cultivated other beneficent passions, and if she cherished the dream of something fine the moments at which it most seemed to her to come true were when she saw beauty plucked flower-like in the garden of art. She loved the perfect work—she had the artistic chord. This chord could vibrate only to the touch of another, so that appreciation, in her spirit, had the added intensity of regret. She could understand the joy of creation, and she thought it scarcely enough to be told that she herself created happiness. She would have liked, at any rate, to choose her way; but it was just here that her liberty failed her. She had not the voice—she had only the vision. The only envy she was capable of was directed to those who, as she said, could do something.
As everything in her, however, turned to gentleness, she was admirably hospitable to such people as a class. She believed Allan Wayworth could do something, and she liked to hear him talk of the ways in which he meant to show it. He talked of them almost to no one else—she spoiled him for other listeners. With her fair bloom and her quiet grace she was indeed an ideal public, and if she had ever confided to him that she would have liked to scribble (she had in fact not mentioned it to a creature), he would have been in a perfect position for asking her why a woman whose face had so much expression should not have felt that she achieved. How in the world could she express better? There was less than that in Shakespeare and Beethoven. She had never been
