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might be used effectively on the stage. He analyzed it perfectly in that unhappy moment. She was jealous of his work, which she had tolerated only while she could share it, and if she could not share it, while some other was suffered to do so, it would be cruel for her. But he knew that he could not offer any open concession now without making bad worse, and he must wait till the right time for it came. He had so far divined her, without formulating her, that he knew she would be humiliated by anything immediate or explicit, but would later accept a tacit repentance from him; and he instinctively forebore.

III.

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      For the present in her resentment of his willingness to abase his genius before Godolphin, or even to hold it in abeyance, Mrs. Maxwell would not walk to supper with her husband in the usual way, touching his shoulder with hers from time to time, and making herself seem a little lower in stature by taking the downward slope of the path leading from their cottage to the hotel. But the necessity of appearing before the people at their table on as perfect terms with him as ever had the effect that conduct often has on feeling, and she took his arm in going back to their cottage, and leaned tenderly upon him.

      Their cottage was one of the farthest from the hotel, and the smallest and quietest. In fact there was yet no one in it but themselves, and they dwelt there in an image of home, with the sole use of the veranda and the parlor, where Maxwell had his manuscripts spread about on the table as if he owned the place. A chambermaid came over from the hotel in the morning to put the cottage in order, and then they could be quite alone there for the rest of the day.

      "Shall I light the lamp for you, Brice?" his wife asked, as they mounted the veranda steps.

      "No," he said, "let us sit out here," and they took the arm-chairs that stood on the porch, and swung to and fro in silence for a little while. The sea came and went among the rocks below, marking its course in the deepening twilight with a white rope of foam, and raving huskily to itself, with now and then the long plunge of some heavier surge against the bowlders, and a hoarse shout. The Portland boat swam by in the offing, a glitter of irregular lights, and the lamps on the different points of the Cape blinked as they revolved in their towers. "This is the kind of thing you can get only in a novel," said Maxwell, musingly. "You couldn't possibly give the feeling of it in a play."

      "Couldn't you give the feeling of the people looking at it?" suggested his wife, and she put out her hand to lay it on his.

      "Yes, you could do that," he assented, with pleasure in her notion; "and that would be better. I suppose that is what would be aimed at in a description of the scene, which would be tiresome if it didn't give the feeling of the spectator."

      "And Godolphin would say that if you let the carpenter have something to do he would give the scene itself, and you could have the effect of it at first hand."

      Maxwell laughed. "I wonder how much they believe in those contrivances of the carpenter themselves. They have really so little to do with the dramatic intention; but they have been multiplied so since the stage began to make the plays that the actors are always wanting them in. I believe the time will come when the dramatist will avoid the occasion or the pretext for them."

      "That will be after Godolphin's time," said Mrs. Maxwell.

      "Well, I don't know," returned Maxwell. "If Godolphin should happen to imagine doing without them he would go all lengths."

      "Or if you imagined it and let him suppose he had. He never imagines anything of himself."

      "No, he doesn't. And yet how perfectly he grasps the notion of the thing when it is done! It is very different from literature, acting is. And yet literature is only the representation of life."

      "Well, acting is the representation of life at second-hand, then, and it ought to be willing to subordinate itself. What I can't bear in Godolphin is his setting himself up to be your artistic equal. He is no more an artist than the canvas is that the artist paints a picture on."

      Maxwell laughed. "Don't tell him so; he won't like it."

      "I will tell him so some day, whether he likes it or not."

      "No, you mustn't; for it isn't true. He's just as much an artist in his way as I am in mine, and, so far as the public is concerned, he has given more proofs."

      "Oh, his public!"

      "It won't do to despise any public, even the theatre-going public." Maxwell added the last words with a faint sigh.

      "It's always second-rate," said his wife, passionately. "Third-rate, fourth-rate! Godolphin was quite right about that. I wish you were writing a novel, Brice, instead of a play. Then you would be really addressing refined people."

      "It kills me to have you say that, Louise."

      "Well, I won't. But don't you see, then, that you must stand up for art all the more unflinchingly if you intend to write plays that will refine the theatre-going public, or create a new one? That is why I can't endure to have you even seem to give way to Godolphin."

      "You must stand it so long as I only seem to do it. He's far more manageable than I expected him to be. It's quite pathetic how docile he is, how perfectly ductile! But it won't do to browbeat him when he comes over here a little out of shape. He's a curious creature," Maxwell went on with a relish in Godolphin, as material, which his wife suffered with difficulty. "I wonder if he could ever be got into a play. If he could he would like nothing better than to play himself, and he would do it to perfection; only it would be a comic part, and Godolphin's mind is for the serious drama." Maxwell laughed. "All his artistic instincts are in solution, and it needs something like a chemical agent to precipitate them, or to give them any positive character. He's like a woman!"

      "Thank you," said Mrs. Maxwell.

      "Oh, I mean all sorts of good things by that. He has the sensitiveness of a woman."

      "Is that a good thing? Then I suppose he was so piqued by what I said about his skirt-dance that he will renounce you."

      "Oh, I don't believe he will. I managed to smooth him up after you went out."

      Mrs. Maxwell sighed. "Yes, you are very patient, and if you are patient, you are good. You are better than I am."

      "I don't see the sequence exactly," said Maxwell.

      They were both silent, and she seemed to have followed his devious thought in the same muse, for when he spoke again she did not reproach him with an equal inconsequence. "I don't know whether I could write a novel, and, besides, I think the drama is the supreme literary form. It stands on its own feet. It doesn't have to be pushed along, or pulled along, as the novel does."

      "Yes, of course, it's grand. That's the reason I can't bear to have you do anything unworthy of it."

      "I know, Louise," he said, tenderly, and then again they did not speak for a little while.

      He emerged from their silence, at a point apparently very remote, with a sigh. "If I could only know just what the feelings of a murderer really were for five minutes, I could out-Shakespeare Shakespeare in that play. But I shall have to trust to the fall of man, and the general depravity of human nature, I suppose. After all, there's the potentiality of every kind of man in every man. If you've known what it is to hate, you've known what it is to kill."

      "I felt once as if I had killed you," she said, and then he knew that she was thinking of a phase of their love which had a perpetual fascination for them both. "But I never hated you."

      "No; I did the hating," he returned, lightly.

      "Ah, don't say so, dear," she entreated, half in earnest.

      "Well, have it all to yourself, then," he said; and he rose and went indoors, and lighted the lamp, and she saw him get out the manuscript of his play, while she sat still, recalling the time when she had tried to dismiss him from her thoughts upon a theory of his unworthiness.

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