Her voice was enchanting in these lines, and the beauty of her performance was that while she uttered the full fury of the part she missed none of its poetry.
"Where did she get hold of that—where did she get hold of that?" Sherringham wondered while his whole sense vibrated. "She hadn't got hold of it when I went away." And the assurance flowed over him again that she had found the key to her box of treasures. In the summer, during their weeks of frequent meeting, she had only fumbled with the lock. One October day, while he was away, the key had slipped in, had fitted, or her finger at last had touched the right spring, and the capricious casket had flown open.
It was during the present solemnity that Sherringham, excited by the way she came out and with a hundred startled ideas about her wheeling through his mind, was for the first time and most vividly visited by a perception that ended by becoming frequent with him—that of the perfect presence of mind, unconfused, unhurried by emotion, that any artistic performance requires and that all, whatever the instrument, require in exactly the same degree: the application, in other words, clear and calculated, crystal-firm as it were, of the idea conceived in the glow of experience, of suffering, of joy. Sherringham afterwards often talked of this with Miriam, who however was not able to present him with a neat theory of the subject. She had no knowledge that it was publicly discussed; she was just practically on the side of those who hold that at the moment of production the artist cannot have his wits too much about him. When Peter told her there were people who maintained that in such a crisis he must lose
