side issues!" to which that lady nodded a rather suspicious assent.

Long before Hilda had begun to act for Arnold, to play to his special
consciousness, he was fastened to his chair, held down, so to speak, by
a whirlpool of conflicting impulses. She did so much more than "lift"
the inventive vulgarisation of the Bible story in the common sense;
she inspired and transfused it so that whenever she appeared people
irresistibly forgot the matter for her, or made private acknowledgments
to the effect that something was to be said even for an impious fantasy
which gave her so unique an opportunity. To Arnold her vivid embodiment
of an incident in that which was his morning and evening meditation
made special appeal, and though it was in a way as if she had thrust
her heathen torch into his Holy of Holies, he saw it lighted with
fascination, and could not close the door upon her. The moment of her
discovery of this came early, and it is only she, perhaps, who
could tell how the strange bond wove itself that drew her being--the
Magdalene's--to the priest who sat behind a lady in swansdown and
chiffon in the upper box nearest to the stage on the right. The
beginnings of such things are untraceable, but the fact may be
considered in connection with this one that Hamilton Bradley, who
represented, as we have been told he would, the Chief Character, did it
upon lines very recognisably those of the illustrations of sacred
books, very correct as to the hair and beard and pictured garment of
the Galilean; with every accent of hollow-eyed pallor and inscrutable
remoteness, with all the thin vagueness, too, of a popular engraving,
the limitations and the depression. Under it one saw the painful
inconsistency of the familiar Hamilton Bradley of other presentations,
and realised with irritation, which must have been tenfold in Hilda, how
he rebelled against the part. Perhaps this was enough in itself to
send her dramatic impulse to another focus, and the strangeness of the