fourth and the fifth he went again for a shorter time. Peter was personally detached, but he consented to listen to his companion's vivid account of the state of things on the stage, where the elation of victory had made every one merry. The strain was over, the ship was in port, and they were all wiping their faces and grinning. Miriam—yes, positively—was grinning too, and she hadn't asked a question about Peter nor sent him a message. They were kissing all round and dancing for joy. They were on the eve, worse luck, of a tremendous run. Peter groaned, irrepressibly, at this; it was, save for a slight manifestation a moment later, the only sign of emotion that Nick's report elicited from him. There was but one voice of regret that they hadn't put on the piece earlier, as the end of the season would interrupt the run. There was but one voice too about the fourth act—it was believed that all London would rush to see the fourth act. There was a wonderful lot of people, and Miriam was charming; she was receiving there, in the ugly place, like a kind of royalty, with a smile and a word for each. She was like a young queen on her accession. When she saw him, Nick, she had kissed her hand to him over the heads of the courtiers. Nick's artless comment on this was that she had such pretty manners. It made Sherringham laugh, apparently at his companion's conception of the manners of a young queen. Mrs. Rooth, with a dozen shawls on her arm, was as red as a turkey; but you couldn't tell whether Miriam was red or pale: she was so cleverly, awfully cleverly, painted—perhaps a little too much. Dashwood of course was greatly to the fore, but you didn't have to mention his own performance to
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THE TRAGIC MUSE.
