out across the park as wistful and depressed as the nature which craves variety and life can be under such circumstances. As she contemplated her new state, the strain from the parlour below stole upward. With it her thoughts became coloured and enmeshed. She reverted to the things which were best and saddest within the small limit of her experience. She became for the moment a repentant.
While she was in this mood Drouet came in, bringing with him an entirely different atmosphere. It was dusk and Carrie had neglected to light the lamp. The fire in the grate, too, had burned low.
"Where are you, Cad?" he said, using a pet name he had given her.
"Here," she answered.
There was something delicate and lonely in her voice, but he could not hear it. He had not the poetry in him that would seek a woman out under such circumstances and console her for the tragedy of life. Instead, he struck a match and lighted the gas.
"Hello," he exclaimed, "you've been crying."
Her eyes were still wet with a few vague tears.
"Pshaw," he said, "you don't want to do that."
He took her hand, feeling in his good-natured egotism that it was probably lack of his presence which had made her lonely.
"Come on, now," he went on; "it's all right. Let's waltz a little to that music."
He could not have introduced a more incongruous proposition. It made clear to Carrie that he could not sympathise with her. She could not have framed thoughts which would have expressed his defect or made clear the difference between them, but she felt it. It was his first great mistake.
What Drouet said about the girl's grace, as she tripped
