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1864.] more bony women, more chalk, more tulle. Monsieur in a greasy green dressing-gown odorous of tobacco, swearing at a boy with blear eyes,—a scene-shifter. The orchestra tuning beyond the footlights: how vilely the first violin slurred over that second passage! "Life's Prophecy," I called it; and that "Vision of Heaven," the trombonist came in always false on the bass, because, as Monsieur said, he had always two brandy-slings too much. Beyond was "the world," passive, to be acted upon; the parquet,—ranged seats of young men with the flash-stamp on them from their thick noses to the broad-checked trousers; the dress-circle,—young girls with their eyes and brains full-facing their attendant sweethearts, and a side-giggle for the stage; crude faces in the gallery, tamed faces lower down; gray and red and black and tow-colored heads full of myriad teeming thoughts of business, work, pleasure, outside of this: treble and tenor notes wandering through them, dying almost ere born; touching what soul behind the dress and brain-work? and touching it how? Ah, well! "I am going to fulfil my mission." I said that, again and again, as I stood waiting. "Now. This is it. I take it up." But my blood would not be made to thrill.

"This wart must be covered," said a walking-lady in red paper-muslin, touching the mole on my lip with Meen Fun. M. Vaux tapped at the door,—a sly, oily smile on his mouth.

"We are honored to-night. Be prepared, my dear Madam, for surprises in your audience. Your husband is in the house,—and his son, Robert Manning."

I put up my hands in the vain effort to cover the bare neck and shoulders,—then, going back into the dressing-room, sat down, without a word. I remember how the two tallow-candles flared and sputtered, as I sat staring at them; how on the other side of the brass-handled door the play went on, the pulleys creaked, and the trombones grated, and the other women in tulle and chalk capered and sang, and that at last the stuffy voice of the call-boy outside cried, "Marian, on," and it was my time to fulfil my mission. I remember how broad a gap the green floor of the stage made to the shining tin foot-lights; how the thousand brassy, mocking eyes were centred on the lean figure that moved forward; how I heard a weak quaver going up, and knew it to be my own voice: I remember nothing more until the scene was ended: the test and last scene of the opera it had been: and as the curtain fell, it was stopped by a faint, dismal hiss that grew slowly louder and more venomous, was mingled with laughs and jeers from the gallery, and the play was damned. I stood with my white gauze and bony body and rouge behind a pasteboard flower-vase, and looked out at the laughing mob of faces. This was the world; I had done my best head-work for it, and even these plebian brains had found it unfit for use, and tossed it aside. I waited there for a moment, and then passing Monsieur, whose puffy face was purple with disappointment and rage, went into the dressing-room.

"What wonder?" I heard him demand in French. "It was so coarse a theft! But I hoped the catch-dresses would pass it off."

I wrapped a flannel cloak over my airy robes, and went out, down the crooked back-stairs into the street. I had no money; if I went back to the hotel where I had been stopping, it would be as a beggar.

I waited outside of the theatre by an old woman's candy-stand for the crowd to hustle past, holding myself up by her chair-back. She was nodding, for it was past midnight, but opened her red eyes to lift a little child on her knees who had been asleep at her feet.

"Come, Puss, the play's out, it's time for you an' Granny to be snug at home."

I laughed. Why, there was not one of these women or men crowding by, the very black beggar holding your horse, who had not a home, a child to touch, to love them,—not one. And I—I had my Self. I had developed that.

I pulled the cloak closer about me and