‘Is Eileen free?  Reply paid.  Colonel Doherty.’  Wasn’t it clever and economical of me to think of the word ‘free,’ meaning such a lot—­not married, not a nun, not even engaged to another fellow?  Imagine my joy when I got back the monosyllable, meaning all that lot.  I instantly cabled back ‘Thanks, don’t tell her of this.’ ["So that’s what mother was hinting at,” thought Eileen, with a smile.] It was all I could do not to cable to you:  ‘Will you marry me?  Reply paid.’ ["What a good idea for a song!” murmured Nelly.] Put me out of my agony as soon as you can, won’t you, dearest Eileen?  Your face is floating before me as I write, with its black Irish eyes and its roguish dimples....”

She could read no more.  She sat long on her bed, dazed by the rush of bitter-sweet memories.  The Convent, her father, her early years, this dear boy ... all was washed together in tears.  There was something so bizarre, unexpected and ingenuous about it all; it touched the elemental in her.  If he had excused himself even, she would have tossed him off impatiently.  But his frank exposure of his own self-contradictoriness appealed subtly to her.  Was this the want in her life, was it for him she had been yearning, below the surface of her consciousness, even as she had remained below the surface of his?  Here, indeed, was salvation—­providential salvation.  A hand was stretched to save her—­snatch her from spiritual destruction.  The dear brown manly hand that had potted tigers while she had been gesticulating on platforms—­a performing lioness.  Distance, imagination, early memories, united to weave a glamour round him.  It was many minutes before she could read the postscript:  “I think it right to say that my complexion is not yellow nor my liver destroyed.  I know this is how we are represented on your stage.  I have sat for a photograph, especially to send you.”

The stage!  Why should he just stumble upon the word, to chill her with the awful question whether she would have to tell him.  She was late at her engagements, her performance was perfunctory—­she was no longer with “the boys,” but seated in a howdah on an elephant’s back, side by side with a mighty hunter, or walking with a tall flaxen-haired lieutenant between the honeysuckled hedges of an Irish boreen.  It struck her as almost miraculous—­though it was probably only because her attention was now drawn to the name—­that she read of Colonel Doherty in the evening paper the gasman tendered her that very evening, as she waited at the wing.  It was a little biography full of deeds of derringdo.  “My Bayard!” she murmured, and her eyes filled with tears.

She wrote and tore up many replies.  The first commenced:  “What a strange way of proposing!  You begin by giving me two black eyes to prove you’ve forgotten me.  I am so different in other people’s eyes as well as in my own it would be unfair to accept you.  You are in love with a shadow.”  The word-play about her eyes seemed to savour of the “Half-and-Half.”  She struck it out.  But “you are in love with a shadow,” remained the Leit-motif of all the letters.  And if he was grasping at a shadow it would be unfair for her to grasp at the substance.