“I’se tooked them off,” explained Joan. A piece of information that really, all things considered, seemed unnecessary. Joan looked at her. “I thought that sort of thing was dying out,” she said.!

“Does it matter what we call it?” answered Joan. “It was a voice.” Mr. Folk was a well-known artist. He lived in Paris. “You are wonderfully like your mother,” he told Joan. “In appearance, I mean,” he added. “I knew her when she was Miss Caxton. I acted with her in America.”

Joan hadn’t: except once on the stairs when, to avoid having to pass her, he had gone down again and out into the street. From the doorstep she had caught sight of his disappearing coat-tails round the corner. Yielding to impishness, she had run after him, and his expression of blank horror when, glancing over his shoulder, he found her walking abstractedly three yards behind him, had gladdened all her evening. “That’s the pity of it,” he said. “You’re wasting the most important thing about you, your personality. You would do more good in a drawing-room, influencing the rulers, than you will ever do hiding behind a pen. It was the drawing-room that made the French Revolution.” She sat motionless, staring at it. The problem, in some way, had simplified itself into a contest between herself, demanding time to think, and the little insistent clock, shouting to her to act upon blind impulse. If she could remain motionless for another five minutes, she would have won.