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 quite an old one. Girlie clipped it from some review or other and sent it to me."

"What does it mean?" Louise insisted.

"How should I know?" he laughed. "Girlie had a theory about it. Walter was smitten with an American actress for a while,—what was her name? Myra something: Myra Pelter. She treated him rather shabbily. Took his present, then threw him down for somebody else, I believe, after they'd been rather thicker, as a matter of fact, than Girlie quite knew. Walter is romantic, you know, for all his careful cynicism; he's always singing the praises of bad lots, and that makes Girlie wild, naturally. Girlie said the poem was Walter's attempt to justify this Myra person's uppish treatment of him, an attempt to make her out a lady with duties to art,—all that sort of blether. It's Girlie's prosaic imagination: she can never read a book or a poem without trying to fit it, word for word, into the author's private life. I had quite forgotten its existence."

It was difficult for Louise to conceal her relief after years of pent-up unhappiness caused by her over-subjective interpretation of the poem's mission. "How could a man as clever as Walter ever take Myra Pelter and her art seriously. Miriam and I went to see her once. She's only a Japanese doll!"

"Dolls are an important institution. They have turned wiser heads than Walter's."

Louise looked again at the historical lines. "I hate it," she mildly remarked.