of the hours off represented by it. Only for this—nervously to bear it, in other words, and Herbert Dodd, quite with the literary temperament himself, was capable of that amount of play of fancy, or even of morbid analysis—you had to be on some footing, you had to feel some confidence, pretty different from his own up to now. He had never not enjoyed passing his show on the other side of the street and taking it in thence with a casual obliquity; but he had never held optical commerce with the drawn blind for a moment longer than he could help. It always looked horribly final and as if it never would come up again. Big and bare, with his name staring at him from the middle, it thus offered in its grimness a term of comparison for Miss Cookham's ominous visage. She never wore pretty, dotty, transparent veils, as Nan Drury did, and the words "Herbert Dodd"—save that she had sounded them at him there two or three times more like a Meg Merrilies or the bold bad woman in one of the melodramas of high life given during the fine season in the pavilion at the end of Properley Pier—were dreadfully, were permanently, seated on her lips. She was grim, no mistake.
That evening, alone in the back room above the shop, he saw so little what he could do that, consciously demoralized for the hour, he gave way to tears about it. Her taking a stand so incredibly "low," that was what he couldn't get over. The particular bitterness of his cup was his having let
