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near the window, peering first furtively to see if he were present. He was. Bent over his work, a green shade over his eyes, she could see his stolid, genial figure at a table. Stepping back a moment to ponder, she finally went forward and, in a clear voice, asked,

"May I have a blank, please?”

The infatuation of the discarded Barton was such that it brought him instantly to his feet. In his stodgy, stocky way he rose, his eyes glowing with a friendly hope, his mouth wreathed in smiles, and came over. At the sight of her, pale, but pretty-paler and prettier, really, than he had ever seen herhe thrilled dumbly.

"How are you, Shirley?" he asked sweetly, as he drew near, his eyes searching her face hopefully. He had not seen her for so long that he was intensely hungry, and her paler beauty appealed to him more than ever. Why wouldn't she have him? he was asking himself. Why wouldn't his persistent love yet win her? Perhaps it might. "I haven't seen you in a month of Sundays, it seems. How are the folks?"

"They're all right, Bart," she smiled archly, "and so am I. How have you been? It has been a long time since I've seen you. I've been wondering how you were. Have you been all right? I was just going to send a message."

As he had approached, Shirley had pretended at first not to see him, a moment later to affect surprise, although she was really suppressing a heavy sigh. The sight of him, after Arthur, was not reassuring. Could she really interest herself in him any more? Could she?

"Sure, sure," he replied genially; "I'm always all right. You couldn't kill me, you know. Not going away, are you, Shirl?" he queried interestedly.

"No; I'm just telegraphing to Mabel. She promised to meet me to-morrow, and I want to be sure she will."

"You don't come past here as often as you did, Shirley," he complained tenderly. "At least, I don't seem to see you so often," he added with a smile. "It isn't anything I have done, is it?" he queried, and then, when she protested quickly, added: "What's the trouble, Shirl? Haven't been sick, have you?"

She affected all her old gayety and ease, feeling as though she would like to cry.

"Oh, no," she returned; "I've been all right. I've been going through the other door, I suppose, or coming in and going out on the Langdon Avenue car." (This was true, because she had been wanting to avoid him.) "I've been in such a hurry, most nights, that I haven't had time to stop, Bart. You know how late the store keeps us at times."

He remembered, too, that in the old days she had made time to stop or meet him occasionally.

"Yes, I know," he said tactfully. "But you haven't been to any of our old cardparties either of late, have you? At least, I haven't seen you. I've gone to two or three, thinking you might be there."

That was another thing Arthur had done— broken up her interest in these old store and neighborhood parties and a banjo-andmandolin club to which she had once belonged. They had all seemed so pleasing and amusing in the old days-but now— In those days Bart had been her usual companion when his work permitted.

"No," she replied evasively, but with a forced air of pleasant remembrance; "I have often thought of how much fun we had at those, though. It was a shame to drop them. You haven't seen Harry Stull or Trina Task recently, have you?" she inquired, more to be saying something than for any interest she felt.

He shook his head negatively, then added: "Yes, I did, too; here in the waiting-room a few nights ago. They were coming downtown to a theater, I suppose."

His face fell slightly as he recalled how it had been their custom to do this, and what their one quarrel had been about. Shirley noticed it. She felt the least bit sorry for him, but much more for herself, coming back so disconsolately to all this.

"Well, you're looking as pretty as ever, Shirley," he continued, noting that she had not written the telegram and that there was something wistful in her glance. "Prettier, I think," and she smiled sadly. Every word that she tolerated from him was as so much gold to him, so much of dead ashes to her. "You wouldn't like to come down some evening this week and see The Mouse-Trap,

would you? We haven't been to a theater together in I don't know when." His eyes sought hers in a hopeful, doglike way.

So she could have him again--that was the pity of it! To have what she really did not want, did not care for! At the least nod now he would come, and this very devotion made it all but worthless, and so sad. She ought to marry him now for certain, if she began in this way, and could in a month's time if she chose, but oh, oh-could she? For the moment she decided that she could not, would not. If he had only repulsed her -told her to go-ignored her-but no; it was her fate to be loved by him in this moving, pleading way, and hers not to love him as she wished to love to be loved. Plainly, he needed some one like her, whereas she, she. She turned a little sick, a sense of the sacrilege of gayety at this time creeping into her voice, and exclaimed:

"No, no!" Then seeing his face change, a heavy sadness come over it, "Not this week, anyhow, I mean" ("Not so soon," she had almost said). "I have several engagements this week and I'm not feeling well. But"seeing his face change, and the thought of her own state returning-"you might come out to the house some evening instead, and then we can go some other time."

His face brightened intensely. It was wonderful how he longed to be with her, how the least favor from her comforted and

lifted him up. She could see also now, however, how little it meant to her, how little it could ever mean, even if to him it was heaven. The old relationship would have to be resumed in toto, once and for all, but did she want it that way now that she was feeling so miserable about this other affair? As she meditated, these various moods racing to and fro in her mind, Barton seemed to notice, and now it occurred to him that perhaps he had not pursued her enough—was too easily put off. She probably did like him yet. This evening, her present visit, seemed to prove it.

"Sure, sure!" he agreed. "I'd like that. I'll come out Sunday, if you say. We can go any time to the play. I'm sorry, Shirley, if you're not feeling well. I've thought of you a lot these days. I'll come out Wednesday, if you don't mind."

She smiled a wan smile. It was all so

much easier than she had expected-her triumph-and so ashenlike in consequence, a flavor of dead-sea fruit and defeat about it all, that it was pathetic. How could she, after Arthur? How could he, really?

"Make it Sunday," she pleaded, naming the farthest day off, and then hurried out.

Her faithful lover gazed after her, while she suffered an intense nausea. To thinkto think it should all be coming to this! She had not used her telegraph-blank, and now had forgotten all about it. It was not the simple trickery that discouraged her, but her own future which could find no better outlet than this, could not rise above it apparently, or that she had no heart to make it rise above it. Why couldn't she interest herself in some one different to Barton: Why did she have to return to him? Why not wait and meet some other-ignore him as before? But no, no; nothing mattered now no one-it might as well be Barton really as any one, and she would at least make him happy and at the same time solve her own problem. She went out into the train-shed and climbed into her train. Slowly, after the usual pushing and jostling of a crowd, it drew out toward Latonia, that suburban region in which her home lay. As she rode, she thought.

"What have I just done? What am I doing?" she kept asking herself as the clacking wheels on the rails fell into a rhythmic dance and the houses of the brown, dry, endless city fled past in a maze. "Severing myself decisively from the past-the happy past-for supposing, once I am married, Arthur should return and want me againsuppose! Suppose!"

Below at one place, under a shed, were some market-gardeners disposing of the last remnants of their day's wares— -a sickly, dull life, she thought. Here was Rutgers Avenue, with its line of red street-cars, many wagons and tracks and counter-streams of automobiles-how often had she passed it morning and evening in a shuttle-like way, and how often would, unless she got married! And here, now, was the river flowing smoothly between its banks lined with coal-pockets and wharves-away, away to the huge deep sea which she and Arthur had enjoyed so much. Oh, to be in a small boat and drift out, out into the endless, restless, pathless

deep! Somehow the sight of this water, to-night and every night, brought back these evenings in the open with Arthur at Sparrows Point, the long line of dancers in Eckert's Pavilion, the woods at Atholby, the park, with the dancers in the pavilion-she choked back a sob. Once Arthur had come this way with her on just such an evening as this, pressing her hand and saying how wonderful she was. Oh, Arthur! Arthur! And now Barton was to take his old place again-forever, no doubt. She could not trifle with her life longer in this foolish way, or his. What was the use? But think of it! Yes, it must be-forever now, she told herself. She must marry. Time would be slipping by and she would become too old. It was her only future-marriage. It was the only future she had ever contemplated really, a home, children, the love of some man whom she could love as she loved Arthur. Ah, what a happy home that would have been for her! But now, now

But there must be no turning back now, either. There was no other way. If Arthur ever came back-but fear not, he wouldn't! She had risked so much and lost-lost him. Her little venture into true love had been such a failure. Before Arthur had come all had been well enough. Barton, stout and simple and frank and direct, had in some way -how, she could scarcely realize nowoffered sufficient of a future. But now, now! He had enough money, she knew, to build a cottage for the two of them. He had told her so. He would do his best always to make her happy, she was sure of that. They could live in about the state her parents were living in-or a little better, not much—and would never want. No doubt there would be children, because he craved them-several of them--and that would take up her time, long years of it-the sad, gray years! But then Arthur, whose children she would have thrilled to bear, would be no more, a mere memory-think of that!-and Barton, the dull, the commonplace, would have achieved his finest dream-and why?

Because love was a failure for her-that was why-and in her life there could be no more true love. She would never love any one again as she had Arthur. It could not be, she was sure of it. He was too fascinating, too wonderful. Always, always, wherever

she might be, whoever she might marry, he would be coming back, intruding between her and any possible love, receiving any possible kiss. It would be Arthur she would be loving or kissing. She dabbed at her eyes with a tiny handkerchief, turned her face close to the window and stared out, and then as the environs of Latonia came into view, wondered (so deep is romance): What if Arthur should come back at some timeor now! Supposing he should be here at the station now, accidentally or on purpose, to welcome her, to soothe her weary heart. He had met her here before. How she would fly to him, lay her head on his shoulder, forget forever that Barton ever was, that they had ever separated for an hour. Oh, Arthur! Arthur!

But no, no; here was Latonia-here the viaduct over her train, the long business street and the cars marked "Center" and "Langdon Avenue" running back into the great city. A few blocks away in treeshaded Bethune Street, duller and plainer than ever, was her parents' cottage and the routine of that old life which was now, she felt, more fully fastened upon her than ever before the lawn-mowers, the lawns, the front porches all alike. Now would come the going to and fro of Barton to business as her father and she now went to business, her keeping house, cooking, washing, ironing, sewing for Barton as her mother now did these things for her father and herself. And she would not be in love really, as she wanted to be. Oh, dreadful! She could never escape it really, now that she could endure it less, scarcely for another hour. And yet she must, must, for the sake of— for the sake of she closed her eyes and dreamed.

She walked up the street under the trees, past the houses and lawns all alike to her own, and found her father on their veranda reading the evening paper. She sighed at the sight.

"Back, daughter?" he called pleasantly. "Yes."

"Your mother is wondering if you would like steak or liver for dinner. Better tell her."

"Oh, it doesn't matter."

She hurried into her bedroom, threw down her hat and gloves, and herself on the bed

to rest silently, and groaned in her soul. To think that it had all come to this!-Never to see him any more! To see only Barton, and marry him and live in such a street, have four or five children, forget all her youthful companionships-and all to save her face before her parents, and her future. Why must it be? Should it be, really? She choked and stifled. After a little time her mother, hearing her come in, came to the door-thin, practical, affectionate, affectionate, conventional.

"What's wrong, honey? Aren't you feeling well to-night? Have you a headache? Let me feel."

Her thin cool fingers crept over her temples and hair. She suggested something to eat or a headache powder right away. "I'm all right, mother.

I'm Don't bother. up soon. Please don't."

feeling well now.

just not I'll get

"Would you rather have liver or steak to-night, dear?"

"Oh, anything-nothing-please don't bother-steak will do anything"-if only she could get rid of her and be at rest!

Her mother looked at her and shook her head sympathetically, then retreated quietly, saying no more. Lying so, she thought and thought-grinding, destroying thoughts about the beauty of the past, the darkness of the future until able to endure them no longer she got up and, looking distractedly out of the window into the yard and the house next door, stared at her future fixedly. What should she do? What should she really do? There was Mrs. Kessel in her kitchen getting her dinner as usual, just as her own mother was now, and Mr. Kessel out on the front

porch in his shirt-sleeves reading the evening paper. Beyond was Mr. Pollard in his yard, cutting the grass. All along Bethune Street were such houses and such peoplesimple, commonplace souls all-clerks, managers, fairly successful craftsmen, like her father and Barton, excellent in their way but not like Arthur the beloved, the lostand here was she, perforce, or by decision of necessity, soon to be one of them, in some such street as this no doubt, forever and―. For the moment it choked and stifled her.

She decided that she would not. No, no, no! There must be some other way—many ways. She did not have to do this unless she really wished to-would not-onlyThen going to the mirror she looked at her face and smoothed her hair.

"But what's the use?" she asked of herself wearily and resignedly after a time. “Why should I cry? Why shouldn't I marry Barton? I don't amount to anything, anyhow. Arthur wouldn't have me. I wanted him, and I am compelled to take some one else or no one-what difference does it really make who? My dreams are too high, that's all. I wanted Arthur, and he wouldn't have me. I don't want Barton, and he crawls at my feet. I'm a failure, that's what's the matter with me."

And then, turning up her sleeves and removing a fichu which stood out too prominently from her breast, she went into the kitchen and, looking about for an apron, observed:

"Can't I help? Where's the tablecloth?" and finding it among napkins and silverware in a drawer in the adjoining room, proceeded to set the table.

AMY LOWELL (1874-1925)

Amy Lowell was born in Brookline, Massachusetts, on 9 February, 1874, of a distinguished family whose members had lived in New England since 1637. James Russell Lowell was a cousin of her grandfather. One of her two brothers was Percival Lowell, the astronomer, and the other is A. L. Lowell, president of Harvard University. She was educated in private schools and by foreign travel, which extended beyond the usual European routes to Greece, Turkey, and Egypt, and which gave her many vivid and lasting impressions much later utilized in her poetry. It was not until 1902 that she determined to become a poet. She then undertook a course of study and practice, which lasted through eight years before she felt ready to publish anything. Her earliest published poem appeared in The Atlantic Monthly in 1910. Two years later came her first book, A Dome of Many-Colored Glass, on the whole a derivative and conventional volume containing little either to attract marked notice or to prepare readers for what was to follow. But this formal entry into the ranks of the poets, apparently, impelled Miss Lowell to look closely into the work of contemporaries in England and France, and gave her the confidence to emulate them in bold experiment. She thus quickly found a congenial part to play, and announced her new and marked development in 1914, in Sword Blades and Poppy Seed, by a group of "Imagist" poems and by another group of three poems written in "polyphonic prose." More than this, she became the active champion of experiment in verse-technique, and both in lectures and in books (Six French Poets, 1915; Tendencies in Modern American Poetry, 1917) she explained and defended the aims of the “new poets." In particular she thus did much to remove popular bewilderment over "free verse or, as she called it, "cadenced verse," and over "Imagism" and "polyphonic prose."

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“Imagism" is not really something new, but rather denotes the attempt made by Miss Lowell and others to return to certain principles of composition which they deemed essential to all great poetry, but which they felt had latterly been neglected. Briefly, these poets wished to use the language of common speech, employing, however, "always the exact word, not the nearly-exact, nor the merely decorative word"; they wished to create new rhythms" and not to copy old ones, believing that new moods could only thus be expressed; they defended the legitimacy of "free verse," but did not commit themselves to it any more than to any other form of verse; they permitted "absolute freedom in the choice of subject," believing "passionately in the artistic value of modern life" but seeing no objection to treatment of the past; they believed that poetry should first of all present to the mind an image, not in emulation of painting, but because “poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous," and because poetry should be "hard and clear, never blurred nor indefinite"; and finally they believed that "concentration is of the very essence of poetry."

"Polyphonic prose" does not, like "Imagism," denote a set of principles, but simply a very flexible poetic form, in the use of which Miss Lowell was inspired by the work of the French poet, M. Paul Fort, though in adapting the form to the English language she so far changed it as to make it practically one of her own invention. The word "prose" refers only to the way in which the words are prevailingly printed, and "polyphonic,” which means "many-voiced," is the important word in the phrase. It indicates that this form freely makes use of all of the "voices" of poetry-" meter, vers libre, assonance, alliteration, rhyme, and return." Miss Lowell adopted as the basis of her "polyphonic prose long, Howing cadence of oratorical prose," from which, in obedience to the needs of expression, she could readily change to vers libre or regular meters. "Return" signifies "the recurrence of a dominant thought or image" at irregular intervals. As a whole, this form is designed to give an orchestral effect. "Its tone is not merely single and melodic as is that of vers libre, for instance, but contrapuntal and various."

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After Sword Blades and Poppy Seed Miss Lowell published the following volumes, all containing experimental verse: Men, Women, and Ghosts (1916), Can Grande's Castle (1918), Pictures of the Floating World (1919), Legends (1921), and What's O'Clock? (1925). The last-named volume did not appear until some months after her death, on 12 May, 1925, but had been prepared for publication before that time. Miss Lowell also published in 1921, in collaboration with Florence Ayscough a volume of translations from Chinese poetry, Fir-Flower Tablets, and in 1922 A Critical Fable, inspired by J. R.

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