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At this moment the dining-room door opened and the daughter of the house entered the room. He looked at the beaming faces, at the beautiful table with Jean’s great pagoda cake in the centre, the dates, 1893-1906, in evergreen; at the flowers everywhere; at the dishes,—they usually ate from vine leaves at their out-of-door feasts,—at the paper napkins folded fantastically and hovering over the table like gay butterflies. His eloquent face told his surprise, his gratitude, his delight. He opened his mouth to speak some fitting word, but it wouldn’t come. He tried again, for he felt the occasion called for something formally appreciative. But only a whimsical idea flitted into his mind; and he sang back— “Why doesn’t your mama have a man to take care of the grounds?” she questioned after she had told him something of her parents and home..

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“Please,” answered the discomfited youth, “I aint never seen a ship of no kind.” “Here, here! You mustn’t do that,” Billy gently coaxed, rising and taking her hand. “You’ll make me draw salt water, too. And it don’t help, you know. I’ll tell you what—you can work some, gather the flowers. I’ll show you how. Mother puts ’em fresh in all the rooms for Sunday.” He bustled her up the terrace steps, brought scissors and basket, and, starting her on her pleasant task, began to mow the lawn. Zalhambra was a vaudeville artist. His was the star act on each bill. He was undeniably a genius; it needed but a few bars of fortissimo plus crescendo to realize that he was a virtuoso of the first rank. When he played a Rag the audience shouted with delight; but when he sprinkled torrential cadenzas through the dizzying syncopation, like some mighty giant tossing meteors into a handful of fire-crackers, something like an electric shock stirred his hearers. “Will you please play it fer us then, it is so touchin’. You will find the music on the organ.”.