Each manuscript was like the other: the same lovely treatment of an unlovely subject. Then Capes’ footsteps approached. When Sheila was in a bad mood, she berated her new foster daughter for streaks on the windows, dust on the figurines, for crooked bed sheet corners, and floors that had not been waxed properly. “John, don’t!” she cried. I don’t feel it. Fresh flowers of loveliness have budded, expanded, died. The easel and palette having been packed up, and the canvass carefully removed by Austin, the party took leave of the prisoner, who was so much abstracted that he scarcely noticed their departure. She turned to the stage, and Tristan was wounded in Kurvenal’s arms, with Isolde at his feet, and King Mark, the incarnation of masculine force and obligation, the masculine creditor of love and beauty, stood over him, and the second climax was ending in wreaths and reek of melodies; and then the curtain was coming down in a series of short rushes, the music had ended, and the people were stirring and breaking out into applause, and the lights of the auditorium were resuming. But something instinctive prevented that, and with the finest resolve not to be “silly” and prudish she found that whenever he became at all bold in this matter she became severely scientific and impersonal, almost entomological indeed, in her method; she killed every remark as he made it and pinned it out for examination. “Well——” She stopped short.
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