stroke with Keble in the literary excursions he conducted on cool evenings before a log fire that had been burning since their marriage in the autumn, six months before. Only a few evenings past he had read a poem by Robert Browning, who was to Louise merely a name that had fallen from the lips of her English teacher at Normal School. She had felt herself rather pleasantly scratched and pommeled by the lines as Keble had read them, but they had failed to make continuous sense. And next morning, when she had gone to the book-shelves to read and ponder in private, she hadn't even been able to identify the incoherent poem among the host of others in the red volume.
Once, too, when he had been playing the piano she had been humiliatingly inept. For an hour she had been happy to lie back and listen to harmonies which, though they had signified no more to her than a monologue in a foreign tongue, had moved her to the verge of tears. Then he had played something he called a prelude, a pallidly gay composition utterly unlike many others called preludes, and on finishing it had turned to ascertain its effect upon her. She hadn't been listening carefully, for it had set an old tune running in her head. "It's pretty, dear," she had commented. "It reminds me of something Nana used to hum."
Her remark was inspired, for the suave prelude in question was no more than a modern elaboration of a folk-theme that was a common heritage of the com-
