The Light of the Star. Garland Hamlin

almost harshly—his ambition hardening his heart to her appeal.

      Around him, in his dream of those far-off days, moved other agile forms—young lovers like Myra and himself, their feet creaking on the glittering snow. They stepped slowly, though the bells called and called. The moonlight was not more clear and untouched of baleful fire than Myra's sweet eyes looking up at him, and now he was walking the wet pavement of the great metropolis, with the clang and grind of cars all about him, on his way to meet a woman whose life was spent in simulating acts as destructive as Myra's had been serene and trustful. At the moment he saw his own life as a thread in some mysterious drama.

      "To what does it lead?" he asked, as he drew under the overhanging portal of the great hotel where the star made her home. It was to the man of the West a splendid place. Its builders had been lavish of highly colored marbles and mosaics, spendthrift of light and gilding; on every side shone the signs and seals of predatory wealth. Its walls were like costly confectionery, its ornaments insolent, its waste criminal. Every decorative feature was hot, restless, irreverent, and cruel, quite the sort of avenue one might expect to find in his walk towards the glittering woman of the false and ribald drama.

      "She chose her abode with instinctive bad taste," he said, bitterly; and again his weakness, his folly turned him cold; for with all his physical powers he was shy to the point of fear.

      He made a sober and singular spot in the blaze of the rotunda. So sombre was his look, so intent his gaze. Youths in high hats and shining shirt-fronts stood in groups conversing loudly, and in the resplendent dining-hall bediamonded women and their sleek-haired, heavy-jewelled partners were eating leisurely, attended by swarms of waiters so eager they trod upon one another's feet.

      The clerk eyed him in impassible silence as he took out his worn card-case, saying: "Please send my card to Miss Merival."

      "Miss Merival is not receiving any one this evening," the clerk answered, with a tone which was like the slap of a wet glove in the face.

      Douglass faced him with a look which made him reflect. "You will let her be the judge of that," he said, and his tone was that of one accustomed to be obeyed.

      The little man bowed. "Oh, certainly, Mr. Douglass, but as she left orders—"

      When the boy with his card had disappeared into the candy-colored distances, the playwright found himself again studying the face of his incomprehensible sorceress, who looked down upon him even at that moment from a bulletin-board on the hotel wall, Oriental, savage, and sullen—sad, too, as though alone in her solitary splendor. "She can't be all of her parts—which one of them will I find as I enter her room?" he asked himself for the hundredth time.

      "Miss Merival will see Mr. Douglass," said the bell-boy. "This way, sir."

      As he stepped into the elevator the young man's face grew stern and his lips straightened out into a grim line. It was absurd to think he should be so deeply moved by any woman alive, he who prided himself on his self-possession.

      Down a long hall on the tenth floor the boy led him, and tapped at a door, which was opened after a pause by a quiet woman who greeted him with outstretched hand, kindly cordial.

      "How do you do, Mr. Douglass? It is very good of you to come," she said, with the simplest inflection.

      "This must be an elder sister," he thought, and followed her into a large sitting-room, where a gray-haired woman and a young man were sipping after-dinner coffee.

      "Mother, this is Mr. Douglass, the author of The Modern Stage, the little book of essays we liked so well." The elderly lady greeted him cordially, but with a timid air. "And this is my brother Hugh," the young man gave Douglass's hand a firm and cordial grip.

      "Sit down, please—not there—over here, where the light will fall on you. I want to see how you look," she added, in smiling candor; and with that smile he recognized in his hostess the great actress.

      He was fairly dazed, and for the moment entirely wordless. From the very moment the door had opened to him the "glittering woman" had been receding into remote and ever remoter distances, for the Helen Merival before him was as simple, candid, and cordial as his own sister. Her voice had the home inflection; she displayed neither paint nor powder; her hair was plainly brushed—beautiful hair it was, too—and her dress was lovely and in quiet taste.

      Her face seemed plain at first, just as her stature seemed small. She was dark, but not so dark as she appeared on the stage, and her face was thinner, a little careworn, it seemed to him; and her eyes—"those leering, wicked eyes"—were large and deep and soft. Her figure was firm, compact, womanly, and modest in every line. No wife could have seemed more of the home than this famous actress who faced him with hands folded in her lap.

      He was stupefied. Suddenly he perceived the injustice and the crass folly of his estimate of her character, and with this perception came a broader and deeper realization of her greatness as an actress. Her real self now became more complex than his wildest imagined ideal of her. That this sweet and reflective girl should be the actress was as difficult to understand as that The Baroness should be at heart a good woman. For five minutes he hardly heard what she said, so busy was his mind readjusting itself to this abrupt displacement of values. With noiseless suddenness all the lurid light which the advertiser had thrown around the star died away. The faces which mocked and mourned, the clutching hands, the lines of barbaric ornaments, the golden goblets of debauchery, the jewelled daggers, the poison phials—all those accessories, designed to produce the siren of the posters, faded out, and he found himself face to face with a human being like himself, a thoughtful, self-contained, and rather serious American girl of twenty-six or twenty-eight years of age.

      Not merely this, but her attitude towards him was that of a pupil. She lifted eyes to him as to one occupying an intellectual height. She began to tell him how much she enjoyed his little book on the drama, which a friend had recommended to her, but as soon as he had fairly recovered himself he led her away from his own work. "I am supposed to be an architect," he explained. "I write of the stage because I love it—and because I am a failure in my profession. My book is a very slight and unambitious attempt."

      "But you know the stage and its principles," she insisted; "and your view of the future is an inspiration to those of us who wish to do good work. Your letter was very helpful to me, for I am deeply discouraged just now. I am disgusted with the drama in which I work. I am weary of these unwholesome parts. You are quite right, I shall never do my best work so long as I am forced to assume such uncongenial rôles. They are all false, every one of them. They are good acting rôles, as acting goes; but I want plays that I can live as well as act. But my manager tells me that the public will not have me in anything else. Do you think they would? Is he right?" She ended in appeal.

      "I think the public will take you at your best in anything you do," he replied, with grave gallantry. "I don't know that managers are omniscient. They are only men like the rest of us."

      She smiled. "That is high treason; but I'm very much inclined to believe it is true. I am willing to concede that a theatre must be made to pay, but I am not content to think that this splendid art is always to be measured by the number of dollars which fall into the box-office. Take Westervelt as a type. What ideals has he? None whatever, save to find a play that will run forever and advertise itself."

      She had dreams, too, it seemed. She glowed with her plans, and as she timidly presented them Douglass perceived that the woman was entirely unconscious of the false glamour, the whirling light and tumult, which outsiders connected with her name. At the centre of the illumination she sat looking out upon the glorified bill-boards, the gay shop windows, the crowded auditoriums, a wholesome, kindly, intelligent woman, subject to moods of discouragement like himself, unwilling to be a slave to a money-grubber. Something in his face encouraged the story of her struggles. She passed to her personal history while he listened as one enthralled.

      The actress fled, and the woman drew near. She looked into the man's eyes frankly, unshrinkingly, with humor, with appeal. She leaned towards him, and her face grew exquisitely tender and beautiful. "Oh, it was a struggle! Mother kept boarders in order that Hugh and I might go