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THE VOYAGE OUT
29

looked much as sheets usually do look, very chill, white, cold, and irreproachably clean.

Suddenly Mrs. Chailey, turning from the subject of sheets, dismissing them entirely, clenched her fists on the top of them, and proclaimed, "And you couldn't ask a living creature to sit where I sit!"

Mrs. Chailey was expected to sit in a cabin which was large enough, but too near the boilers, so that after five minutes she could hear her heart "go," she complained, putting her hand above it, which was a state of things that Mrs. Vinrace, Rachel's mother, would never have dreamt of inflicting—Mrs. Vinrace who knew every sheet in her house, and expected of every one the best they could do, but no more.

It was the easiest thing in the world to grant another room, and the problem of sheets simultaneously and miraculously solved itself, the spots and ladders not being past cure after all, but——

"Lies! Lies! Lies!" exclaimed the mistress indignantly,as she ran up on to the deck. "What's the use of telling me lies?"

In her anger that a woman of fifty should behave like a child and come cringing to a girl because she wanted to sit where she had not leave to sit, she did not think of the particular case, and, unpacking her music, soon forgot all about the old woman and her sheets.

Mrs. Chailey folded her sheets, but her expression testified to flatness within. The world no longer cared about her, and a ship was not a home. When the lamps were lit yesterday, and the sailors went tumbling above her head, she had cried; she would cry this evening; she would cry to-morrow. It was not home. Meanwhile she arranged her ornaments in the room which she had won too easily. They were strange ornaments to bring on a sea voyage—china pugs, tea-sets in miniature, cups stamped floridly with the arms of the city of Bristol, hair-pin boxes crusted with shamrock, antelopes' heads in coloured plaster, together with a multitude of tiny photographs, representing downright workmen in their Sunday best, and women holding white babies. But there was one portrait in a gilt frame, for which a nail was needed, and