of a highly painted artificial blonde, clad principally in sequins and crimson satin, whom she had once seen riding an elephant in the circus parade—a lady advertised as "the ten-thousand-dollar beauty." But always when she had finished Ancient of Days, and the last note had died away, she was left with a melancholy feeling of depression and a sense of wickedness. The world about her became after one of these musical debauches a sad and unbearable place.
To-night, alone in the bare, unattractive room, she poured into the music all the pent-up emotions of days . . . all her hatred of Emma, her fear of the new life on which she had embarked, but, most of all, that curious passionate half-wicked feeling she had for Philip. Beneath the spell of Ancient of Days this emotion for him seemed to become purified and free of all restraint. She poured into the banging, careless chords all the things which she could never bring herself to tell him—how the sight of him standing by the crib had made her feel suddenly ill with warm voluptuous feeling, how there were times when she wanted to lie own before him and beat her head on the floor to show him how she felt, how she wakened out of a sound sleep in the midst of the night with her hands aching to touch his face and his dark hair. In the splendor of the hymn it was as if all those things were realized. For a time she was that fantastic, barbaric queen of her imagination and Philip was her lover, dressed like one of the soldiers in the chromo of the return from the Promised Land, and sometimes in an overwhelming wave of wickedness she saw him as she had seen him on the night of the drums, standing half naked by the light of the dying fire.
