him looking tired and queer—ragged and scattered about the face, if you know what I mean, and his manner worn out. He said he had been writing hard, but his inspiration had somehow failed him, and he was dissatisfied with his work. His sense of humour was leaving him, or changing into something else, he said. There was something in the house, he declared, that"—she emphasized the words—"prevented his feeling funny."
"Something in the house that prevented his feeling funny," repeated the doctor. "Ah, now we're getting to the heart of it!"
"Yes," she resumed vaguely, "that's what he kept saying."
"And what was it he did that you thought strange?" he asked sympathetically. "Be brief, or he may be here before you finish."
"Very small things, but significant it seemed to me. He changed his workroom from the library, as we call it, to the sitting-room. He said all his characters became wrong and terrible in the library; they altered, so that he felt like writing tragedies—vile, debased tragedies, the tragedies of broken souls. But now he says the same of the smoking-room, and he's gone back to the library."
"Ah!"
"You see, there's so little I can tell you," she went on, with increasing speed and countless gestures. "I mean it's only very small things he does and says that are queer. What frightens me is that he assumes there is some one else in the house all the time—some one I never see. He does not actually say so, but on the stairs I've seen him standing aside to let some one pass; I've seen
