the
attention; and an emotional listener's fetichistic mood might have
ended in one of more advanced quality. It was not, after all, that the
left-hand expanse of old blooms spoke, or the right-hand, or those
of the slope in front; but it was the single person of something else
speaking through each at once.

Suddenly, on the barrow, there mingled with all this wild rhetoric
of night a sound which modulated so naturally into the rest that its
beginning and ending were hardly to be distinguished. The bluffs, and
the bushes, and the heather-bells had broken silence; at last, so did
the woman; and her articulation was but as another phrase of the same
discourse as theirs. Thrown out on the winds it became twined in with
them, and with them it flew away.

What she uttered was a lengthened sighing, apparently at something
in her mind which had led to her presence here. There was a spasmodic
abandonment about it as if, in allowing herself to utter the sound the
woman's brain had authorized what it could not regulate. One point was
evident in this; that she had been existing in a suppressed state, and
not in one of languor, or stagnation.

Far away down the valley the faint shine from the window of the inn
still lasted on; and a few additional moments proved that the window, or
what was within it, had more to do with the woman's sigh than had either
her own actions or the scene immediately around. She lifted her left
hand, which held a closed telescope. This she rapidly extended, as if
she were well accustomed to the operation, and raising it to her eye
directed it towards the light beaming from the inn.

The handkerchief which had hooded her head was now a little thrown back,
her face being somewhat elevated. A profile was visible against the dull
monochrome of cloud around her; and it was as though side shadows from
the features of Sappho and Mrs. Siddons had converged upwards from the
tomb to form an image like neither but suggesting both. This, however,
was mere superficiality. In respect of character a face may make certain
admissions by its outline; but it fully confesses only in its changes.
So much is this the case that what is called the play of the features
often helps more in understanding a man or woman than the earnest
labours of all the other members together. Thus the night revealed
little of her whose form it was embracing, for the mobile parts of her
countenance could not be seen.

At last she gave up he