learned by her—brought the days when she would never see him so close that she could almost feel their emptiness.

It was well that she played to an idealized Hamlet for the real Hamlets came and went bewilderingly. One of Burgess's first triumphs of tact had been to pry the part away from the lady President and give it to the sturdy Secretary. There followed two other claimants to the throne in quick succession and then the lot fell to Rebecca Einstein and stayed there. Each change in the principal role necessitated readjustment throughout the cast and at every change the lady President was persuaded not to over exert herself.

And still Burgess in the seclusion of the homeward bound hansom railed and swore.

"I tell you, Margaret, that girl will ruin us. All the rest are funny. Overwhelmingly, incredibly funny! And pathetic! Could anything be more pathetic! But that awful President strikes a wrong note: Vulgarity. Take her out of it and we'll have a thing the like of which New York had never seen, for Ophelia is a genius or I miss my guess and all the rest are darlings."

"But we can't throw out the President of the club. She must have a part. You have moved her down from Hamlet to Laertes—to the King—"

"I did," groaned Burgess. "Will you ever forget her rendering of the line, "Now I could do it, Pat," and then her storming up to me to know "Who Pat was anyway?""

"I do," laughed Margaret, "and then how you moved her on to Guildenstern and now you have got her down to Bernardo with all her part cut out and nothing except that opening line, "Who's there?" and the other: "'Tis now struck twelve; get thee to bed, Francisco.""

"Yes, and she ruins them. I've drilled her and drilled her till my throat is sore and still she says it straight through her nose just as though she were delivering an order of 'ham and' at her hash battery. Just the same truculent 'Don't you dare to answer back' attitude. She's impossible. She must be removed."

Meanwhile the Lady Hyacinths scattering to their different homes discussed their mentor. Ophelia and Horatio and Hamlet were going through Clinton Street together. Ophelia was still at Elsinore but Horatio was approaching common ground again.

"I suppose he's Miss Masters' steady," said he to Hamlet. "He wouldn't come down here every other night just to help us goils out."

But Ophelia was better informed. She knew Miss Masters to be engaged to quite another person.

"Then I know," cried Horatio triumphantly. "He's stuck on Rosie Rosenbaum. It's her brings him."

Ophelia said nothing, and Horatio having experienced an inspiration, set about strengthening it with proof.

"It's Rosie sure enough. Ain't he learned her about every part in the play? Don't he keep takin' her off in corners an' goin' 'Who's there, 'Tis now struck twelve' for about an hour every night? I wouldn't have nothin' to do with a feller that kept company that way, but I s'pose it's the style on Fifth Avenue. You know how I tell you, Ham, in the play that there's lots of things goin' on what you ain't on to. Well it's so. None of you was on to Rosie an' his nibs. You didn't ever guess it did you 'Pheleir?"

"No," admitted Ophelia. "No, I never did."

"Well it's so. You watch 'em. The style in wives is changin'. Actresses is goin' out an' the 'poor but honest workin' goil' is comin' in. One of our salesladies has a book about it. "The Bowery Bride" its name is. All about a shop goil what married a rich fellow and used to come back to the store and take her old friends carriage ridin'. If Rosie Rosenbaum tries it on me, I'll break her face. If she comes round me," cried the Prince's fellow student: "with carriages and a benevolent smile, I'll claw the smile off of her if I have to take the skin with it!"

When Horatio and Hamlet left her, she wandered disconsolate, down to the river. But no willow grows aslant that brook, no flowers were there with which to weave fantastic garlands.

"I've gone crazy all right," said poor Ophelia as she watched the lights of the great bridge, "but I don't drown myself until Scene VII. And I'm goin' up to his house to-morrow night to learn to act crazy. I guess I don't need much learning."

The performance of Hamlet by the Lady Hyacinths is still remembered by those who saw it as the most bewildering entertainment of their theatrical experience. The play had been cut down to its absolute essentials and the players, though drilled and coached in their lines and business, had been left quite free in the matters of interpretation and accent. The result was so unique that the daily press fell upon it with whoops of joy and published portraits of and interviews with the leading characters. People who had thought that only ferries and docks lay south of Twenty-third Street penetrated to the heart of the great East Side and went home again full of an altruism which lasted three days. And on the last night of the "run" of three nights, Jack Burgess brought Albert Marsden to witness it. Other spectators had always emerged dumb or inarticulate from the ordeal but the great actor was not one of them. He was blusterous and garrulous and, to Burgess' amazement, not at all amused.

"Who is that girl who played Ophelia? Is she an East Side working girl or one of the mission people?"

"She's a shop-girl," answered Burgess. "There's no good in your asking me to introduce you to her for I won't. That's been one of our rules from the beginning. We don't want the children to be upset and patronized."

"Who taught her to act?"

"Well, I coached them all as you know, but she never seemed to require any special teaching. Pretty good, isn't she?"

"Pretty good! She is a genius—a wonder. This is all rot about my not meeting her. I am going to meet her and train her. I suppose you have noticed that she is a beauty too."

"But she's only a child," Burgess urged. "She's only eighteen. She couldn't stand the life and the work and she couldn't stand the people. You have no idea what high ideals these girls have, and Mary Conners—that's the girl's name—seems to be exceptional even amongst them."

"Too good for us, eh?" asked the actor.

"Entirely too good," answered Burgess steadily.

"And do you feel justified in deciding her future for her! In condemning her to an obscure life in the slums instead of a successful career on the stage?"

"I do not," answered Burgess, "she must decide that for herself. I'll ask her and let you know."

To this end he sought Miss Masters. "I want you," said he, "to ask Mary Conners to tea with you to-morrow afternoon. It will be Sunday so she can manage. And then I want you to leave us alone. I have something very serious to say to her."

Margaret looked at him and laughed. "Then you were right," said she, "and I was wrong; I had found a wife for you."

"For absolute inane, insensate romanticism," said he, "I recommend you to the recently engaged. You used to have some sense. You were clever enough to refuse me and now you go and forever ruin my opinion of you by making a remark like that."

"It is not romanticism at all," she maintained. "It is the best of common sense. You will never be satisfied with anyone you haven't trained and formed to suit your own ideals. And you will never find such a 'quick study' as Mary."

It was the earliest peep of spring and Burgess stopped on his way to Miss Masters' house and bought a sheaf of white hyacinths and pale maiden hair for the little Lady Hyacinth who was waiting for him.

As soon as he was alone with her he managed to distract her attention from her flowers and to make her listen to Marsden's message. He set the case before her plainly. Without exaggeration and without extenuation.

"And we don't expect you," he ended, "to make up your mind at once. You must consult your relatives and friends."

"I have no relatives," she answered.

"Your friends then."

"I don't think I have many. Some of the girls in the