With his slow even speech Mr. Bowdoin rebuked her here even more strongly for her outbreak of excited talk and loud laughter about Devonshire. He had not felt that they were walking along, outside London, in blank space, free, and exactly alike in their thoughts. He had not had that moment when they turned into the strange dead road east of Bloomsbury, nowhere, and he had seemed like herself at her side and he ought to have laughed and laughed. His sudden searching look, are you mad or intoxicated, with your sudden Billingsgate manners, had said that Farringdon Road was in the world and that he intended to conduct himself in the usual manner of a gentleman escorting a lady. As

NOTE 11 she exclaimed with strained animation as the lamplight wavered up and then sat looking at her hands. It would be cruel to look about the room. She had seen kitchen chairs standing sparsely about in the spaces unoccupied by the table, a cottage piano standing at right angles with the low window and one picture over the piano. There was nothing else in the room. The floor was covered with strips of coarse worn oilcloth and there was nothing above the empty mantel-piece. It is quite bohemian said Mr. Bowdoin lighting the piano candles. Let me take your cloak. Miriam slipped off her golf-cape and he disappeared between curtains at the end of the room opposite the window.

This was Bohemia! She glanced about. It was the explanation of the room. But it was impossible to imagine Trilby's milk-call sounding at the door. . . . . . It was Bohemia; the table and chairs were bohemian. Perhaps a big room like this would be even cheaper than a garret in St. Pancras. The neighbourhood did not matter. A bohemian room could hold its own anywhere. No furniture but chairs and a table, saying when you brought people in I am a Bohemian and having no one but Bohemians for friends. There

NOTE 13 cloth. . . . . . Ah! C'est le pied de Trilby. Wee. D'après nature? Nong. De mémoire, alors? . . . . . . où rien ne troublera, Trilby, qui dorrr-mira, thought Miriam. She took the little water-colour sketches one by one and listened carefully to Mr. Bowdoin's descriptions of the subjects, trying to think of something to say. It was wonderful that he should take so much trouble on a holiday. The words in his descriptions brought Devonshire scenes alive into her mind, and she could imagine how he felt as he looked at them . . . . . . plats d'épinards . . . . . . it was like the difference between the French and English Bohemia. But the true thing in it was that he had wanted to do them. That gave him his right to call himself a Bohemian. He would have tried to write if he wanted to and have gone to live in a garret in Fleet Street. Why don't you put them about the room she asked insincerely. It was false and cruel; a criticism of the room which was beginning to show its real character; not interfering; plain and clear for things to happen and shine out in it in their full strength. And it was a flattery of the pictures which were nothing. Well, they're just beginnings. Hardly worthy of exhibition. I hope to attain to something better in the future. Where did he find all his calm words and self-confidence. Perhaps it was the result of having a room to invite friends to and talk about things in. But how could anybody do anything with people coming and going, confusing everything by perpetually saying things? She stared obediently at sketch after sketch until her eyes ached. It was going on too long. Her strength was ebbing out and the evening was still to come. He liked showing his sketches and thought she was entertained. Even in Bohemia people thought it was necessary to always be doing some definite thing. There was a knocking at the front door upstairs. Mr. Bowdoin went quickly up and came down with a tall lady. He introduced her and she bowed and at once took off her outdoor things. While he was putting them away behind the curtains she sat briskly down on a chair at the far end of the room in a line with Miriam and arranged her hair and her dress with easy unconcerned movements. She did not look in the least bohemian. She

NOTE 15 features until Mr. Bowdoin took the lamp off the piano and sat down murmuring I will give you a sonata of Bytoven. The outline of the face shone down through the gloom. She could recall each feature in perfect distinctness. All the soft weakness of the musical temperament was there, the thing that made people call musicians a soft weak lot. But there was something else; perhaps it was in all musicians who were such great executors as to be almost composers. The curious conscious half-pleading sensitive weakness of the mouth and chin were dreadful; a sort of nakedness as if a whole weak nature were escaping there for everyone to see; and then suddenly reined in; held in and back by the pose of the reined-in head. The great aureole of fluffy hair was shaped and held in shape by the same power. The whole head, soft and weak in all its details, was resolute and strong. . . . . . If the face were raised to look outwards it would be weak, pained and suffering and almost querulously sorrowful; but in its own right pose it was happy and strong. The pose of the head gave it its grip on the features and the hair and made beauty. The pose of listening. The eyes saw nothing. The reined-in face was listening, intently, from a burning bush. . . . . . There was some reason not yet understood why musicians and artists wore long hair.

NOTE 17 Miriam came forward seeing nothing but the golden gaslight pouring over the white table-cloth. She sat down near Mrs [sic] Bailey within the edge of its radiance. The depths of the light still held unchanged the welcome that had been there when she had come in and found Emile laying the table. There was no change and no disappointment. The smeary mirrors and unpolished furniture were bright in the gaslight, showing distances of interior and gleaming passages of light. In the spaces between the pictures the walls sent back sheeny reflections of the glow on the table. People coming in one by one saying good evening in different intonations and sitting down sending out waves of enquiry, left her undisturbed. There were five or six forms about the table besides Sissie sitting at the far end opposite her mother. They made sudden statements about the weather one after the other. They were waiting to have their daily experience of the meal changed by something she might do or say. Emile was handing round plates of soup. Presently they would all be talking and would have forgotten her. Then she could see them all one by one and get away unseen, having had dinner only with Mrs. Bailey. Mrs. Bailey was standing up carving the joint. When the sounds she made were all that was to be heard, she responded to the last remark about the weather or asked some fresh question about it as if no one had spoken at all. When she was not speaking every movement of her battle with the joint expressed her triumphant affectionate sense of Miriam's presence. She had made no introductions. She was saying secretly there you are young lady. I

NOTE 19 grappling dreamily with abrupt instructions with a conservatory smell competing with them; trying to become part of a clever arrangement to collect the conservatory smell for sale. She stepped slenderly forward; all her old Eve manner, but determined to guard against disturbance; making sounds without speaking, and the faint shape of a tired smile. She was worn out with the fatigue of trying to make herself into something else, but liking and determined not to be reminded of other things. Even her hair seemed to be changed. Full of pictures of Eve, gracefully dressed and with piled brown hair Miriam's eyes passed in fury over the skimpy untidy sham shop-assistant, beginning a failure defensively, imagining behind it that she was taking hold of London. . . . . . Won't you catch cold? You get used to it mouthed Eve nervously turning her head away and waiting, fumbling a scattered spray of smilax. Eve had always loved smilax. Did it seem the same to her now? Fancy you said Miriam, in all this damp. They were both miserable and Eve was not going to put it right. All her strength and interest was for this new thing. Do you like it? said Miriam beginning again. Yes awfully flushed Eve looking as if she were going to cry. It was too late. I suppose its awfully interesting asked Miriam formally, opening a conversation with a stranger. Mps said Eve warmly I simply love it. It makes you frightfully tired at first, but I find I can do things I never dreamed I could. I don't mind standing in the wet a bit now. You have to if you're obliged to. Eve was liking hardness imposed by other people. Liking the prices of her new life. Accepting them without resentment. People would despise and like her for that. Perhaps she would succeed in staying on if her strength did not give way. Her graceful dresses and leisurely brown hair going further and further away. . . . . . Do you serve? Ssh. I'm learning to. Eve would not look, and wanted her to be gone. I'm free for lunch said Miriam snappily, holding to the disappearing glory of her first coming out into London in the middle of a week-day. Eve should have guessed and stopped being anything but Eve being taken out to lunch. We could go to an A.B.C. Oh I can't come out murmured Eve ignoringly.

NOTE 22 scenery. You are in Norway while you read. That is why people read books by geniuses and look far-away when they talk about them. They know they have been somewhere you cannot go without reading the book. . . . . . Brand. You are in the strangeness of Norway--and then there are people saying things that might be said anywhere. But with something going in and out of the words all the time. Ibsen's genius. You can't understand it or see where it is. Each sentence looks so ordinary, making you wonder what it is all about. But taking you somewhere, to stay, forgetting everything, until it is finished. An hour ago Ibsen was just a name people said in a particular way, a difficult wonderful mystery, and improper. Why do people say he is improper? He is exactly like everyone else, thinking and worrying about the same things. But putting them down in a background that is more real than people or thoughts. The life in the background is in the people. He does not know this. Why did he write it? A book by a genius is alive. That is why "Ibsen" is superior to novels; because it is not quite about the people or the thoughts. There is something else; a sort of lively freshness all over even the saddest parts, preventing your feeling sorry for the people. Everyone ought to know. It ought to be on the omnibuses and in the menu. All these people fussing about not knowing of Ibsen's Brand. A volume, bound in a cover. Alive. Precious. What is Genius? Something that can take you into Norway in an A.B.C.

She wandered out into Oxford Street. There was a vast fresh gold-lit sky somewhere behind the twilight. Why did Ibsen sit down in Norway and write plays? Why did people say Ibsen as if it were the answer to something? Walking along Oxford Street with a read volume of Ibsen held against you is walking along with something precious between two covers which makes you know you are rich and free. . . . . . She wandered on and on in