and in manner between the elder and the two younger sisters.

Jane, too, had had the inestimable advantage of a sorrow; not the natural grief at the loss of her aged father and mother, for she had been content to let them go; but something far deeper. She was engaged to marry young Tom Carter, who had nothing to marry on, it is true, but who was sure to have, some time or other. Then the war broke out. Tom enlisted at the first call. Up to that time Jane had loved him with a quiet, friendly sort of affection, and had given her country a mild emotion of the same sort. But the strife, the danger, the anxiety of the time, set new currents of feeling in motion. Life became something other than the three meals a day, the round of cooking, washing, sewing, and church going. Personal gossip vanished from the village conversation. Big things took the place of trifling ones,—sacred sorrows of wives and mothers, pangs of fathers and husbands, self-denials, sympathies, new desire to bear one another's burdens. Men and women grew fast in those days of the nation's trouble and danger, and Jane awoke from the vague dull dream she had hitherto called life to new hopes, new fears, new purposes. Then after a year's anxiety, a year when one never looked in the newspaper without dread and sickness of suspense, came the telegram saying that Tom was wounded; and without so much as asking Miranda's leave, she packed her trunk and started for the South. She was in time to hold Tom's hand through hours of pain; to show him for once the heart of a prim New England girl when it is ablaze with love and grief; to put her arms about him so that he could have a home to die in, and that was all;—all, but it served.

It carried her through weary months of nursing—nursing of other soldiers for Tom's dear sake; it sent her home a better woman; and though she had never left Riverboro in all the years that lay between, and had grown into the counterfeit presentment of her sister and of all other thin, spare, New England spinsters, it was something of a counterfeit, and underneath was still the faint echo of that wild heart-beat of her girlhood. Having learned the trick of beating and loving and suffering, the poor faithful heart persisted, although it lived on memories and carried on its sentimental operations mostly in secret.

"You're soft, Jane," said Miranda once; "you allers was soft, and you allers will be. If 't wa'n't for me keeping you stiffened up, I b'lieve you'd leak out o' the house into the dooryard."

It was already past the appointed hour for Mr. Cobb and his coach to be lumbering down the street.

"The stage ought to be here," said Miranda, glancing nervously at the tall clock for the twentieth time. "I guess everything 's done. I've tacked up two thick towels back of her washstand and put a mat under her slop-jar; but children are awful hard on furniture. I expect we sha'n't know this house a year from now."

Jane's frame of mind was naturally depressed and timorous, having been affected by Miranda's gloomy presages of evil to come. The only difference between the sisters in this matter was that while Miranda only wondered how they could endure Rebecca, Jane had flashes of inspiration in which she wondered how Rebecca would endure them. It was in one of these flashes that she ran up the back stairs to put a vase of apple blossoms and a red tomato-pincushion on Rebecca's bureau.

The stage rumbled to the side door of the brick house, and Mr. Cobb handed Rebecca out like a real lady passenger. She alighted with great circumspection, put the bunch of faded flowers in her aunt Miranda's hand, and received her salute; it could hardly be called a kiss without injuring the fair name of that commodity.

"You needn't 'a' bothered to bring flowers," remarked that gracious and tactful lady; "the garden 's always full of 'em here when it comes time."

Jane then kissed Rebecca, giving a somewhat better imitation of the real thing than her sister. "Put the trunk in the entry, Jeremiah, and we'll get it carried upstairs this afternoon," she said.

"I'll take it up for ye now, if ye say the word, girls."

"No, no; don't leave the horses; somebody'll be comin' past, and we can call 'em in."

"Well, good-by, Rebecca; good-day, Mirandy 'n' Jane. You've got a lively little girl there. I guess she'll be a first-rate company keeper."

Miss Sawyer shuddered openly at the adjective "lively" as applied to a child; her belief being that though children might be seen, if absolutely necessary, they certainly should never be heard if she could help it. "We're not much used to noise, Jane and me," she remarked acidly.

Mr. Cobb saw that he had taken the wrong tack, but he was too unused to argument to explain himself readily, so he drove away, trying to think by what safer word than "lively" he might have described his interesting little passenger.

"I'll take you up and show you your room, Rebecca," Miss Miranda said. "Shut the mosquito nettin' door tight behind you, so 's to keep the flies out; it ain't flytime yet, but I want you to start right; take your passel along with ye and then you won't have to come down for it; always make your head save your heels. Rub your feet on that braided rug; hang your hat and cape in the entry there as you go past."

"It's my best hat," said Rebecca

"Take it upstairs then and put it in the clothes-press; but I shouldn't 'a' thought you'd 'a' worn your best hat on the stage."

"It's my only hat," explained Rebecca. "My every-day hat wasn't good enough to bring. Fanny's going to finish it."

"Lay your parasol in the entry closet."

"Do you mind if I keep it in my room, please? It always seems safer."

"There ain't any thieves hereabouts, and if there was, I guess they wouldn't make for your sunshade, but come along. Remember to always go up the back way; we don't use the front stairs on account o' the carpet; take care o' the turn and don't ketch your foot; look to your right and go in. When you've washed your face and hands and brushed your hair you can come down, and by and by we'll unpack your trunk and get you settled before supper. Ain't you got your dress on hind sid' foremost?"

Rebecca drew her chin down and looked at the row of smoked pearl buttons running up and down the middle of her flat little chest.

"Hind side foremost? Oh, I see! No, that's all right. If you have seven children you can't keep buttonin' and unbuttonin' 'em all the time—they have to do themselves. We're always buttoned up in front at our house. Mira's only three, but she's buttoned up in front, too."

Miranda said nothing as she closed the door, but her looks were at once equivalent to and more eloquent than words.

Rebecca stood perfectly still in the centre of the floor and looked about her. There was a square of oilcloth in front of each article of furniture and a drawn-in rug beside the single four poster, which was covered with a fringed white dimity counterpane.

Everything was as neat as wax, but the ceilings were much higher than Rebecca was accustomed to. It was a north room, and the window, which was long and narrow, looked out on the back buildings and the barn.

It was not the room, which was far more comfortable than Rebecca's own at the farm, nor the lack of view, nor yet the long journey, for she was not conscious of weariness; it was not the fear of a strange place, for she loved new places and courted new sensations; it was because of some curious blending of uncomprehended emotions that Rebecca stood her sunshade in the corner, tore off her best hat, flung it on the bureau with the porcupine quills on the under side, and stripping down the dimity spread, precipitated herself into the middle of the bed and pulled the counterpane over her head.

In a moment the door opened quietly. Knocking was a refinement quite unknown in Riverboro, and if it had been heard of would never have been wasted on a child.

Miss Miranda entered, and as her eye wandered about the