying about in his sitting-room.

While Landry and his guest were waiting for the tea to be brought, Ottenburg took up one of these fans from the low marble mantel-shelf and opened it in the firelight. One side was painted with a pearly sky and floating clouds. On the other was a formal garden where an elegant shepherdess with a mask and crook was fleeing on high heels from a satin-coated shepherd.

"You ought not to keep these things about, like this, Oliver. The dust from your grate must get at them."

"It does, but I get them to enjoy them, not to have them. They're pleasant to glance at and to play with at odd times like this, when one is waiting for tea or something."

Fred smiled. The idea of Landry stretched out before his fire playing with his fans, amused him. Mrs. McGinnis brought the tea and put it before the hearth: old teacups that were velvety to the touch and a pot-bellied silver cream pitcher of an Early Georgian pattern, which was always brought, though Landry took rum.

Fred drank his tea walking about, examining Landry's sumptuous writing-table in the alcove and the Boucher drawing in red chalk over the mantel. "I don't see how you can stand this place without a heroine. It would give me a raging thirst for gallantries."

Landry was helping himself to a second cup of tea. "Works quite the other way with me. It consoles me for the lack of her. It's just feminine enough to be pleasant to

return to. Not any more tea? Then sit down and play for me. I'm always playing for other people, and I never have a chance to sit here quietly and listen."

Ottenburg opened the piano and began softly to boom forth the shadowy introduction to the opera they had just heard. "Will that do?" he asked jokingly. "I can't seem to get it out of my head."

"Oh, excellently! Thea told me it was quite wonderful, the way you can do Wagner scores on the piano. So few people can give one any idea of the music. Go ahead, as long as you like. I can smoke, too." Landry flattened himself out on his cushions and abandoned himself to ease with the circumstance of one who has never grown quite accustomed to ease.

Ottenburg played on, as he happened to remember. He understood now why Thea wished him to hear her in "Rheingold." It had been clear to him as soon as Fricka rose from sleep and looked out over the young world, stretching one white arm toward the new Gotterburg shining on the heights. "Wotan! Gemahl! erwache!" She was pure Scandinavian, this Fricka: "Swedish summer"! he remembered old Mr. Nathanmeyer's phrase. She had wished him to see her because she had a distinct kind of loveliness for this part, a shining beauty like the light of sunset on distant sails. She seemed to take on the look of immortal loveliness, the youth of the golden apples, the shining body and the shining mind. Fricka had been a jealous spouse to him for so long that he had forgot she meant wisdom before she meant domestic order, and that, in any event, she was always a goddess. The Fricka of that afternoon was so clear and sunny, so nobly conceived, that she made a whole atmosphere about herself and quite redeemed from shabbiness the helplessness and unscrupulousness of the gods. Her reproaches to Wotan were the pleadings of a tempered mind, a consistent sense of beauty. In the long silences of her part, her shining presence was a

visible complement to the discussion of the orchestra. As the themes which were to help in weaving the drama to its end first came vaguely upon the ear, one saw their import and tendency in the face of this clearest-visioned of the gods.

In the scene between Fricka and Wotan, Ottenburg stopped. "I can't seem to get the voices, in there."

Landry chuckled. "Don't try. I know it well enough. I expect I've been over that with her a thousand times. I was playing for her almost every day when she was first working on it. When she begins with a part she's hard to work with: so slow you'd think she was stupid if you didn't know her. Of course she blames it all on her accompanist. It goes on like that for weeks sometimes. This did. She kept shaking her head and staring and looking gloomy. All at once, she got her line—it usually comes suddenly, after stretches of not getting anywhere at all—and after that it kept changing and clearing. As she worked her voice into it, it got more and more of that `gold' quality that makes her Fricka so different."

Fred began Fricka's first aria again. "It's certainly different. Curious how she does it. Such a beautiful idea, out of a part that's always been so ungrateful. She's a lovely thing, but she was never so beautiful as that, really. Nobody is." He repeated the loveliest phrase. "How does she manage it, Landry? You've worked with her."

Landry drew cherishingly on the last cigarette he meant to permit himself before singing. "Oh, it's a question of a big personality—and all that goes with it. Brains, of course. Imagination, of course. But the important thing is that she was born full of color, with a rich personality. That's a gift of the gods, like a fine nose. You have it, or you haven't. Against it, intelligence and musicianship and habits of industry don't count at all. Singers are a conventional race. When Thea was studying in Berlin the other girls were mortally afraid of her. She has a pretty

rough hand with women, dull ones, and she could be rude, too! The girls used to call her die Wölfen."

Fred thrust his hands into his pockets and leaned back against the piano. "Of course, even a stupid woman could get effects with such machinery: such a voice and body and face. But they couldn't possibly belong to a stupid woman, could they?"

Landry shook his head. "It's personality; that's as near as you can come to it. That's what constitutes real equipment. What she does is interesting because she does it. Even the things she discards are suggestive. I regret some of them. Her conceptions are colored in so many different ways. You've heard her Elizabeth? Wonderful, isn't it? She was working on that part years ago when her mother was ill. I could see her anxiety and grief getting more and more into the part. The last act is heart-breaking. It's as homely as a country prayer meeting: might be any lonely woman getting ready to die. It's full of the thing every plain creature finds out for himself, but that never gets written down. It's unconscious memory, maybe; inherited memory, like folk-music. I call it personality."

Fred laughed, and turning to the piano began coaxing the Fricka music again. "Call it anything you like, my boy. I have a name for it myself, but I shan't tell you." He looked over his shoulder at Landry, stretched out by the fire. "You have a great time watching her, don't you?"

"Oh, yes!" replied Landry simply. "I'm not interested in much that goes on in New York. Now, if you'll excuse me, I'll have to dress." He rose with a reluctant sigh. "Can I get you anything? Some whiskey?"

"Thank you, no. I'll amuse myself here. I don't often get a chance at a good piano when I'm away from home. You haven't had this one long, have you? Action's a bit stiff. I say," he stopped Landry in the doorway, "has Thea ever been down here?"

Landry turned back. "Yes. She came several times when I had erysipelas. I was a nice mess, with two nurses. She brought down some inside window-boxes, planted with crocuses and things. Very cheering, only I couldn't see them or her."

"Didn't she like your place?"

"She thought she did, but I fancy it was a good deal cluttered up for her taste. I could hear her pacing about like something in a cage. She pushed the piano back against the wall and the chairs into corners, and she broke my amber elephant." Landry took a yellow object some four inches high from one of his low bookcases. "You can see where his leg is glued on,—a souvenir. Yes, he's lemon amber, very fine."

Landry disappeared behind the curtains and in a moment Fred heard the wheeze of an atomizer. He put the amber elephant on the piano beside him and seemed to get a great deal of amusement out of the beast.

9. IX

WHEN Archie and Ottenburg dined with Thea on Saturday evening, they were served downstairs in the hotel dining-room, but they were to have their coffee in her own apartment. As they were going up in the elevator after dinner, Fred turned suddenly to Thea. "And why, please, did you break Landry's amber elephant?"

She looked guilty and began to laugh. "Hasn't he got over that yet? I didn't really mean to break it. I was perhaps careless. His things are so over-petted that I was tempted to be careless with a lot of them."

"How can you be so heartless, when they're all he has in the world?"

"He has me. I'm a great deal of diversion for him; all he needs. There," she said as she opened the door into her own hall, "I shouldn't have said that before the elevator boy."

"Even an elevator boy couldn't make a scandal about Oliver. He's such a catnip man."

Dr. Archie laughed, but Thea, who seemed suddenly to have thought of something annoying, repeated blankly, "Catnip man?"

"Yes, he lives on catnip, and rum tea. But he's not the only one. You are like an eccentric old woman I know in Boston, who goes about in the spring feeding catnip to street cats. You dispense it to a lot of fellows. Your pull seems to be more with men than with women, you know; with seasoned men, about my age, or older. Even on Friday afternoon I kept running into them, old boys I hadn't seen for years, thin at the part and thick at the girth, until I stood still in the draft and held my hair on. They're always there; I hear them talking about you in the smoking-

room. Probably we don't get to the point of apprehending anything good until we're about forty. Then, in the light of what is going, and of what, God help us! is coming, we arrive at understanding."

"I don't see why people go to the opera, anyway,—serious people." She spoke discontentedly. "I suppose they get something, or think they do. Here's the coffee. There, please," she directed the waiter. Going to the table she began to pour the coffee, standing. She wore a white dress trimmed with crystals which had rattled a good deal during dinner, as all her movements had been impatient and nervous, and she had twisted the dark velvet rose at her girdle until it looked rumpled and weary. She poured the coffee as if it were a ceremony in which she did not believe. "Can you make anything of Fred's nonsense, Dr. Archie?" she asked, as he came to take his cup.

Fred approached her. "My nonsense is all right. The same brand has gone with you before. It's you who won't be jollied. What's the matter? You have something on your mind."

"I've a good deal. Too much to be an agreeable hostess." She turned quickly away from the coffee and sat down on the piano bench, facing the two men. "For one thing, there's a change in the cast for Friday afternoon. They're going to let me sing Sieglinde." Her frown did not conceal the pleasure with which she made this announcement.

"Are you going to keep us dangling about here forever, Thea? Archie and I are supposed to have other things to do." Fred looked at her with an excitement quite as apparent as her own.

"Here I've been ready to sing Sieglinde for two years, kept in torment, and now it comes off within two weeks, just when I want to be seeing something of Dr. Archie. I don't know what their plans are down there. After Friday they may let me cool for several weeks, and they may rush

me. I suppose it depends somewhat on how things go Friday afternoon."

"Oh, they'll go fast enough! That's better suited to your voice than anything you've sung here. That gives you every opportunity I've waited for." Ottenburg crossed the room and standing beside her began to play "Du bist der Lenz."

With a violent movement Thea caught his wrists and pushed his hands away from the keys.

"Fred, can't you be serious? A thousand things may happen between this and Friday to put me out. Something will happen. If that part were sung well, as well as it ought to be, it would be one of the most beautiful things in the world. That's why it never is sung right, and never will be." She clenched her hands and opened them despairingly, looking out of the open window. "It's inaccessibly beautiful!" she brought out sharply.

Fred and Dr. Archie watched her. In a moment she turned back to them. "It's impossible to sing a part like that well for the first time, except for the sort who will never sing it any better. Everything hangs on that first night, and that's bound to be bad. There you are," she shrugged impatiently. "For one thing, they change the cast at the eleventh hour and then rehearse the life out of me."

Ottenburg put down his cup with exaggerated care. "Still, you really want to do it, you know."

"Want to?" she repeated indignantly; "of course I want to! If this were only next Thursday night— But between now and Friday I'll do nothing but fret away my strength. Oh, I'm not saying I don't need the rehearsals! But I don't need them strung out through a week. That system's well enough for phlegmatic singers; it only drains me. Every single feature of operatic routine is detrimental to me. I usually go on like a horse that's been fixed to lose a race. I have to work hard to do my worst,

let alone my best. I wish you could hear me sing well, once," she turned to Fred defiantly; "I have, a few times in my life, when there was nothing to gain by it."

Fred approached her again and held out his hand. "I recall my instructions, and now I'll leave you to fight it out with Archie. He can't possibly represent managerial stupidity to you as I seem to have a gift for doing."

As he smiled down at her, his good humor, his good wishes, his understanding, embarrassed her and recalled her to herself. She kept her seat, still holding his hand. "All the same, Fred, isn't it too bad, that there are so many things—" She broke off with a shake of the head.

"My dear girl, if I could bridge over the agony between now and Friday for you— But you know the rules of the game; why torment yourself? You saw the other night that you had the part under your thumb. Now walk, sleep, play with Archie, keep your tiger hungry, and she'll spring all right on Friday. I'll be there to see her, and there'll be more than I, I suspect. Harsanyi's on the Wilhelm der Grosse; gets in on Thursday."

"Harsanyi?" Thea's eye lighted. "I haven't seen him for years. We always miss each other." She paused, hesitating. "Yes, I should like that. But he'll be busy, maybe?"

"He gives his first concert at Carnegie Hall, week after next. Better send him a box if you can."

"Yes, I'll manage it." Thea took his hand again. "Oh, I should like that, Fred!" she added impulsively. "Even if I were put out, he'd get the idea,"—she threw back her head,—"for there is an idea!"

"Which won't penetrate here," he tapped his brow and began to laugh. "You are an ungrateful huzzy, comme les autres!"

Thea detained him as he turned away. She pulled a flower out of a bouquet on the piano and absently drew the stem through the lapel of his coat. "I shall be walking

in the Park to-morrow afternoon, on the reservoir path, between four and five, if you care to join me. You know that after Harsanyi I'd rather please you than anyone else. You know a lot, but he knows even more than you."

"Thank you. Don't try to analyze it. Schlafen Sie wohl!" he kissed her fingers and waved from the door, closing it behind him.

"He's the right sort, Thea." Dr. Archie looked warmly after his disappearing friend. "I've always hoped you'd make it up with Fred."

"Well, haven't I? Oh, marry him, you mean! Perhaps it may come about, some day. Just at present he's not in the marriage market any more than I am, is he?"

"No, I suppose not. It's a damned shame that a man like Ottenburg should be tied up as he is, wasting all the best years of his life. A woman with general paresis ought to be legally dead."

"Don't let us talk about Fred's wife, please. He had no business to get into such a mess, and he had no business to stay in it. He's always been a softy where women were concerned."

"Most of us are, I'm afraid," Dr. Archie admitted meekly.

"Too much light in here, isn't there? Tires one's eyes. The stage lights are hard on mine." Thea began turning them out. "We'll leave the little one, over the piano." She sank down by Archie on the deep sofa. "We two have so much to talk about that we keep away from it altogether; have you noticed? We don't even nibble the edges. I wish we had Landry here to-night to play for us. He's very comforting."

"I'm afraid you don't have enough personal life, outside your work, Thea." The doctor looked at her anxiously.

She smiled at him with her eyes half closed. "My dear doctor, I don't have any. Your work becomes your personal life. You are not much good until it does. It's like

being woven into a big web. You can't pull away, because all your little tendrils are woven into the picture. It takes you up, and uses you, and spins you out; and that is your life. Not much else can happen to you."

"Didn't you think of marrying, several years ago?"

"You mean Nordquist? Yes; but I changed my mind. We had been singing a good deal together. He's a splendid creature."

"Were you much in love with him, Thea?" the doctor asked hopefully.

She smiled again. "I don't think I know just what that expression means. I've never been able to find out. I think I was in love with you when I was little, but not with any one since then. There are a great many ways of caring for people. It's not, after all, a simple state, like measles or tonsilitis. Nordquist is a taking sort of man. He and I were out in a rowboat once in a terrible storm. The lake was fed by glaciers,—ice water,—and we couldn't have swum a stroke if the boat had filled. If we hadn't both been strong and kept our heads, we'd have gone down. We pulled for every ounce there was in us, and we just got off with our lives. We were always being thrown together like that, under some kind of pressure. Yes, for a while I thought he would make everything right." She paused and sank back, resting her head on a cushion, pressing her eyelids down with her fingers. "You see," she went on abruptly, "he had a wife and two children. He hadn't lived with her for several years, but when she heard that he wanted to marry again, she began to make trouble. He earned a good deal of money, but he was careless and always wretchedly in debt. He came to me one day and told me he thought his wife would settle for a hundred thousand marks and consent to a divorce. I got very angry and sent him away. Next day he came back and said he thought she'd take fifty thousand."

Dr. Archie drew away from her, to the end of the sofa.

"Good God, Thea,"— He ran his handkerchief over his forehead. "What sort of people—" He stopped and shook his head.

Thea rose and stood beside him, her hand on his shoulder. "That's exactly how it struck me," she said quietly. "Oh, we have things in common, things that go away back, under everything. You understand, of course. Nordquist didn't. He thought I wasn't willing to part with the money. I couldn't let myself buy him from Fru Nordquist, and he couldn't see why. He had always thought I was close about money, so he attributed it to that. I am careful,"—she ran her arm through Archie's and when he rose began to walk about the room with him. "I can't be careless with money. I began the world on six hundred dollars, and it was the price of a man's life. Ray Kennedy had worked hard and been sober and denied himself, and when he died he had six hundred dollars to show for it. I always measure things by that six hundred dollars, just as I measure high buildings by the Moonstone standpipe. There are standards we can't get away from."

Dr. Archie took her hand. "I don't believe we should be any happier if we did get away from them. I think it gives you some of your poise, having that anchor. You look," glancing down at her head and shoulders, "sometimes so like your mother."

"Thank you. You couldn't say anything nicer to me than that. On Friday afternoon, didn't you think?"

"Yes, but at other times, too. I love to see it. Do you know what I thought about that first night when I heard you sing? I kept remembering the night I took care of you when you had pneumonia, when you were ten years old. You were a terribly sick child, and I was a country doctor without much experience. There were no oxygen tanks about then. You pretty nearly slipped away from me. If you had—"

Thea dropped her head on his shoulder. "I'd have

saved myself and you a lot of trouble, wouldn't I? Dear Dr. Archie!" she murmured.

"As for me, life would have been a pretty bleak stretch, with you left out." The doctor took one of the crystal pendants that hung from her shoulder and looked into it thoughtfully. "I guess I'm a romantic old fellow, underneath. And you've always been my romance. Those years when you were growing up were my happiest. When I dream about you, I always see you as a little girl."

They paused by the open window. "Do you? Nearly all my dreams, except those about breaking down on the stage or missing trains, are about Moonstone. You tell me the old house has been pulled down, but it stands in my mind, every stick and timber. In my sleep I go all about it, and look in the right drawers and cupboards for everything. I often dream that I'm hunting for my rubbers in that pile of overshoes that was always under the hatrack in the hall. I pick up every overshoe and know whose it is, but I can't find my own. Then the school bell begins to ring and I begin to cry. That's the house I rest in when I'm tired. All the old furniture and the worn spots in the carpet—it rests my mind to go over them."

They were looking out of the window. Thea kept his arm. Down on the river four battleships were anchored in line, brilliantly lighted, and launches were coming and going, bringing the men ashore. A searchlight from one of the ironclads was playing on the great headland up the river, where it makes its first resolute turn. Overhead the night-blue sky was intense and clear.

"There's so much that I want to tell you," she said at last, "and it's hard to explain. My life is full of jealousies and disappointments, you know. You get to hating people who do contemptible work and who get on just as well as you do. There are many disappointments in my profession, and bitter, bitter contempts!" Her face hardened, and looked much older. "If you love the good thing vitally, enough to

give up for it all that one must give up for it, then you must hate the cheap thing just as hard. I tell you, there is such a thing as creative hate! A contempt that drives you through fire, makes you risk everything and lose everything, makes you a long sight better than you ever knew you could be." As she glanced at Dr. Archie's face, Thea stopped short and turned her own face away. Her eyes followed the path of the searchlight up the river and rested upon the illumined headland.

"You see," she went on more calmly, "voices are accidental things. You find plenty of good voices in common women, with common minds and common hearts. Look at that woman who sang Ortrude with me last week. She's new here and the people are wild about her. `Such a beautiful volume of tone!' they say. I give you my word she's as stupid as an owl and as coarse as a pig, and any one who knows anything about singing would see that in an instant. Yet she's quite as popular as Necker, who's a great artist. How can I get much satisfaction out of the enthusiasm of a house that likes her atrociously bad performance at the same time that it pretends to like mine? If they like her, then they ought to hiss me off the stage. We stand for things that are irreconcilable, absolutely. You can't try to do things right and not despise the people who do them wrong. How can I be indifferent? If that doesn't matter, then nothing matters. Well, sometimes I've come home as I did the other night when you first saw me, so full of bitterness that it was as if my mind were full of daggers. And I've gone to sleep and wakened up in the Kohlers' garden, with the pigeons and the white rabbits, so happy! And that saves me." She sat down on the piano bench. Archie thought she had forgotten all about him, until she called his name. Her voice was soft now, and wonderfully sweet. It seemed to come from somewhere deep within her, there were such strong vibrations in it. "You see, Dr. Archie, what one really strives for in

art is not the sort of thing you are likely to find when you drop in for a performance at the opera. What one strives for is so far away, so deep, so beautiful"—she lifted her shoulders with a long breath, folded her hands in her lap and sat looking at him with a resignation that made her face noble,—"that there's nothing one can say about it, Dr. Archie."

Without knowing very well what it was all about, Archie was passionately stirred for her. "I've always believed in you, Thea; always believed," he muttered.

She smiled and closed her eyes. "They save me: the old things, things like the Kohlers' garden. They are in everything I do."

"In what you sing, you mean?"

"Yes. Not in any direct way,"—she spoke hurriedly, —"the light, the color, the feeling. Most of all the feeling. It comes in when I'm working on a part, like the smell of a garden coming in at the window. I try all the new things, and then go back to the old. Perhaps my feelings were stronger then. A child's attitude toward everything is an artist's attitude. I am more or less of an artist now, but then I was nothing else. When I went with you to Chicago that first time, I carried with me the essentials, the foundation of all I do now. The point to which I could go was scratched in me then. I haven't reached it yet, by a long way."

Archie had a swift flash of memory. Pictures passed before him. "You mean," he asked wonderingly, "that you knew then that you were so gifted?"

Thea looked up at him and smiled. "Oh, I didn't know anything! Not enough to ask you for my trunk when I needed it. But you see, when I set out from Moonstone with you, I had had a rich, romantic past. I had lived a long, eventful life, and an artist's life, every hour of it. Wagner says, in his most beautiful opera, that art is only a way of remembering youth. And the older we grow the

more precious it seems to us, and the more richly we can present that memory. When we've got it all out,—the last, the finest thrill of it, the brightest hope of it,"—she lifted her hand above her head and dropped it,—"then we stop. We do nothing but repeat after that. The stream has reached the level of its source. That's our measure."

There was a long, warm silence. Thea was looking hard at the floor, as if she were seeing down through years and years, and her old friend stood watching her bent head. His look was one with which he used to watch her long ago, and which, even in thinking about her, had become a habit of his face. It was full of solicitude, and a kind of secret gratitude, as if to thank her for some inexpressible pleasure of the heart. Thea turned presently toward the piano and began softly to waken an old air:—

Archie sat down and shaded his eyes with his hand. She turned her head and spoke to him over her shoulder. "Come on, you know the words better than I. That's right."

"We can get on without Landry. Let's try it again, I have all the words now. Then we'll have `Sweet Afton.' Come: `Ca' the yowes to the knowes'—"

10. X

OTTENBURG dismissed his taxicab at the 91st Street entrance of the Park and floundered across the drive through a wild spring snowstorm. When he reached the reservoir path he saw Thea ahead of him, walking rapidly against the wind. Except for that one figure, the path was deserted. A flock of gulls were hovering over the reservoir, seeming bewildered by the driving currents of snow that whirled above the black water and then disappeared within it. When he had almost overtaken Thea, Fred called to her, and she turned and waited for him with her back to the wind. Her hair and furs were powdered with snow-flakes, and she looked like some rich-pelted animal, with warm blood, that had run in out of the woods. Fred laughed as he took her hand.

"No use asking how you do. You surely needn't feel much anxiety about Friday, when you can look like this."

She moved close to the iron fence to make room for him beside her, and faced the wind again. "Oh, I'm well enough, in so far as that goes. But I'm not lucky about stage appearances. I'm easily upset, and the most perverse things happen."

"What's the matter? Do you still get nervous?"

"Of course I do. I don't mind nerves so much as getting numbed," Thea muttered, sheltering her face for a moment with her muff. "I'm under a spell, you know, hoodooed. It's the thing I want to do that I can never do. Any other effects I can get easily enough."

"Yes, you get effects, and not only with your voice. That's where you have it over all the rest of them; you're as much at home on the stage as you were down in

Panther Canyon—as if you'd just been let out of a cage. Didn't you get some of your ideas down there?"

Thea nodded. "Oh, yes! For heroic parts, at least. Out of the rocks, out of the dead people. You mean the idea of standing up under things, don't you, meeting catastrophe? No fussiness. Seems to me they must have been a reserved, somber people, with only a muscular language, all their movements for a purpose; simple, strong, as if they were dealing with fate bare-handed." She put her gloved fingers on Fred's arm. "I don't know how I can ever thank you enough. I don't know if I'd ever have got anywhere without Panther Canyon. How did you know that was the one thing to do for me? It's the sort of thing nobody ever helps one to, in this world. One can learn how to sing, but no singing teacher can give anybody what I got down there. How did you know?"

"I didn't know. Anything else would have done as well. It was your creative hour. I knew you were getting a lot, but I didn't realize how much."

Thea walked on in silence. She seemed to be thinking.

"Do you know what they really taught me?" she came out suddenly. "They taught me the inevitable hardness of human life. No artist gets far who doesn't know that. And you can't know it with your mind. You have to realize it in your body, somehow; deep. It's an animal sort of feeling. I sometimes think it's the strongest of all. Do you know what I'm driving at?"

"I think so. Even your audiences feel it, vaguely: that you've sometime or other faced things that make you different."

Thea turned her back to the wind, wiping away the snow that clung to her brows and lashes. "Ugh!" she exclaimed; "no matter how long a breath you have, the storm has a longer. I haven't signed for next season, yet, Fred. I'm holding out for a big contract: forty performances. Necker won't be able to do much next winter. It's going to be one

of those between seasons; the old singers are too old, and the new ones are too new. They might as well risk me as anybody. So I want good terms. The next five or six years are going to be my best."

"You'll get what you demand, if you are uncompromising. I'm safe in congratulating you now."

Thea laughed. "It's a little early. I may not get it at all. They don't seem to be breaking their necks to meet me. I can go back to Dresden."

As they turned the curve and walked westward they got the wind from the side, and talking was easier.

Fred lowered his collar and shook the snow from his shoulders. "Oh, I don't mean on the contract particularly. I congratulate you on what you can do, Thea, and on all that lies behind what you do. On the life that's led up to it, and on being able to care so much. That, after all, is the unusual thing."

She looked at him sharply, with a certain apprehension. "Care? Why shouldn't I care? If I didn't, I'd be in a bad way. What else have I got?" She stopped with a challenging interrogation, but Ottenburg did not reply. "You mean," she persisted, "that you don't care as much as you used to?"

"I care about your success, of course." Fred fell into a slower pace. Thea felt at once that he was talking seriously and had dropped the tone of half-ironical exaggeration he had used with her of late years. "And I'm grateful to you for what you demand from yourself, when you might get off so easily. You demand more and more all the time, and you'll do more and more. One is grateful to anybody for that; it makes life in general a little less sordid. But as a matter of fact, I'm not much interested in how anybody sings anything."

"That's too bad of you, when I'm just beginning to see what is worth doing, and how I want to do it!" Thea spoke in an injured tone.

"That's what I congratulate you on. That's the great difference between your kind and the rest of us. It's how long you're able to keep it up that tells the story. When you needed enthusiasm from the outside, I was able to give it to you. Now you must let me withdraw."

"I'm not tying you, am I?" she flashed out. "But withdraw to what? What do you want?"

Fred shrugged. "I might ask you, What have I got? I want things that wouldn't interest you; that you probably wouldn't understand. For one thing, I want a son to bring up."

"I can understand that. It seems to me reasonable. Have you also found somebody you want to marry?"

"Not particularly." They turned another curve, which brought the wind to their backs, and they walked on in comparative calm, with the snow blowing past them. "It's not your fault, Thea, but I've had you too much in my mind. I've not given myself a fair chance in other directions. I was in Rome when you and Nordquist were there. If that had kept up, it might have cured me."

"It might have cured a good many things," remarked Thea grimly.

Fred nodded sympathetically and went on. "In my library in St. Louis, over the fireplace, I have a property spear I had copied from one in Venice,—oh, years ago, after you first went abroad, while you were studying. You'll probably be singing Brünnhilde pretty soon now, and I'll send it on to you, if I may. You can take it and its history for what they're worth. But I'm nearly forty years old, and I've served my turn. You've done what I hoped for you, what I was honestly willing to lose you for—then. I'm older now, and I think I was an ass. I wouldn't do it again if I had the chance, not much! But I'm not sorry. It takes a great many people to make one—Brünnhilde."

Thea stopped by the fence and looked over into the

black choppiness on which the snowflakes fell and disappeared with magical rapidity. Her face was both angry and troubled. "So you really feel I've been ungrateful. I thought you sent me out to get something. I didn't know you wanted me to bring in something easy. I thought you wanted something—" She took a deep breath and shrugged her shoulders. "But there! nobody on God's earth wants it, really! If one other person wanted it,"—she thrust her hand out before him and clenched it,—"my God, what I could do!"

Fred laughed dismally. "Even in my ashes I feel myself pushing you! How can anybody help it? My dear girl, can't you see that anybody else who wanted it as you do would be your rival, your deadliest danger? Can't you see that it's your great good fortune that other people can't care about it so much?"

But Thea seemed not to take in his protest at all. She went on vindicating herself. "It's taken me a long while to do anything, of course, and I've only begun to see day-light. But anything good is—expensive. It hasn't seemed long. I've always felt responsible to you."

Fred looked at her face intently, through the veil of snowflakes, and shook his head. "To me? You are a truthful woman, and you don't mean to lie to me. But after the one responsibility you do feel, I doubt if you've enough left to feel responsible to God! Still, if you've ever in an idle hour fooled yourself with thinking I had anything to do with it, Heaven knows I'm grateful."

"Even if I'd married Nordquist," Thea went on, turning down the path again, "there would have been something left out. There always is. In a way, I've always been married to you. I'm not very flexible; never was and never shall be. You caught me young. I could never have that over again. One can't, after one begins to know anything. But I look back on it. My life hasn't been a gay one, any more than yours. If I shut things out from you, you shut

them out from me. We've been a help and a hindrance to each other. I guess it's always that way, the good and the bad all mixed up. There's only one thing that's all beautiful— and always beautiful! That's why my interest keeps up."

"Yes, I know." Fred looked sidewise at the outline of her head against the thickening atmosphere. "And you give one the impression that that is enough. I've gradually, gradually given you up."

"See, the lights are coming out." Thea pointed to where they flickered, flashes of violet through the gray tree-tops. Lower down the globes along the drives were becoming a pale lemon color. "Yes, I don't see why anybody wants to marry an artist, anyhow. I remember Ray Kennedy used to say he didn't see how any woman could marry a gambler, for she would only be marrying what the game left." She shook her shoulders impatiently. "Who marries who is a small matter, after all. But I hope I can bring back your interest in my work. You've cared longer and more than anybody else, and I'd like to have somebody human to make a report to once in a while. You can send me your spear. I'll do my best. If you're not interested, I'll do my best anyhow. I've only a few friends, but I can lose every one of them, if it has to be. I learned how to lose when my mother died.— We must hurry now. My taxi must be waiting."

The blue light about them was growing deeper and darker, and the falling snow and the faint trees had become violet. To the south, over Broadway, there was an orange reflection in the clouds. Motors and carriage lights flashed by on the drive below the reservoir path, and the air was strident with horns and shrieks from the whistles of the mounted policemen.

Fred gave Thea his arm as they descended from the embankment. "I guess you'll never manage to lose me or Archie, Thea. You do pick up queer ones. But loving

you is a heroic discipline. It wears a man out. Tell me one thing: could I have kept you, once, if I'd put on every screw?"

Thea hurried him along, talking rapidly, as if to get it over. "You might have kept me in misery for a while, perhaps. I don't know. I have to think well of myself, to work. You could have made it hard. I'm not ungrateful. I was a difficult proposition to deal with. I understand now, of course. Since you didn't tell me the truth in the beginning, you couldn't very well turn back after I'd set my head. At least, if you'd been the sort who could, you wouldn't have had to,—for I'd not have cared a button for that sort, even then." She stopped beside a car that waited at the curb and gave him her hand. "There. We part friends?"

Fred looked at her. "You know. Ten years."

"I'm not ungrateful," Thea repeated as she got into her cab.

"Yes," she reflected, as the taxi cut into the Park carriage road, "we don't get fairy tales in this world, and he has, after all, cared more and longer than anybody else." It was dark outside now, and the light from the lamps along the drive flashed into the cab. The snowflakes hovered like swarms of white bees about the globes.

Thea sat motionless in one corner staring out of the window at the cab lights that wove in and out among the trees, all seeming to be bent upon joyous courses. Taxicabs were still new in New York, and the theme of popular minstrelsy. Landry had sung her a ditty he heard in some theater on Third Avenue, about

"But there passed him a bright-eyed taxi

With the girl of his heart inside."

Almost inaudibly Thea began to hum the air, though she was thinking of something serious, something that had touched her deeply. At the beginning of the season, when

she was not singing often, she had gone one afternoon to hear Paderewski's recital. In front of her sat an old German couple, evidently poor people who had made sacrifices o pay for their excellent seats. Their intelligent enjoyment of the music, and their friendliness with each other, had interested her more than anything on the programme. When the pianist began a lovely melody in the first movement of the Beethoven D minor sonata, the old lady put out her plump hand and touched her husband's sleeve and they looked at each other in recognition. They both wore glasses, but such a look! Like forget-me-nots, and so full of happy recollections. Thea wanted to put her arms around them and ask them how they had been able to keep a feeling like that, like a nosegay in a glass of water.

11. XI

DR. ARCHIE saw nothing of Thea during the following week. After several fruitless efforts, he succeeded in getting a word with her over the telephone, but she sounded so distracted and driven that he was glad to say good-night and hang up the instrument. There were, she told him, rehearsals not only for "Walkure," but also for "Gotterdammerung," in which she was to sing Waltraute two weeks later.

On Thursday afternoon Thea got home late, after an exhausting rehearsal. She was in no happy frame of mind. Madame Necker, who had been very gracious to her that night when she went on to complete Gloeckler's performance of Sieglinde, had, since Thea was cast to sing the part instead of Gloeckler in the production of the "Ring," been chilly and disapproving, distinctly hostile. Thea had always felt that she and Necker stood for the same sort of endeavor, and that Necker recognized it and had a cordial feeling for her. In Germany she had several times sung Brangaena to Necker's Isolde, and the older artist had let her know that she thought she sang it beautifully. It was a bitter disappointment to find that the approval of so honest an artist as Necker could not stand the test of any significant recognition by the management. Madame Necker was forty, and her voice was failing just when her powers were at their height. Every fresh young voice was an enemy, and this one was accompanied by gifts which she could not fail to recognize.

Thea had her dinner sent up to her apartment, and it was a very poor one. She tasted the soup and then indignantly put on her wraps to go out and hunt a dinner. As she was going to the elevator, she had to admit that she

was behaving foolishly. She took off her hat and coat and ordered another dinner. When it arrived, it was no better than the first. There was even a burnt match under the milk toast. She had a sore throat, which made swallowing painful and boded ill for the morrow. Although she had been speaking in whispers all day to save her throat, she now perversely summoned the housekeeper and demanded an account of some laundry that had been lost. The housekeeper was indifferent and impertinent, and Thea got angry and scolded violently. She knew it was very bad for her to get into a rage just before bedtime, and after the housekeeper left she realized that for ten dollars' worth of underclothing she had been unfitting herself for a performance which might eventually mean many thousands. The best thing now was to stop reproaching herself for her lack of sense, but she was too tired to control her thoughts.

While she was undressing—Therese was brushing out her Sieglinde wig in the trunk-room—she went on chiding herself bitterly. "And how am I ever going to get to sleep in this state?" she kept asking herself. "If I don't sleep, I'll be perfectly worthless to-morrow. I'll go down there to-morrow and make a fool of myself. If I'd let that laundry alone with whatever nigger has stolen it— why did I undertake to reform the management of this hotel to-night? After to-morrow I could pack up and leave the place. There's the Phillamon—I liked the rooms there better, anyhow—and the Umberto—" She began going over the advantages and disadvantages of different apartment hotels. Suddenly she checked herself. "What am I doing this for? I can't move into another hotel to-night. I'll keep this up till morning. I shan't sleep a wink."

Should she take a hot bath, or shouldn't she? Sometimes it relaxed her, and sometimes it roused her and fairly put her beside herself. Between the conviction that she must sleep and the fear that she couldn't, she hung paralyzed.

When she looked at her bed, she shrank from it in every nerve. She was much more afraid of it than she had ever been of the stage of any opera house. It yawned before her like the sunken road at Waterloo.

She rushed into her bathroom and locked the door. She would risk the bath, and defer the encounter with the bed a little longer. She lay in the bath half an hour. The warmth of the water penetrated to her bones, induced pleasant reflections and a feeling of well-being. It was very nice to have Dr. Archie in New York, after all, and to see him get so much satisfaction out of the little companionship she was able to give him. She liked people who got on, and who became more interesting as they grew older. There was Fred; he was much more interesting now than he had been at thirty. He was intelligent about music, and he must be very intelligent in his business, or he would not be at the head of the Brewers' Trust. She respected that kind of intelligence and success. Any success was good. She herself had made a good start, at any rate, and now, if she could get to sleep— Yes, they were all more interesting than they used to be. Look at Harsanyi, who had been so long retarded; what a place he had made for himself in Vienna. If she could get to sleep, she would show him something to-morrow that he would understand.

She got quickly into bed and moved about freely between the sheets. Yes, she was warm all over. A cold, dry breeze was coming in from the river, thank goodness! She tried to think about her little rock house and the Arizona sun and the blue sky. But that led to memories which were still too disturbing. She turned on her side, closed her eyes, and tried an old device.

She entered her father's front door, hung her hat and coat on the rack, and stopped in the parlor to warm her hands at the stove. Then she went out through the dining-room, where the boys were getting their lessons at the long table; through the sitting-room, where Thor was asleep in

his cot bed, his dress and stocking hanging on a chair. In the kitchen she stopped for her lantern and her hot brick. She hurried up the back stairs and through the windy loft to her own glacial room. The illusion was marred only by the consciousness that she ought to brush her teeth before she went to bed, and that she never used to do it. Why—? The water was frozen solid in the pitcher, so she got over that. Once between the red blankets there was a short, fierce battle with the cold; then, warmer—warmer. She could hear her father shaking down the hard-coal burner for the night, and the wind rushing and banging down the village street. The boughs of the cottonwood, hard as bone, rattled against her gable. The bed grew softer and warmer. Everybody was warm and well downstairs. The sprawling old house had gathered them all in, like a hen, and had settled down over its brood. They were all warm in her father's house. Softer and softer. She was asleep. She slept ten hours without turning over. From sleep like that, one awakes in shining armor.

On Friday afternoon there was an inspiring audience; there was not an empty chair in the house. Ottenburg and Dr. Archie had seats in the orchestra circle, got from a ticket broker. Landry had not been able to get a seat, so he roamed about in the back of the house, where he usually stood when he dropped in after his own turn in vaudeville was over. He was there so often and at such irregular hours that the ushers thought he was a singer's husband, or had something to do with the electrical plant.

Harsanyi and his wife were in a box, near the stage, in the second circle. Mrs. Harsanyi's hair was noticeably gray, but her face was fuller and handsomer than in those early years of struggle, and she was beautifully dressed. Harsanyi himself had changed very little. He had put on his best afternoon coat in honor of his pupil, and wore a

pearl in his black ascot. His hair was longer and more bushy than he used to wear it, and there was now one gray lock on the right side. He had always been an elegant figure, even when he went about in shabby clothes and was crushed with work. Before the curtain rose he was restless and nervous, and kept looking at his watch and wishing he had got a few more letters off before he left his hotel. He had not been in New York since the advent of the taxicab, and had allowed himself too much time. His wife knew that he was afraid of being disappointed this afternoon. He did not often go to the opera because the stupid things that singers did vexed him so, and it always put him in a rage if the conductor held the tempo or in any way accommodated the score to the singer.

When the lights went out and the violins began to quaver their long D against the rude figure of the basses, Mrs. Harsanyi saw her husband's fingers fluttering on his knee in a rapid tattoo. At the moment when Sieglinde entered from the side door, she leaned toward him and whispered in his ear, "Oh, the lovely creature!" But he made no response, either by voice or gesture. Throughout the first scene he sat sunk in his chair, his head forward and his one yellow eye rolling restlessly and shining like a tiger's in the dark. His eye followed Sieglinde about the stage like a satellite, and as she sat at the table listening to Siegmund's long narrative, it never left her. When she prepared the sleeping draught and disappeared after Hunding, Harsanyi bowed his head still lower and put his hand over his eye to rest it. The tenor,—a young man who sang with great vigor, went on:—

Harsanyi smiled, but he did not look forth again until Sieglinde reappeared. She went through the story of her shameful bridal feast and into the Walhall' music, which she always sang so nobly, and the entrance of the one-eyed stranger:—

Mrs. Harsanyi glanced at her husband, wondering whether the singer on the stage could not feel his commanding glance. On came the crescendo:—

Harsanyi touched his wife's arm softly.

Seated in the moonlight, the Volsung pair began their loving inspection of each other's beauties, and the music born of murmuring sound passed into her face, as the old poet said,—and into her body as well. Into one lovely attitude after another the music swept her, love impelled her. And the voice gave out all that was best in it. Like the spring, indeed, it blossomed into memories and prophecies, it recounted and it foretold, as she sang the story of her friendless life, and of how the thing which was truly herself, "bright as the day, rose to the surface" when in the hostile world she for the first time beheld her Friend. Fervently she rose into the hardier feeling of action and daring, the pride in hero-strength and hero-blood, until in a splendid burst, tall and shining like a Victory, she christened him:—

Her impatience for the sword swelled with her anticipation of his act, and throwing her arms above her head, she fairly tore a sword out of the empty air for him, before Nothung had left the tree. In höchster Trunkenheit, indeed,

she burst out with the flaming cry of their kinship: "If you are Siegmund, I am Sieglinde!" Laughing, singing, bounding, exulting,—with their passion and their sword,—the Volsungs ran out into the spring night.

As the curtain fell, Harsanyi turned to his wife. "At last," he sighed, "somebody with enough! Enough voice and talent and beauty, enough physical power. And such a noble, noble style!"

"I can scarcely believe it, Andor. I can see her now, that clumsy girl, hunched up over your piano. I can see her shoulders. She always seemed to labor so with her back. And I shall never forget that night when you found her voice."

The audience kept up its clamor until, after many reappearances with the tenor, Kronborg came before the curtain alone. The house met her with a roar, a greeting that was almost savage in its fierceness. The singer's eyes, sweeping the house, rested for a moment on Harsanyi, and she waved her long sleeve toward his box.

"She ought to be pleased that you are here," said Mrs. Harsanyi. "I wonder if she knows how much she owes to you."

"She owes me nothing," replied her husband quickly. "She paid her way. She always gave something back, even then."

"I remember you said once that she would do nothing common," said Mrs. Harsanyi thoughtfully.

"Just so. She might fail, die, get lost in the pack. But if she achieved, it would be nothing common. There are people whom one can trust for that. There is one way in which they will never fail." Harsanyi retired into his own reflections.

After the second act Fred Ottenburg brought Archie to the Harsanyis' box and introduced him as an old friend of Miss Kronborg. The head of a musical publishing house joined them, bringing with him a journalist and the president of a German singing society. The conversation was

chiefly about the new Sieglinde. Mrs. Harsanyi was gracious and enthusiastic, her husband nervous and uncommunicative. He smiled mechanically, and politely answered questions addressed to him. "Yes, quite so." "Oh, certainly." Every one, of course, said very usual things with great conviction. Mrs. Harsanyi was used to hearing and uttering the commonplaces which such occasions demanded. When her husband withdrew into the shadow, she covered his retreat by her sympathy and cordiality. In reply to a direct question from Ottenburg, Harsanyi said, flinching, "Isolade? Yes, why not? She will sing all the great roles, I should think."

The chorus director said something about "dramatic temperament." The journalist insisted that it was "explosive force," "projecting power."

Ottenburg turned to Harsanyi. "What is it, Mr. Harsanyi? Miss Kronborg says if there is anything in her, you are the man who can say what it is."

The journalist scented copy and was eager. "Yes, Harsanyi. You know all about her. What's her secret?"

Harsanyi rumpled his hair irritably and shrugged his shoulders. "Her secret? It is every artist's secret,"—he waved his hand,—"passion. That is all. It is an open secret, and perfectly safe. Like heroism, it is inimitable in cheap materials."

The lights went out. Fred and Archie left the box as the second act came on.

Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is. That afternoon nothing new came to Thea Kronborg, no enlightenment, no inspiration. She merely came into full possession of things she had been refining and perfecting for so long. Her inhibitions chanced to be fewer than usual, and, within herself, she entered into the inheritance that she herself had laid up, into the

fullness of the faith she had kept before she knew its name or its meaning.

Often when she sang, the best she had was unavailable; she could not break through to it, and every sort of distraction and mischance came between it and her. But this afternoon the closed roads opened, the gates dropped. What she had so often tried to reach, lay under her hand. She had only to touch an idea to make it live.

While she was on the stage she was conscious that every movement was the right movement, that her body was absolutely the instrument of her idea. Not for nothing had she kept it so severely, kept it filled with such energy and fire. All that deep-rooted vitality flowered in her voice, her face, in her very finger-tips. She felt like a tree bursting into bloom. And her voice was as flexible as her body; equal to any demand, capable of every nuance. With the sense of its perfect companionship, its entire trustworthiness, she had been able to throw herself into the dramatic exigencies of the part, everything in her at its best and everything working together.

The third act came on, and the afternoon slipped by. Thea Kronborg's friends, old and new, seated about the house on different floors and levels, enjoyed her triumph according to their natures. There was one there, whom nobody knew, who perhaps got greater pleasure out of that afternoon than Harsanyi himself. Up in the top gallery a gray-haired little Mexican, withered and bright as a string of peppers beside a'dobe door, kept praying and cursing under his breath, beating on the brass railing and shouting "Bravo! Bravo!" until he was repressed by his neighbors.

He happened to be there because a Mexican band was to be a feature of Barnum and Bailey's circus that year. One of the managers of the show had traveled about the Southwest, signing up a lot of Mexican musicians at low wages, and had brought them to New York. Among them

was Spanish Johnny. After Mrs. Tellamantez died, Johnny abandoned his trade and went out with his mandolin to pick up a living for one. His irregularities had become his regular mode of life.

When Thea Kronborg came out of the stage entrance on Fortieth Street, the sky was still flaming with the last rays of the sun that was sinking off behind the North River. A little crowd of people was lingering about the door—musicians from the orchestra who were waiting for their comrades, curious young men, and some poorly dressed girls who were hoping to get a glimpse of the singer. She bowed graciously to the group, through her veil, but she did not look to the right or left as she crossed the sidewalk to her cab. Had she lifted her eyes an instant and glanced out through her white scarf, she must have seen the only man in the crowd who had removed his hat when she emerged, and who stood with it crushed up in his hand. And she would have known him, changed as he was. His lustrous black hair was full of gray, and his face was a good deal worn by the extasi, so that it seemed to have shrunk away from his shining eyes and teeth and left them too prominent. But she would have known him. She passed so near that he could have touched her, and he did not put on his hat until her taxi had snorted away. Then he walked down Broadway with his hands in his overcoat pockets, wearing a smile which embraced all the stream of life that passed him and the lighted towers that rose into the limpid blue of the evening sky. If the singer, going home exhausted in her cab, was wondering what was the good of it all, that smile, could she have seen it, would have answered her. It is the only commensurate answer.

Here we must leave Thea Kronborg. From this time on the story of her life is the story of her achievement. The growth of an artist is an intellectual and spiritual

development which can scarcely be followed in a personal narrative. This story attempts to deal only with the simple and concrete beginnings which color and accent an artist's work, and to give some account of how a Moonstone girl found her way out of a vague, easy-going world into a life of disciplined endeavor. Any account of the loyalty of young hearts to some exalted ideal, and the passion with which they strive, will always, in some of us, rekindle generous emotions.

EPILOGUE

MOONSTONE again, in the year 1909. The Methodists are giving an ice-cream sociable in the grove about the new court-house. It is a warm summer night of full moon. The paper lanterns which hang among the trees are foolish toys, only dimming, in little lurid circles, the great softness of the lunar light that floods the blue heavens and the high plateau. To the east the sand hills shine white as of old, but the empire of the sand is gradually diminishing. The grass grows thicker over the dunes than it used to, and the streets of the town are harder and firmer than they were twenty-five years ago. The old inhabitants will tell you that sandstorms are infrequent now, that the wind blows less persistently in the spring and plays a milder tune. Cultivation has modified the soil and the climate, as it modifies human life.

The people seated about under the cottonwoods are much smarter than the Methodists we used to know. The interior of the new Methodist Church looks like a theater, with a sloping floor, and as the congregation proudly say, "opera chairs." The matrons who attend to serving the refreshments to-night look younger for their years than did the women of Mrs. Kronborg's time, and the children all look like city children. The little boys wear "Buster Browns" and the little girls Russian blouses. The country child, in made-overs and cut-downs, seems to have vanished from the face of the earth.

At one of the tables, with her Dutch-cut twin boys, sits a fair-haired, dimpled matron who was once Lily Fisher. Her husband is president of the new bank, and she "goes East for her summers," a practice which causes

envy and discontent among her neighbors. The twins are well-behaved children, biddable, meek, neat about their clothes, and always mindful of the proprieties they have learned at summer hotels. While they are eating their ice-cream and trying not to twist the spoon in their mouths, a little shriek of laughter breaks from an adjacent table. The twins look up. There sits a spry little old spinster whom they know well. She has a long chin, a long nose, and she is dressed like a young girl, with a pink sash and a lace garden hat with pink rosebuds. She is surrounded by a crowd of boys,—loose and lanky, short and thick,— who are joking with her roughly, but not unkindly.

"Mamma," one of the twins comes out in a shrill treble, "why is Tillie Kronborg always talking about a thousand dollars?"

The boys, hearing this question, break into a roar of laughter, the women titter behind their paper napkins, and even from Tillie there is a little shriek of appreciation. The observing child's remark had made every one suddenly realize that Tillie never stopped talking about that particular sum of money. In the spring, when she went to buy early strawberries, and was told that they were thirty cents a box, she was sure to remind the grocer that though her name was Kronborg she didn't get a thousand dollars a night. In the autumn, when she went to buy her coal for the winter, she expressed amazement at the price quoted her, and told the dealer he must have got her mixed up with her niece to think she could pay such a sum. When she was making her Christmas presents, she never failed to ask the women who came into her shop what you could make for anybody who got a thousand dollars a night. When the Denver papers announced that Thea Kronborg had married Frederick Ottenburg, the head of the Brewers' Trust, Moonstone people expected that Tillie's vain-gloriousness would take another form. But Tillie had hoped that Thea would marry

a title, and she did not boast much about Ottenburg,— at least not until after her memorable trip to Kansas City to hear Thea sing.

Tillie is the last Kronborg left in Moonstone. She lives alone in a little house with a green yard, and keeps a fancy-work and millinery store. Her business methods are informal, and she would never come out even at the end of the year, if she did not receive a draft for a good round sum from her niece at Christmas time. The arrival of this draft always renews the discussion as to what Thea would do for her aunt if she really did the right thing. Most of the Moonstone people think Thea ought to take Tillie to New York and keep her as a companion. While they are feeling sorry for Tillie because she does not live at the Plaza, Tillie is trying not to hurt their feelings by showing too plainly how much she realizes the superiority of her position. She tries to be modest when she complains to the postmaster that her New York paper is more than three days late. It means enough, surely, on the face of it, that she is the only person in Moonstone who takes a New York paper or who has any reason for taking one. A foolish young girl, Tillie lived in the splendid sorrows of "Wanda" and "Strathmore"; a foolish old girl, she lives in her niece's triumphs. As she often says, she just missed going on the stage herself.

That night after the sociable, as Tillie tripped home with a crowd of noisy boys and girls, she was perhaps a shade troubled. The twin's question rather lingered in her ears. Did she, perhaps, insist too much on that thousand dollars? Surely, people didn't for a minute think it was the money she cared about? As for that, Tillie tossed her head, she didn't care a rap. They must understand that this money was different.

When the laughing little group that brought her home had gone weaving down the sidewalk through the leafy shadows and had disappeared, Tillie brought out a rocking

chair and sat down on her porch. On glorious, soft summer nights like this, when the moon is opulent and full, the day submerged and forgotten, she loves to sit there behind her rose-vine and let her fancy wander where it will. If you chanced to be passing down that Moonstone street and saw that alert white figure rocking there behind the screen of roses and lingering late into the night, you might feel sorry for her, and how mistaken you would be! Tillie lives in a little magic world, full of secret satisfactions. Thea Kronborg has given much noble pleasure to a world that needs all it can get, but to no individual has she given more than to her queer old aunt in Moonstone. The legend of Kronborg, the artist, fills Tillie's life; she feels rich and exalted in it. What delightful things happen in her mind as she sits there rocking! She goes back to those early days of sand and sun, when Thea was a child and Tillie was herself, so it seems to her, "young." When she used to hurry to church to hear Mr. Kronborg's wonderful sermons, and when Thea used to stand up by the organ of a bright Sunday morning and sing "Come, Ye Disconsolate." Or she thinks about that wonderful time when the Metropolitan Opera Company sang a week's engagement in Kansas City, and Thea sent for her and had her stay with her at the Coates House and go to every performance at Convention Hall. Thea let Tillie go through her costume trunks and try on her wigs and jewels. And the kindness of Mr. Ottenburg! When Thea dined in her own room, he went down to dinner with Tillie, and never looked bored or absent-minded when she chattered. He took her to the hall the first time Thea sang there, and sat in the box with her and helped her through "Lohengrin." After the first act, when Tillie turned tearful eyes to him and burst out, "I don't care, she always seemed grand like that, even when she was a girl. I expect I'm crazy, but she just seems to me full of all them old times!"—Ottenburg was so sympathetic and patted her hand and said, "But that's just what she is, full of the old times, and you are a wise woman to see it." Yes, he said that to her. Tillie often wondered how she had been able to bear it when Thea came down the stairs in the wedding robe embroidered in silver, with a train so long it took six women to carry it.

Tillie had lived fifty-odd years for that week, but she got it, and no miracle was ever more miraculous than that. When she used to be working in the fields on her father's Minnesota farm, she couldn't help believing that she would some day have to do with the "wonderful," though her chances for it had then looked so slender.

The morning after the sociable, Tillie, curled up in bed, was roused by the rattle of the milk cart down the street. Then a neighbor boy came down the sidewalk outside her window, singing "Casey Jones" as if he hadn't a care in the world. By this time Tillie was wide awake. The twin's question, and the subsequent laughter, came back with a faint twinge. Tillie knew she was short-sighted about facts, but this time— Why, there were her scrapbooks, full of newspaper and magazine articles about Thea, and half-tone cuts, snap-shots of her on land and sea, and photographs of her in all her parts. There, in her parlor, was the phonograph that had come from Mr. Ottenburg last June, on Thea's birthday; she had only to go in there and turn it on, and let Thea speak for herself. Tillie finished brushing her white hair and laughed as she gave it a smart turn and brought it into her usual French twist. If Moonstone doubted, she had evidence enough: in black and white, in figures and photographs, evidence in hair lines on metal disks. For one who had so often seen two and two as making six, who had so often stretched a point, added a touch, in the good game of trying to make the world brighter than it is, there was positive bliss in having such deep foundations of support. She need never tremble in secret lest she might sometime stretch a point in Thea's

favor.— Oh, the comfort, to a soul too zealous, of having at last a rose so red it could not be further painted, a lily so truly auriferous that no amount of gilding could exceed the fact!

Tillie hurried from her bedroom, threw open the doors and windows, and let the morning breeze blow through her little house.

In two minutes a cob fire was roaring in her kitchen stove, in five she had set the table. At her household work Tillie was always bursting out with shrill snatches of song, and as suddenly stopping, right in the middle of a phrase, as if she had been struck dumb. She emerged upon the back porch with one of these bursts, and bent down to get her butter and cream out of the ice-box. The cat was purring on the bench and the morning-glories were thrusting their purple trumpets in through the lattice-work in a friendly way. They reminded Tillie that while she was waiting for the coffee to boil she could get some flowers for her breakfast table. She looked out uncertainly at a bush of sweet-briar that grew at the edge of her yard, off across the long grass and the tomato vines. The front porch, to be sure, was dripping with crimson ramblers that ought to be cut for the good of the vines; but never the rose in the hand for Tillie! She caught up the kitchen shears and off she dashed through grass and drenching dew. Snip, snip; the short-stemmed sweet-briars, salmon-pink and golden-hearted, with their unique and inimitable woody perfume, fell into her apron.

After she put the eggs and toast on the table, Tillie took last Sunday's New York paper from the rack beside the cupboard and sat down, with it for company. In the Sunday paper there was always a page about singers, even in summer, and that week the musical page began with a sympathetic account of Madame Kronborg's first performance of Isolde in London. At the end of the notice, there was a short paragraph about her having sung for the

King at Buckingham Palace and having been presented with a jewel by His Majesty.

Singing for the King; but Goodness! she was always doing things like that! Tillie tossed her head. All through breakfast she kept sticking her sharp nose down into the glass of sweet-briar, with the old incredible lightness of heart, like a child's balloon tugging at its string. She had always insisted, against all evidence, that life was full of fairy tales, and it was! She had been feeling a little down, perhaps, and Thea had answered her, from so far. From a common person, now, if you were troubled, you might get a letter. But Thea almost never wrote letters. She answered every one, friends and foes alike, in one way, her own way, her only way. Once more Tillie has to remind herself that it is all true, and is not something she has "made up." Like all romancers, she is a little terrified at seeing one of her wildest conceits admitted by the hard-headed world. If our dream comes true, we are almost afraid to believe it; for that is the best of all good fortune, and nothing better can happen to any of us.

When the people on Sylvester Street tire of Tillie's stories, she goes over to the east part of town, where her legends are always welcome. The humbler people of Moonstone still live there. The same little houses sit under the cottonwoods; the men smoke their pipes in the front doorways, and the women do their washing in the back yard. The older women remember Thea, and how she used to come kicking her express wagon along the sidewalk, steering by the tongue and holding Thor in her lap. Not much happens in that part of town, and the people have long memories. A boy grew up on one of those streets who went to Omaha and built up a great business, and is now very rich. Moonstone people always speak of him and Thea together, as examples of Moonstone enterprise. They do, however, talk oftener of Thea. A voice has even a wider appeal than a fortune. It is the one gift that

all creatures would possess if they could. Dreary Maggie Evans, dead nearly twenty years, is still remembered because Thea sang at her funeral "after she had studied in Chicago."

However much they may smile at her, the old inhabitants would miss Tillie. Her stories give them something to talk about and to conjecture about, cut off as they are from the restless currents of the world. The many naked little sandbars which lie between Venice and the main-land, in the seemingly stagnant water of the lagoons, are made habitable and wholesome only because, every night, a foot and a half of tide creeps in from the sea and winds its fresh brine up through all that network of shining water-ways. So, into all the little settlements of quiet people, tidings of what their boys and girls are doing in the world bring real refreshment; bring to the old, memories, and to the young, dreams.