mind. He had spoken the truth when he said he would follow Ellen Haldane anywhere, even to the eternal pit itself. Her beauty possessed him and disturbed him with the joy of impure thoughts; and now that he perceived his own power to trouble her peace of mind, he rejoiced at the strength of his passion with a truly diabolic perversity.

As he came out of the lodge gate he saw, far away over the fields, the spire of his own church.

He laughed to himself.

But the man's faith in spiritual things, so far from being shaken, was as strong as ever. His own sense of moral deterioration, of spiritual backsliding, only made him believe all the more fervently in the heaven from which he had fallen, or might choose to fall. For it is surely a mistake to picture, as so many poets have pictured, the evil spirit as one ignorant of or insensible to good. Far wiser is the theology which describes Satan as the highest of angelic spirits—the spirit which, above all others, had beheld and contemplated the Godhead, and had then, in sheer revolt and negation, deliberately and advisedly decided its own knowledge and rejected its own truthright. Santley was, in his basest moods, essentially a godly man—a man strangely curious of the beauty of goodness, and capable of infinite celestial dreams. If, like many another, he confused the flesh and the spirit, he did no more than many sons of Eve have done.

As he walked slowly along he mused, somewhat to this effect—"I love this woman. In her heart she loves me. Her superior spiritual endowments are mystically alive to those I myself possess. Her husband is a clod, an unbeliever, with no spiritual promptings. In his sardonic presence, her aspirations are chilled, frozen at the very fountain-head; whereas, in mine, all the sweetness and the power of her nature are aroused, though with a certain irritation. If I persist, she must yield to the slow moral mesmerism of my passion, and eventually fall. Is this necessarily evil? Am I of set purpose sinning? Is it not possible that even a breach of the moral law might, under certain conditions, lead us both to a higher religious place—yes, even to a deeper and intenser consciousness of God?"

And again—"What is sin? Surely it is better than moral stagnation, which is death. There are certain deflections from duty which, like the side stroke of a bird's wing, may waft us higher. In the arms of this woman, I should surely be nearer God than crawling alone on the bare path of duty, loving nothing, hoping nothing, becoming nothing. What is it that Goethe says of the Eternal Feminine which lead us ever upward and onward? Which was the highest, Faust before he loved Marguerite, or Faust after he passed out of the shadow of his sin into the sphere of imperial and daring passion? I believe in God, I love this woman. Out of that belief, and that love, shall I not become a living soul?"

Was this the man's own musing, or rather the very devil whispering in his ear? From such fragmentary glimpses of his mind as have been given, we can at least guess the extent of his intellectual degradation.

As he walked along the country road, his pale countenance became seraphic; just so may the face of Lucifer have looked when he plumed his wings for deliberate flight from heaven.

He stepped into a roadside farm and had a glass of milk, which the good woman of the place handed to him with a sentiment of adoration; he looked so gentle, so at peace with all living things. His white hand rested for a moment on the head of her little girl, in gentle benediction. He had never felt more tenderly disposed to all creation than at that moment, when he was prepared to dip a pen into his own hearts blood, and sign the little promissory note which Mephistopheles carries, always ready, in his pocket. He had hated his congregation before; now he loved them exceedingly—and all the world.

CHAPTER XVI. AT THE OPERA.

On arriving in London, George Haldane was driven straight to the house of an old friend at Chelsea, where he always stayed during his visits to the Metropolis. This friend was Lovell Blakiston, as eccentric a being in his own way as Haldane himself was in his. He had been, since boyhood, in the India Office, where he still put in an appearance several hours a day, and whence he still drew a large income, with the immediate right to a retiring pension whenever he choose to take it. He was a great student, especially of the pagan poets and philosophers; and the greater part of his days and nights were spent in his-old-fashioned library, opening with folding doors on to a quiet lawn, which led in its turn to the very river-side. He had two pet aversions—modern progress, in the shape of railroads, electricity, geology; all the new business of science and modern religion, especially in its connection with Christian theology. He was, in short, a pagan pure and simple, fond of old books, old wine, old meditations, and old gods. However he might differ with Haldane on such subjects' as the nebular hypothesis, which he hated with all his heart, he agreed with him sufficiently on the subject of Christianity. Both had a cordial dislike for church ceremonies and church bells.

The two gentlemen had another taste in common. This was the opera, which both enjoyed hugely, though Blakiston never ceased to regret the disappearance of that old operatic institution, the ballet, which, like a rich dessert wine, used to bring the feast of music to a delightfully sensuous conclusion. Haldane was too young a man to remember such visions of loveliness as Cerito, whom his old friend had often gone to see in company with Horne Took.

So it happened that two or three days after his arrival, Haldane accompanied his host to the opera house, where Patti was to appear in "Traviata."

Seated comfortably in the stalls, he was glancing quietly round the house between the acts, when his attention was attracted to a face in one of the private boxes. A pale, Madonna-like, yet girlish face, set in golden hair, with soft blue eyes, and an expression so forlorn, so wistful, so ill at ease, that it was almost painful to behold.

Haldane started in surprise.

"What is the matter?" said his friend; "Have you recognized anybody?"

"I am not certain," returned Haldane, raising his opera-glass and surveying the face through them. Then, after a long look, he added' as if to himself, "I am almost sure it is the same."

"Do you mean that young lady in black, seated in the second tier?"

"Yes. Oblige me by looking at her, and tell me what you think of her." Blakiston raised his opera-glass, and took a long look.

"Well?" asked Haldane.

"She reminds me of one of your detestable pre-Raphaelistic drawings, shockheaded and vacuous. She is pretty, I grant you, but she has no expression."

"I should say, on the contrary, a very marked expression of deep pain."

"Tight lacing," grunted Blakiston. "Your modern women have no shape, since Cerito."

Here Haldane rose from his seat. Looking up again, he had met the young lady's eyes, and had perceived at once that she recognized him.

"I am going to speak to her," he explained. "She is a neighbour of ours, and a friend of my wife."

He made his way to the second tier, and finding the door of the box open, he looked in, and saw the person he sought, seated in company with an elderly lady and a young man.

"Miss Dove!" he said, advancing into the box. "Although we have only met twice, I thought I could not be mistaken." Edith (for it was she) turned quickly and took his outstretched hand..

"How strange to find you here!" she exclaimed. "Is Mrs. Haldane with you?

"No, indeed. I left her to the pious duties of the parish, which she is fulfilling daily, I expect, in company with your seraphic friend the minister."

Edith looked at him with strange