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Later in the evening, as Isobel moved about the drawing-room in a flounced white frock, her shimmering hair falling over her shoulders, and her dainty high-heeled silver-buckled shoes skimming the roses on the carpet, Moses’ eyes followed her in wonderment. Never before had he seen a creature so dainty, so airy, and so altogether like a princess. Betty was just plain Betty, straight hair plaited stiffly and tied with red ribbon, tanned face and hands, and big brown eyes “looking like they loved everybody.” But here was a girl who could turn disdainful hazel eyes on one and could make one feel like an ignoble worm. Somehow Moses liked feeling like a worm, Isobel Crump was so immeasureably above him that he might as well feel like a worm as like any other more noble inhabitant of this terrestrial globe. 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. “A doctor’s wife gets over ‘expecting’ very young, Billy. They won’t think I’m dead if I don’t come home to lunch. But your mother?” His inflection finished the question. “I’ll wrestle with you first chance,” he challenged; “but you wouldn’t have any show, your dress is so long. Why do you have ’em so?”.