"I am not so surprised at the view _you_ take of it, for you will do
more than any one else to supply her place."

This, Trenholme's feeling prophecy, was quite true. Sophia did do more
of Eliza's work than any one. She spared her younger sisters because she
wanted them to be happy.

In spite of this, however, Sophia was not so much in need of some one's
sympathy as were those younger girls, who had less work to do. A large
element in happiness is the satisfaction of one's craving for romance.
Now, there are three eras of romance in human life. The first is
childhood, when, even if the mind is not filled with fictitious fairy
tales which clothe nature, life is itself a fairy tale, a journey
through an unexplored region, an enterprise full of effort and wonder,
big with hope, an endless expectation, to which trivial realisations
seem large. It was in this era that the younger Rexford children, up to
Winifred, still lived; they built snow-men, half-expecting, when they
finished them in the gloaming, that the thing of their creation would
turn and pursue them; they learned to guide toboggans with a trailing
toe, and half dreamed that their steeds were alive when they felt them
bound and strain, so perfectly did they respond to the rider's will.
Sophia, again, had reached the third epoch of romance, when, at a
certain age, people make the discovery of the wondrous loveliness in the
face of the Lady Duty, and, putting a hand in hers, go onward, thinking
nothing hard because of her beauty. But it is admitted by all that there
is often a stage between these two, when all the romance of life is
summed up in the hackneyed word "love." The pretty girls who were
nicknamed Blue and Red had outgrown childhood, and they saw no
particular charm in work; they were very dull, and scarce knew why,
except that they half envied Eliza, who had gone to the hotel, and who,