One evening Ramonti stopped in Helen’s hall-office-reception-room and told his love with the tenderness and ardor of the enraptured artist.  His words were a bright flame of the divine fire that glows in the heart of a man who is a dreamer and doer combined.

“But before you give me an answer,” he went on, before she could accuse him of suddenness, “I must tell you that ‘Ramonti’ is the only name I have to offer you.  My manager gave me that.  I do not know who I am or where I came from.  My first recollection is of opening my eyes in a hospital.  I was a young man, and I had been there for weeks.  My life before that is a blank to me.  They told me that I was found lying in the street with a wound on my head and was brought there in an ambulance.  They thought I must have fallen and struck my head upon the stones.  There was nothing to show who I was.  I have never been able to remember.  After I was discharged from the hospital, I took up the violin.  I have had success.  Mrs. Barry—­I do not know your name except that—­I love you; the first time I saw you I realized that you were the one woman in the world for me—­and”—­oh, a lot of stuff like that.

Helen felt young again.  First a wave of pride and a sweet little thrill of vanity went all over her; and then she looked Ramonti in the eyes, and a tremendous throb went through her heart.  She hadn’t expected that throb.  It took her by surprise.  The musician had become a big factor in her life, and she hadn’t been aware of it.

“Mr. Ramonti,” she said sorrowfully (this was not on the stage, remember; it was in the old home near Abingdon Square), “I’m awfully sorry, but I’m a married woman.”

And then she told him the sad story of her life, as a heroine must do, sooner or later, either to a theatrical manager or to a reporter.

Ramonti took her hand, bowed low and kissed it, and went up to his room.

Helen sat down and looked mournfully at her hand.  Well she might.  Three suitors had kissed it, mounted their red roan steeds and ridden away.

In an hour entered the mysterious stranger with the haunting eyes.  Helen was in the willow rocker, knitting a useless thing in cotton-wool.  He ricocheted from the stairs and stopped for a chat.  Sitting across the table from her, he also poured out his narrative of love.  And then he said:  “Helen, do you not remember me?  I think I have seen it in your eyes.  Can you forgive the past and remember the love that has lasted for twenty years?  I wronged you deeply—­I was afraid to come back to you—­but my love overpowered my reason.  Can you, will you, forgive me?”

Helen stood up.  The mysterious stranger held one of her hands in a strong and trembling clasp.

There she stood, and I pity the stage that it has not acquired a scene like that and her emotions to portray.

For she stood with a divided heart.  The fresh, unforgettable, virginal love for her bridegroom was hers; the treasured, sacred, honored memory of her first choice filled half her soul.  She leaned to that pure feeling.  Honor and faith and sweet, abiding romance bound her to it.  But the other half of her heart and soul was filled with something else—­a later, fuller, nearer influence.  And so the old fought against the new.