With Alice it was a simpler matter, and of course deeper.  For her it was only a question of himself and herself; no one else existed to the sublime egotism of her love.  She did not call it by that name; she did not permit it to assert itself by any name; it was a mere formless joy in her soul, a trustful and blissful expectance, which she now no more believed he could disappoint than that she could die within that hour.  All the rebellion that she had sometimes felt at the anomalous attitude exacted of her sex in regard to such matters was gone.  She no longer thought it strange that a girl should be expected to ignore the admiration of a young man till he explicitly declared it, and should then be fully possessed of all the materials of a decision on the most momentous question in life; for she knew that this state of ignorance could never really exist; she had known from the first moment that he had thought her beautiful.  To-night she was radiant for him.  Her eyes shone with the look in which they should meet and give themselves to each other before they spoke—­the look in which they had met already, in which they had lived that whole day.

XIX.

The evening’s entertainment was something that must fail before an audience which was not very kind.  They were to present a burlesque of classic fable, and the parts, with their general intention, had been distributed to the different actors; but nothing had been written down, and, beyond the situations and a few points of dialogue, all had to be improvised.  The costumes and properties had been invented from such things as came to hand.  Sheets sculpturesquely draped the deities who took part; a fox-pelt from the hearth did duty as the leopard skin of Bacchus; a feather duster served Neptune for a trident; the lyre of Apollo was a dust-pan; a gull’s breast furnished Jove with his grey beard.

The fable was adapted to modern life, and the scene had been laid in Campobello, the peculiarities of which were to be satirised throughout.  The principal situation was to be a passage between Jupiter, represented by Mavering, and Juno, whom Miss Anderson personated; it was to be a scene of conjugal reproaches and reprisals, and to end in reconciliation, in which the father of the gods sacrificed himself on the altar of domestic peace by promising to bring his family to Campobello every year.

This was to be followed by a sketch of the Judgment of Paris, in which Juno and Pallas were to be personated by two young men, and Miss Anderson took the part of Venus.