Accordingly, when she arrived at the Shovels, with which, as an old haunt in her bygone days of wretchedness she was well acquainted, instead of entering the principal apartment, which she saw at a glance was crowded with company of both sexes, she turned into a small room on the left of the bar, and, as an excuse for so doing, called for something to drink. Anna sprang to her feet and made for the dressing-room door. A bobbing lantern, crossing the bridge—for she had not drawn the curtain—attracted her attention. She turned to the stage, and Tristan was wounded in Kurvenal’s arms, with Isolde at his feet, and King Mark, the incarnation of masculine force and obligation, the masculine creditor of love and beauty, stood over him, and the second climax was ending in wreaths and reek of melodies; and then the curtain was coming down in a series of short rushes, the music had ended, and the people were stirring and breaking out into applause, and the lights of the auditorium were resuming. ‘What mischief?’ ‘I don’t know, but I’ll go bail you’re at something. She wondered abjectly whether he intended to rape her before she was dead. “I say!” he cried. .
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