means to concern itself.

Have you noticed the hats, with the rose or the feather behind or at top, scrupulously according to the same dictate of style that rules alike for seven and ten o'clock, but which has often to be worn through wet and dry till the rose has been washed by too many a shower, and the feather blown by too many a dusty wind, to stand for anything but a sign that she knows what should be where, if she only had it to put there? Have you seen the cheap alpacas, in two shades, sure to fade in different ways and out of kindred with each other, painfully looped in creasing folds, very much sat upon, but which would not by any means resign themselves to simple smoothed straightness, while silks were hitched and crisp Hernanis puffed?

Yet the alpacas, and all their innumerable cousinhood, have also their first mornings of fresh gloss, when the newness of the counter is still upon them; there is a youth for all things; a first time, a charm that seems as if it might last, though we know it neither will nor was meant to; if it would, or were, the counters might be taken down. And people who wear gowns that are creased and faded, have each, one at a time, their days of glory, when they begin again. The farther apart they come, perhaps the more of the spring-time there is in them.

Marion Kent bloomed out this clear, sweet, clean summer morning in a span new tea-colored zephyrine polonaise with three little frills edged with tiny brown braid, which set it off trimly with the due contrasting depth of color, and cost nearly nothing except the stitches and the kerosene she burned late in the hot July nights in her only time for finishing it. She had covered her little old curled leaf of a hat with a tea-colored corner that had been left, and puffed it up high and light to the point of the new style, with brown veil tissue that also floated off in an abundant cloudy grace behind; and she had such an air of breezy and ecstatic elegance as she came beaming and hastening into the early car, that nobody really looked down to see that the underskirt was the identical black brilliantine that had done service all the spring in the dismal mornings of waterproofs and india-rubbers and general damp woolen smells and blue nips and shivers.

Marion Kent always made you think of things that never at all belonged to her. She gave you an impression of something that she seemed to stand for, which she could not wholly be. Her zephyrine, with its silky shine, hinted at the real lustres of far more costly fabrics; her hat, perked up with puffs of grenadine (how all these things do rhyme and repeat their little Frenchy tags of endings!) put you in mind of lace and feathers, and a general float and flutter of gay millinery; her step and expression, as she came airily into this second-rate old car, put on for the "journeymen" train, brought up a notion, almost, of some ball-room advent, flushed and conscious and glad with the turning of all admiring eyes upon it; her face, even, without being absolutely beautiful, sparkled out at you a certain will and force and intent of beauty that shot an idea or suggestion of brilliant prettiness instantly through your unresisting imagination, compelling you to fill out whatever was wanting; and what more, can you explain, do feature and bearing that come nearest to perfect fulfillment effect?

The middle-aged cabinet-maker looked over his newspaper at her as she came in; he had little daughters of his own growing up to girlhood, and there might have been some thought in his head not purely admiring; but still he looked up. The knot of office-boys, crowding and skylarking across a couple of seats, stopped their shuffle and noise for a second, and one said, "My! ain't she stunning?" A young fellow, rather spruce in his own way also, with precise necktie, deep paper cuffs and dollar-store studs and initial sleeve-buttons, touched his hat with an air of taking credit to himself, as she glanced at him; and another, in a sober old gray suit, with only a black ribbon knotted under his linen collar, turned slightly the other way as she approached, and with something like a frown between his brows, looked out of the window at a wood-pile.

Marion's cheeks were a tint brighter, and her white teeth seemed to flash out a yet more determined smile, as, passing him by, she seated herself with friendly bustle among some girls a little behind him.

"In again, Marion?" said one. "I thought you'd left."

"Only in for a transient," said Marion, with a certain clear tone that reminded one of the stage-trainer's direction to "speak to the galleries." "Nellie Burton is sick, and Lufton sent for me. I'll do for a month or so, and like it pretty well; then I shall have a tiff, I suppose, and fling it up again; I can't stand being ordered round longer than that."

"Or longer than the new lasts," said the other slyly, touching the drapery sleeve of the zephyrine. "It is awful pretty, Marry!"

"Yes, and while the new lasts Lufton'll be awful polite," returned Marion. "He likes to see his girls look stylish, I can tell you. When things begin to shab out, then the snubbing begins. And how they're going to help shabbing out I should like to know, dragging round amongst the goods and polishing against the counters? and who's going to afford ready-made, or pay for sewing, out of six dollars a week and cars and dinners, let alone regular board, that some of 'em have to take off? Why there isn't enough left for shoes! No wonder Lufton's always changing. Well—there's one good of it! You can always get a temporary there. Save up a month and then put into port and refit. That's the way I do."

"But what does it come to, after all's said and done? and what if you hadn't the port?" asked Hannah Upshaw, the girl with the shawl on, who never wore suits.

Marion Kent shrugged her shoulders.

"I don't know, yet. I take things as they come to me. I don't pretend to calculate for anybody else. I know one thing, though, there is other things to be done,—and it isn't sewing-machines either, if you can once get started. And when I can see my way clear, I mean to start. See if I don't!"

The train stopped at the Pomantic station. The young man in the gray clothes rose up, took something from under the car-seat and went out. What he had with him was a carpenter's box. It was the same youth who had greeted Ray Ingraham from beneath the elm branches. As the train got slowly under way again, Marion looked straight out at her window into Frank Sunderline's face, and bowed,—very modestly and sweetly bowed. He was waiting for that instant on the platform, until the track should be clear and he could cross.

What he caught in Marion's look, as she turned it full upon him, nobody could see; but there was a quieter earnest in it, certainly, when she turned back; and the young man had responded to her salutation with a relaxing glance of friendly pleasantness that seemed more native to his face than the frown of a few minutes before.

Marion Kent had several selves; several relations, at any rate, into which she could put herself with others. I think she showed young Sunderline, for that instant, out of gentler, questioning, almost beseeching eyes, a something she could not show to the whole car-full with whom at the moment of her entrance she had been in rapport, through frills and puffs and flutters, into which she had allowed her consciousness to pass. Behind the little window he could only see a face; a face quieted down from its gay flippancy; a face that showed itself purposely and simply to him; eyes that said, "What was that you thought of me just now? Don't think it!"

They were old neighbors and child-friends. They had grown up together; had they been growing away from each other in some things since they had been older? Often it appeared so; but it was Marion chiefly who seemed to change; then, all at once, in some unspoken and intangible way, for a moment like this, she seemed to come suddenly back again, or he seemed to catch a