commit suicide.

The Sphinx on the crooked curtain looked above and beyond them all. It
was a caricature of the Sphinx, but could not confine her gaze.

Hilda's audience that night knew all about _The Offence of Galilee_ from
the English illustrated papers. The illustrated papers had a great way
of ministering to the complacency of Calcutta audiences; they contained
photographs of almost every striking scene, composed at the leisure of
the cast, but so vividly supplemented with descriptions of the leading
lady's clothes that it hardly required any effort of the imagination to
conjure up the rest. The postures and the chief garments of Pilate--he
was eating pomegranates when the curtain rose and listening to scandal
from his slave maidens about Mary Magdalene--were at once recognised in
their resemblance to those of the photographs, and in the thrill of this
satisfaction any discrepancies in cut and texture passed generally
unobserved. A silent curiosity settled upon the house, half reverent, as
if with the Bible names came thronging a troop of sacred associations to
cluster about personalities brusquely torn out of church, and people
listened for familiar sentences with something like the composed gravity
with which they heard on Sundays the reading of the second lesson. But
as the stage-talk went on, the slave-maidens announcing themselves
without delay comfortably modern and commonplace, and Pilate a cynic and
a decadent, though as distinctively from Melbourne, it was possible to
note the breaking up of this sentiment. It was plain, after all, that no
standard of ideality was to be maintained or struggled after. The relief
was palpable; nevertheless, when Pilate's wife cast a shrewish gibe at
him over the shoulder of her exit, the audience showed but a faint
inclination to be amused. It was to be a play evidently like any other
play, the same coarse fibre, the same vivid and vulgar appeals. It is