of chatting men. Seidl had not yet appeared. A punctual conductor; he must have been detained this morning and the rehearsal had run on a snag. In the tepid atmosphere, Easter, her eyes greedy for the forthcoming spectacle, a novel one to her, sat with Stone. As critic of a powerful morning newspaper he had the privilege of bringing friends to any rehearsal he wished. This particular affair promised to be peculiarly interesting. Lilli Lehmann, the divine Lilli, Stone called her, Jean and Edouard de Reszke, Marie Brema, Anton Van Rooy—what a Tristan and Isolde cast, with Anton Seidl at the conductor's helm! Easter had never heard Tristan sung; she knew the vocal score, and in Washington had with beating heart listened to an orchestra under Seidl play a long Wagner programme. She became a Wagnerian in a moment. No music before this had narcotized her senses, lapped her soul into bliss, hypnotized her faculty of attention until her consciousness had swooned. Already she had battle royals daily with Madame Ash who tried to make this too strenuous pupil see that the royal road to a comprehension of Wagner was through the music of the classics: of Bach, of Beethoven, above all, of Mozart music. "My dear," admonished the wise teacher, "you will never be anything but a sloppy amateur if you begin with Wagner. Read him. That's all. Just read him, and you may realize that he knew what he was writing about when he lays stress on the old Italian school of belcanto. Those yelling hausfraus and bier-bassos—what do they know of the real Wagner melos? Rien! Nichts! Niente! Nothing! Go, if you get a chance, and hear Lilli Lehmann, even Nordica, who is a child compared to Lilli; both women know how to sing legato, both have studied the lieder of Schubert, Schumann, Brahms. Both began as coloratura singers. "What—you don't know that Lehmann has sung the Queen in Huguenots, Filina in Mignon? The fact is Esther—drop that silly nickname of Easter—you are like the majority of American girls. You know it all in advance. You want to sing Isolde before you can sing Buttercup. Listen to Jean de Reszke. No, he is more barytone than tenor—that's why I like him. Those tenors, Italian or German, they make me sick. They give me nausea with their throaty voices. Only unmusical people admire tenors. Do you know that?"

But Easter was refractory. She liked the tenor voice, and, notwithstanding the fulness and richness of her middle and lower registers, she preferred her fluty upper tones. Madame Ash was pleased with the voice and told Stone that in two years she would have the girl in the concert-room. A wonderful talent, a wonderful personality, hard as nails, and all the better for it. She would keep off the men, with that cold eye. But when she does break loose—Grand Dieu! The madame comfortably shivered. She was not averse from hearing about exciting scandals—if they didn't happen in her own vocal family. Easter was more than promising material. The kind-hearted teacher and manufacturer of prima-donnas, as she merrily christened herself, was interested in the strange girl Alfred Stone had brought to her for judgment. She also wondered at his noticeable interest, for she knew him as a celibate, a woman-hater, rather say, a despiser of the cloven sex. She had persuaded him, without much trouble, to invite Easter to a full-dress rehearsal at the Opera. The girl couldn't afford to pay for a seat. This he had done and now Easter was in the sixth heaven of anticipation.

At half-past ten Frau Seidl telephoned the director that his assistant-conductor was to go ahead with the first act, which had been rehearsed by him the week before. He was ill but would be down at midday. There was some gutteral cursing, it stopped when the first enigmatic bars welled-up from the mystic abyss. Easter, her eyes closed, her face flushed, swam out on the muffled ecstasy of the prelude. The curtain rose. Soon Lilli passionately broke in upon the song of the seaman, and the glorious symphony of human desire and renunciation went swirling by. The singers were in costume. Jean, warrior and lover, met his Isolde in the shock of passion and remorse, but did not flinch at the climax. Van Rooy and Brema were in the mood-key. At moments Easter thought she couldn't longer stand the suspense. She wished to cry, to roll on the floor, to tear her hair, to press her aching eyeballs till they fell out. She was in the centre of an emotional typhoon. Her previous life shrivelled up like a scroll in the clear flame of the mighty master of musical elixirs. Love and Death and Death and Love. First Things and Last. She was shocked and angered at Stone's commentary after the curtain had fallen, and the sparsely scattered auditory busily buzzing.

"Like the caterwauling of erotic cats on a midnight roof," said he. "Brute!" she murmured, but he overheard. "Brute or no brute, this ocean of sentiment over a pint of catnip—was it worth the infinite bother Wagner gave himself to deliver a mouse from the belching volcano?" "It's a mouse now," she tartly replied, "before it was a tomcat. I admire your similes." "It doesn't matter much to me whether you do or do not." He was quite acid. "You don't know anything, while I've been listening to Tristan for years." "Why be cynical, even if you have heard it so often? It's a masterpiece among masterpieces"—she paused, breathless. "And I imagine," he continued, "you expect to sing Isolde some day better than Lilli." "I do, and if not better, that would be nearly an impossibility, at least I'll be a younger Irish Princess," she announced with the unconscious cruelty of youth. "But I'll first begin with Brangaene. That rôle I can easily better. Have patience and you will see my beautiful young witch Brangaene. She isn't supposed to be ugly and old." "What's this?" he exclaimed, "already a Wagnerian critic?" Then, suddenly, "Hello! You here?" He squeezed her elbow, and she saw standing before her in the next row a vaguely familiar figure, but the dim light puzzled her as to the person.

"Hullo!" came the answer. "Alfred, how did you get home the other night? I saw you were in for a wet time and I skipped." He looked inquiringly at the young woman. Stone apologized. "Oh, I fancied that living in the same hotel you had met. Miss Brandès, this is my very good friend, Mr. Invern. Ulick, this is the coming Lilli Lehmann. Miss Brandès is a pupil of Madame Ash, who predicts a big future. Funny, Miss Easter occupied your apartment for a few days." "Yes, Madame Felicé told me. I am very glad you did, Miss—Miss—Brandès. What a picturesque name for the operatic stage? The only Marthe Brandès in Paris may be jealous. Aren't you from the South, from Richmond—Miss Brandès?" He had seated himself and was gazing at her, she had herself well in hand, but her stomach trembled as if sea-sick. She grasped the velvet arm of her stall and tried to keep her voice steady as she replied:

"Yes, I'm from Richmond. I was born in Virginia. Why do you ask? Is my accent so marked?" She had a good central grip on herself and presently the vibrations ceased. Stone was bored and yearned for a cigarette. "I see Seidl—I'll go out for a smoke." At once Ulick seated himself beside Easter. Eagerly he attempted to take the gloved hand next to him. She crossed her arms. Then she said in commonplace tones: "Do you know, Mr. Invern—I don't miss that lovely apartment. They put me on the third floor. I am away from the noisy kitchen and I can catch a bit of the sky instead of that depressing brick wall—" He whispered, and his voice was hoarse, as if from excess of feeling: "How can you ever forgive me—ever forgive me—Miss Richmond—pardon me, that was your name—down East, in New Hampshire...." Easter seemed to see smoke. She didn't answer him. Then, in her broadest most cordial Southern tones, she asked: "Whatever in the world are you talking about, mister?" He thought: I'm on the wrong tack. She won't acknowledge that we met—and what a meeting—but, wait, I'll make her acknowledge—everything. She went on in her desultory conversational manner: