that we had never thought or spoken much of Margaret Debree as beautiful.
We were so accustomed to her; we had known her so long, we had known her
always. We had never analyzed our admiration of her. She had so many
qualities that are better than beauty that we had not credited her with
the more obvious attraction. And perhaps she had just become visibly
beautiful. It may be that there is an instant in a girl's life
corresponding to what the Puritans called conversion in the soul, when
the physical qualities, long maturing, suddenly glow in an effect which
we call beauty. It cannot be that women do not have a consciousness of
it, perhaps of the instant of its advent. I remember when I was a child
that I used to think that a stick of peppermint candy must burn with a
consciousness of its own deliciousness.

Margaret was just turned twenty. As she paused there in the doorway her
physical perfection flashed upon me for the first time. Of course I do
not mean perfection, for perfection has no promise in it, rather the sad
note of limit, and presently recession. In the rounded, exquisite lines
of her figure there was the promise of that ineffable fullness and
delicacy of womanhood which all the world raves about and destroys and
mourns. It is not fulfilled always in the most beautiful, and perhaps
never except to the woman who loves passionately, and believes she is
loved with a devotion that exalts her body and soul above every other
human being.

It is certain that Margaret's beauty was not classic. Her features were
irregular even to piquancy. The chin had strength; the mouth was
sensitive and not too small; the shapely nose with thin nostrils had an
assertive quality that contradicted the impression of humility in the
eyes when downcast; the large gray eyes were uncommonly soft and clear,
an appearance of alternate tenderness and brilliancy as they were veiled