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 nation. It seemed to me to betray her as estrangingly devoid of taste in personal relations. And when she submitted quietly to the embrace of the hard-eyed, carbuncled shyster Ivy Peters, I revolted from her charm as young Neil revolted.

But Mr. Heywood Broun, winking with the indulgence of the Almighty at Mrs. Forrester's unconcern about preserving "the wholesome atmosphere of American manners and manhood," assured me in print that in Mrs. Forrester I should find the genuine "portrait of a lady," which I had somewhere said was missing from current fiction. And not Mr. Broun alone, but all my acquaintances, academic persons, old maids, hardened old New England bachelors of the austerest virtue—all unite with Mr. Broun in surrendering to her charm and admitting—the austere old bachelors—that if they could have met anywhere in their generation a lady like Mrs. Forrester—well, their lives might have been very different.

On a third reading I see how "A Lost Lady" fits in with the main thesis of Miss Cather's work. Mrs. Forrester is a symbolic figure. Her story is Miss Cather's poem of personality and its values—its powers, its too-little regarded powers. In her calling she is as admirable as. Thea is admirable in hers. She used the rare talent intrusted to her. She gave all for love. She consumed herself adequately in making personal relations charming. She illustrates, and her innumerable adorers illustrate, the coming around of our generation to Browning's position in the much quoted poem: