circumstances. But Dorothea herself was a little shocked and discouraged at her own stupidity, and the answers she got to some timid questions about the value of the Greek accents gave her a painful suspicion that here indeed there might be secrets not capable of explanation to a woman’s reason.

Mr. Brooke had no doubt on that point, and expressed himself with his usual strength upon it one day that he came into the library while the reading was going forward.

“Well, but now, Casaubon, such deep studies, classics, mathematics, that kind of thing, are too taxing for a woman—too taxing, you know.”

“Dorothea is learning to read the characters simply,” said Mr. Casaubon, evading the question. “She had the very considerate thought of saving my eyes.”

“Ah, well, without understanding, you know—that may not be so bad. But there is a lightness about the feminine mind—a touch and go—music, the fine arts, that kind of thing—they should study those up to a certain point, women should; but in a light way, you know. A woman should be able to sit down and play you or sing you a good old English tune. That is what I like; though I have heard most things—been at the opera in Vienna: Gluck, Mozart, everything of that sort. But I’m a conservative in music—it’s not like ideas, you know. I stick to the good old tunes.”

“Mr. Casaubon is not fond of the piano, and I am very glad he is not,” said Dorothea, whose slight regard for domestic music and feminine fine art must be forgiven her, considering the small tinkling and smearing in which they chiefly consisted at that dark period. She smiled and looked up at her betrothed with grateful eyes. If he had always been asking her to play the “Last Rose of Summer,” she would have required much resignation. “He says there is only an old harpsichord at Lowick, and it is covered with books.”

“Ah, there you are behind Celia, my dear. Celia, now, plays very prettily, and is always ready to play. However, since Casaubon does not like it, you are all right. But it’s a pity you should not have little recreations of that sort, Casaubon: the bow always strung—that kind of thing, you know—will not do.”

“I never could look on it in the light of a recreation to have my ears teased with measured noises,” said Mr. Casaubon. “A tune much iterated has the ridiculous effect of making the words in my mind perform a sort of minuet to keep time—an effect hardly tolerable, I imagine, after boyhood. As to the grander forms of music, worthy to accompany solemn 

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