IT was late on the morning after the night she sang ELSA, when Thea Kronborg stirred uneasily in her bed. The room was darkened by two sets of window shades, and the day outside was thick and cloudy. She turned and tried to recapture unconsciousness, knowing that she would not be able to do so. She dreaded waking stale and disappointed after a great effort. The first thing that came was always the sense of the futility of such endeavor, and of the absurdity of trying too hard. Up to a certain point, say eighty degrees, artistic endeavor could be fat and comfortable, methodical and prudent. But if you went further than that, if you drew yourself up toward ninety degrees, you parted with your defenses and left yourself exposed to mischance. The legend was that in those upper reaches you might be divine; but you were much likelier to be ridiculous. Your public wanted just about eighty degrees; if you gave it more it blew its nose and put a crimp in you. In the morning, especially, it seemed to her very probable that whatever struggled above the good average was not quite sound. Certainly very little of that superfluous ardor, which cost so dear, ever got across the footlights. These misgivings waited to pounce upon her when she wakened. They hovered about her bed like vultures.

She reached under her pillow for her handkerchief, without opening her eyes. She had a shadowy memory that there was to be something unusual, that this day held more disquieting possibilities than days commonly held. There was something she dreaded; what was it? Oh, yes, Dr. Archie was to come at four.

A reality like Dr. Archie, poking up out of the past, reminded one of disappointments and losses, of a freedom that was no more: reminded her of blue, golden mornings long ago, when she used to waken with a burst of joy at recovering her precious self and her precious world; when she never lay on her pillows at eleven o'clock like something the waves had washed up. After all, why had he come? It had been so long, and so much had happened. The things she had lost, he would miss readily enough. What she had gained, he would scarcely perceive. He, and all that he recalled, lived for her as memories. In sleep, and in hours of illness or exhaustion, she went back to them and held them to her heart. But they were better as memories. They had nothing to do with the struggle that made up her actual life. She felt drearily that she was not flexible enough to be the person her old friend expected her to be, the person she herself wished to be with him.

Thea reached for the bell and rang twice,—a signal to her maid to order her breakfast. She rose and ran up the window shades and turned on the water in her bathroom, glancing into the mirror apprehensively as she passed it. Her bath usually cheered her, even on low mornings like this. Her white bathroom, almost as large as her sleeping-room, she regarded as a refuge. When she turned the key behind her, she left care and vexation on the other side of the door. Neither her maid nor the management nor her letters nor her accompanist could get at her now.

When she pinned her braids about her head, dropped her nightgown and stepped out to begin her Swedish movements, she was a natural creature again, and it was so that she liked herself best. She slid into the tub with anticipation and splashed and tumbled about a good deal. Whatever else she hurried, she never hurried her bath. She used her brushes and sponges and soaps like toys, fairly playing in the water. Her own body was always a cheering sight to her. When she was careworn, when her mind felt old and tired, the freshness of her physical self, her long, firm lines, the smoothness of her skin, reassured her. This morning, because of awakened memories, she looked at herself more carefully than usual, and was not discouraged. While she was in the tub she began to whistle softly the tenor aria, "AH! FUYEZ, DOUCE IMAGE," somehow appropriate to the bath. After a noisy moment under the cold shower, she stepped out on the rug flushed and glowing, threw her arms above her head, and rose on her toes, keeping the elevation as long as she could. When she dropped back on her heels and began to rub herself with the towels, she took up the aria again, and felt quite in the humor for seeing Dr. Archie. After she had returned to her bed, the maid brought her letters and the morning papers with her breakfast.

"Telephone Mr. Landry and ask him if he can come at half-past three, Theresa, and order tea to be brought up at five."

When Howard Archie was admitted to Thea's apartment that afternoon, he was shown into the music-room back of the little reception room. Thea was sitting in a davenport behind the piano, talking to a young man whom she later introduced as her friend Mr. Landry. As she rose, and came to meet him, Archie felt a deep relief, a sudden thankfulness. She no longer looked clipped and plucked, or dazed and fleeing.

Dr. Archie neglected to take account of the young man to whom he was presented. He kept Thea's hands and held her where he met her, taking in the light, lively sweep of her hair, her clear green eyes and her throat that came up strong and dazzlingly white from her green velvet gown. The chin was as lovely as ever, the cheeks as smooth. All the lines of last night had disappeared. Only at the outer corners of her eyes, between the eye and the temple, were the faintest indications of a future attack—mere kitten scratches that playfully hinted where one day the cat would claw her. He studied her without any embarrassment. Last night everything had been awkward; but now, as he held her hands, a kind of harmony came between them, a reestablishment of confidence.

"After all, Thea,—in spite of all, I still know you," he murmured.

She took his arm and led him up to the young man who was standing beside the piano. "Mr. Landry knows all about you, Dr. Archie. He has known about you for many years." While the two men shook hands she stood between them, drawing them together by her presence and her glances. "When I first went to Germany, Landry was studying there. He used to be good enough to work with me when I could not afford to have an accompanist for more than two hours a day. We got into the way of working together. He is a singer, too, and has his own career to look after, but he still manages to give me some time. I want you to be friends." She smiled from one to the other.

The rooms, Archie noticed, full of last night's flowers, were furnished in light colors, the hotel bleakness of them a little softened by a magnificent Steinway piano, white bookshelves full of books and scores, some drawings of ballet dancers, and the very deep sofa behind the piano.

"Of course," Archie asked apologetically, "you have seen the papers?"

"Very cordial, aren't they? They evidently did not expect as much as I did. ELSA is not really in my voice. I can sing the music, but I have to go after it."

"That is exactly," the doctor came out boldly, "what Fred Ottenburg said this morning."

They had remained standing, the three of them, by the piano, where the gray afternoon light was strongest. Thea turned to the doctor with interest. "Is Fred in town? They were from him, then—some flowers that came last night without a card." She indicated the white lilacs on the window sill. "Yes, he would know, certainly," she said thoughtfully. "Why don't we sit down? There will be some tea for you in a minute, Landry. He's very dependent upon it," disapprovingly to Archie. "Now tell me, Doctor, did you really have a good time last night, or were you uncomfortable? Did you feel as if I were trying to hold my hat on by my eyebrows?"

He smiled. "I had all kinds of a time. But I had no feeling of that sort. I couldn't be quite sure that it was you at all. That was why I came up here last night. I felt as if I'd lost you."

She leaned toward him and brushed his sleeve reassuringly. "Then I didn't give you an impression of painful struggle? Landry was singing at Weber and Fields' last night. He didn't get in until the performance was half over. But I see the TRIBUNE man felt that I was working pretty hard. Did you see that notice, Oliver?"

Dr. Archie looked closely at the red-headed young man for the first time, and met his lively brown eyes, full of a droll, confiding sort of humor. Mr. Landry was not prepossessing. He was undersized and clumsily made, with a red, shiny face and a sharp little nose that looked as if it had been whittled out of wood and was always in the air, on the scent of something. Yet it was this queer little beak, with his eyes, that made his countenance anything of a face at all. From a distance he looked like the groceryman's delivery boy in a small town. His dress seemed an acknowledgment of his grotesqueness: a short coat, like a little boys' roundabout, and a vest fantastically sprigged and dotted, over a lavender shirt.

At the sound of a muffled buzz, Mr. Landry sprang up.

"May I answer the telephone for you?" He went to the writing-table and took up the receiver. "Mr. Ottenburg is downstairs," he said, turning to Thea and holding the mouthpiece against his coat.

"Tell him to come up," she replied without hesitation. "How long are you going to be in town, Dr. Archie?"

"Oh, several weeks, if you'll let me stay. I won't hang around and be a burden to you, but I want to try to get educated up to you, though I expect it's late to begin."

Thea rose and touched him lightly on the shoulder. "Well, you'll never be any younger, will you?"

"I'm not so sure about that," the doctor replied gallantly.

The maid appeared at the door and announced Mr. Frederick Ottenburg. Fred came in, very much got up, the doctor reflected, as he watched him bending over Thea's hand. He was still pale and looked somewhat chastened, and the lock of hair that hung down over his forehead was distinctly moist. But his black afternoon coat, his gray tie and gaiters were of a correctness that Dr. Archie could never attain for all the efforts of his faithful slave, Van Deusen, the Denver haberdasher. To be properly up to those tricks, the doctor supposed, you had to learn them young. If he were to buy a silk hat that was the twin of Ottenburg's, it would be shaggy in a week, and he could never carry it as Fred held his.

Ottenburg had greeted Thea in German, and as she replied in the same language, Archie joined Mr. Landry at the window. "You know Mr. Ottenburg, he tells me?"

Mr. Landry's eyes twinkled. "Yes, I regularly follow him about, when he's in town. I would, even if he didn't send me such wonderful Christmas presents: Russian vodka by the half-dozen!"

Thea called to them, "Come, Mr. Ottenburg is calling on all of us. Here's the tea."

The maid opened the door and two waiters from downstairs appeared with covered trays. The tea-table was in the parlor. Thea drew Ottenburg with her and went to inspect it. "Where's the rum? Oh, yes, in that thing! Everything seems to be here, but send up some currant preserves and cream cheese for Mr. Ottenburg. And in about fifteen minutes, bring some fresh toast. That's all, thank you."

For the next few minutes there was a clatter of teacups and responses about sugar. "Landry always takes rum. I'm glad the rest of you don't. I'm sure it's bad." Thea poured the tea standing and got through with it as quickly as possible, as if it were a refreshment snatched between trains. The tea-table and the little room in which it stood seemed to be out of scale with her long step, her long reach, and the energy of her movements. Dr. Archie, standing near her, was pleasantly aware of the animation of her figure. Under the clinging velvet, her body seemed independent and unsubdued.

They drifted, with their plates and cups, back to the music-room. When Thea followed them, Ottenburg put down his tea suddenly. "Aren't you taking anything? Please let me." He started back to the table.

"No, thank you, nothing. I'm going to run over that aria for you presently, to convince you that I can do it. How did the duet go, with Schlag?"

She was standing in the doorway and Fred came up to her: "That you'll never do any better. You've worked your voice into it perfectly. Every NUANCE—wonderful!"

"Think so?" She gave him a sidelong glance and spoke with a certain gruff shyness which did not deceive anybody, and was not meant to deceive. The tone was equivalent to "Keep it up. I like it, but I'm awkward with it."

Fred held her by the door and did keep it up, furiously, for full five minutes. She took it with some confusion, seeming all the while to be hesitating, to be arrested in her course and trying to pass him. But she did not really try to pass, and her color deepened. Fred spoke in German, and Archie caught from her an occasional JA? SO? muttered rather than spoken.

When they rejoined Landry and Dr. Archie, Fred took up his tea again. "I see you're singing VENUS Saturday night. Will they never let you have a chance at ELIZABETH?"

She shrugged her shoulders. "Not here. There are so many singers here, and they try us out in such a stingy way. Think of it, last year I came over in October, and it was the first of December before I went on at all! I'm often sorry I left Dresden."

"Still," Fred argued, "Dresden is limited."

"Just so, and I've begun to sigh for those very limitations. In New York everything is impersonal. Your audience never knows its own mind, and its mind is never twice the same. I'd rather sing where the people are pig-headed and throw carrots at you if you don't do it the way they like it. The house here is splendid, and the night audiences are exciting. I hate the matinees; like singing at a KAFFEKLATSCH." She rose and turned on the lights.

"Ah!" Fred exclaimed, "why do you do that? That is a signal that tea is over." He got up and drew out his gloves.

"Not at all. Shall you be here Saturday night?" She sat down on the piano bench and leaned her elbow back on the keyboard. "Necker sings ELIZABETH. Make Dr. Archie go. Everything she sings is worth hearing."

"But she's failing so. The last time I heard her she had no voice at all. She IS a poor vocalist!"

Thea cut him off. "She's a great artist, whether she's in voice or not, and she's the only one here. If you want a big voice, you can take my ORTRUDE of last night; that's big enough, and vulgar enough."

Fred laughed and turned away, this time with decision. "I don't want her!" he protested energetically. "I only wanted to get a rise out of you. I like Necker's ELIZABETH well enough. I like your VENUS well enough, too."

"It's a beautiful part, and it's often dreadfully sung. It's very hard to sing, of course."

Ottenburg bent over the hand she held out to him. "For an uninvited guest, I've fared very well. You were nice to let me come up. I'd have been terribly cut up if you'd sent me away. May I?" He kissed her hand lightly and backed toward the door, still smiling, and promising to keep an eye on Archie. "He can't be trusted at all, Thea. One of the waiters at Martin's worked a Tourainian hare off on him at luncheon yesterday, for seven twenty-five."

Thea broke into a laugh, the deep one he recognized. "Did he have a ribbon on, this hare? Did they bring him in a gilt cage?"

"No,"—Archie spoke up for himself,—"they brought him in a brown sauce, which was very good. He didn't taste very different from any rabbit."

"Probably came from a push-cart on the East Side." Thea looked at her old friend commiseratingly. "Yes, DO keep an eye on him, Fred. I had no idea," shaking her head. "Yes, I'll be obliged to you."

"Count on me!" Their eyes met in a gay smile, and Fred bowed himself out.