“Yes, but it needn’t be you,” suggested Miss Ensor. She did not want to talk about the war.!

“It is daring,” she admitted. “I must be prepared for opposition. But it had to be stated.” “From his saying to himself: ‘This is Flossie’s idea of a party. This is the sort of thing that, if I marry her, I am letting myself in for.’ If he hasn’t broken off the engagement already, we may be in time.”

“I wish I had your pen,” he said, suddenly breaking the silence. “I’m all right at talking; but I want to get at the others: the men and women who never come, thinking it has nothing to do with them. I’m shy and awkward when I try to write. There seems a barrier in front of me. You break through it. One hears your voice. Tell me,” he said, “are you getting your way? Do they answer you?” A pile of correspondence was awaiting her and, standing by the desk, she began to open and read it. Suddenly she paused, conscious that someone had entered the room and, turning, she saw Hilda. She must have left the door ajar, for she had heard no sound. The child closed the door noiselessly and came across, holding out a letter. And suddenly—as years before in a Paris music hall—there leapt to life within Joan’s brain a little impish creature that took possession of her. She hoped the miracle would not happen. The little impish creature within her brain was marching up and down beating a drum. She wished he would stop a minute. Someone was trying to talk to her, telling her she ought to be tremendously shocked and grieved. He—or she, or whatever it was that was trying to talk to her, appeared concerned about Reason and Pity and Universal Brotherhood and Civilization’s clock—things like that. But the little impish drummer was making such a din, she couldn’t properly hear. Later on, perhaps, he would get tired; and then she would be able to listen to this humane and sensible person, whoever it might be.