She turned to the stage, and Tristan was wounded in Kurvenal’s arms, with Isolde at his feet, and King Mark, the incarnation of masculine force and obligation, the masculine creditor of love and beauty, stood over him, and the second climax was ending in wreaths and reek of melodies; and then the curtain was coming down in a series of short rushes, the music had ended, and the people were stirring and breaking out into applause, and the lights of the auditorium were resuming. Meantime, O'Higgins wended his way to the Victoria, mulling over this and that phase, all matters little and big that bore upon the chase. He wants you—or he doesn’t; and then he helps some other woman against you. She spoke with fluent enthusiasm. “NO!” she said, at last, with something in her voice that reminded Ann Veronica of a sprung tennis-racket. Paris looms behind—a tragedy of strange recollections—here she emerges Phœnix-like, subtly developed, a flawless woman, beautiful, self-reliant, witty, a woman with the strange gift of making all others beside her seem plain or vulgar. He flung Ruth aside, careless whether she fell or not.
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