As to her presence, it was not powerful; it was weak. Some women can make their personality pervade the atmosphere of a whole banqueting hall; Elfride's was no more pervasive than that of a kitten.

Elfride had as her own the thoughtfulness which appears in the face of the Madonna della Sedia, without its rapture: the warmth and spirit of the type of woman's feature most common to the beauties--mortal and immortal--of Rubens, without their insistent fleshiness. The characteristic expression of the female faces of Correggio--that of the yearning human thoughts that lie too deep for tears--was hers sometimes, but seldom under ordinary conditions.

The point in Elfride Swancourt's life at which a deeper current may be said to have permanently set in, was one winter afternoon when she found herself standing, in the character of hostess, face to face with a man she had never seen before--moreover, looking at him with a Miranda-like curiosity and interest that she had never yet bestowed on a mortal.

On this particular day her father, the vicar of a parish on the sea-swept outskirts of Lower Wessex, and a widower, was suffering from an attack of gout. After finishing her household supervisions Elfride became restless, and several times left the room, ascended the staircase, and knocked at her father's chamber-door.

'Come in!' was always answered in a hearty out-of-door voice from the inside.

'Papa,' she said on one occasion to the fine, red-faced, handsome man of forty, who, puffing and fizzing like a bursting bottle, lay on the bed wrapped in a dressing-gown, and every now and then enunciating, in spite of himself, about one letter of some word or words that were almost oaths; 'papa, will you not come downstairs this evening?' She spoke distinctly: he was rather deaf.