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“He must have gone to Clarence in the barn,” concluded Maria, setting off at a run. WELL, what do you want to play?” Billy asked, after the hubbub had a little subsided. Edith worked very hard. She called her operetta “The Triumph of Flora.” The words were her own, written hurriedly and set to familiar though classic airs. Yet many of the daintiest, most tripping melodies she wrote herself. The sorrows of humanity had winged her brain and dipped her pen in harmonies, that she might assuage them..

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The pianist sat easily at the piano and began the Moskowski selection that had failed to create the expected furore in the afternoon. A cadenza that shivered down the spine like spray from a glacial torrent wakened the room. Then he plunged into the first theme. His small audience listened spell-bound. Betty’s eyes followed the fingers that leaped over the ivory keys like white flame. A subtle current began to play in the room. Steadily it grew in power. Magnetism to the nth degree was being generated. A tremendous chord brought the music to a close and the pianist to his feet. Something in Nell’s glance inspired him. He whirled about the room whistling and imitating some of the cadenzas and other passages from the selection just played. He gesticulated wildly with his hands, the passion for dramatic music oozing from his pores. “Miss Gordon done it, I know,” whispered Betty, clasping and unclasping her hands, “she’s not a school-teacher at orl, she’s jist a fairy growed up, an’ Mar’s a fairy godmother!” “That man Zalhambone’s playin’ rasped all up an’ down my spine,” she criticized. Then harking back to thrills she really had felt despite her prejudice, she admitted grudgingly, “My, but his han’s did fly over them keys permiscuous-like.” “Orl right, Mar,” answered Moses, dutifully, his mouth watering in anticipation of the goodies in prospect..