'So am I.'

They smiled at one another like two lovers.

'Sit down,' she added as she sank into a seat.

The seat was far from the fire, with its back to the curve of a grand piano which was partially draped in some rich stuff. At one end of the divan, a tall bronze crane held in his beak a tray hanging by three chains like one side of a pair of scales, and on it lay a new book and a little Japanese scimitar—a waki-gashi—the scabbard and hilt encrusted with silver chrysanthemums.

Elena took up the book, which was only half cut, read the title, and then replaced it on the tray which swung to and fro. The scimitar fell to the ground. As both she and Andrea stooped to pick it up, their hands met. She straightened herself up and examined the beautiful weapon with some curiosity, retaining it in her hand while Andrea talked about the new novel, insinuating into his remarks general arguments upon love; and her fingers wandered absently over the chasing of the weapon, her polished nails seeming a repetition of the delicate gems that sparkled in her rings.

Presently, after a pause, Elena said without looking at him: 'You are very young—have you often been in love?'

He answered by another question—'Which do you consider the truest, noblest way of love—to imagine you have discovered every aspect of the eternal Feminine combined in one woman, or to run rapidly over the lips of woman as you run your fingers over the keys of a piano, till, at last, you find the sublime chord of harmony?'

'I really cannot say—and you?'

'Nor I either—I am unable to solve the great problem of sentiment. However, by personal instinct, I have followed the latter plan and have now, I fear, struck the grand chord—judging, at least, by an inward premonition.'[16]

[16]

'You fear?'

'Je crains ce que j'espère.'

He instinctively employed this language of affected sentiment to cloak his really strong emotion, and Elena felt herself caught by his voice as in a golden net and drawn forcibly out of the life surrounding them.

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