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After they won they walked home together, each swinging a fat, heavy loving-cup. On each was engraved:

“Mixed doubles, Agawamsett, 1910.”

Lee held his up so that the setting sun flashed on the silver.

“I am going to keep that,” he said, “as long as I live. It means you were once my ‘partner.’ It’s a sign that once we two worked together for something and won.” In the words the man showed such feeling that the girl said soberly:

“Mine means that to me, too. I will never part with mine, either.”

Lee turned to her and smiled, appealing wistfully.

“It seems a pity to separate them,” he said. “They’d look well together over an open fireplace.”

The girl frowned unhappily. “I don’t know,” she protested. “I don’t know.”

The next day Lee received from the War Department a telegram directing him to “proceed without delay” to San Francisco, and there to embark for the Philippines.

That night he put the question to her directly, but again she shook her head unhappily; again she said: “I don’t know!”

So he sailed without her, and each evening at sunset, as the great transport heaved her way across the swell of the Pacific, he stood at the rail and looked back. With the aid of the first officer he calculated the difference in time between a whaling village situated at forty-four degrees north and an army transport dropping rapidly toward the equator, and so, each day, kept in step with the girl he loved.

“Now,” he would tell himself, “she is in her cart in front of the post-office, and while they sort the morning mail she gossips with the fisher folks, the summer folks, the grooms, and chauffeurs. Now she is sitting for her portrait to Stedman” (he did not dwell long on that part of her day), “and now she is at tennis, or, as she promised, riding alone at sunset down our lost road through the woods.”

But that part of her day from which Lee hurried was that part over which the girl herself lingered. As he turned his eyes from his canvas to meet hers, Stedman, the charming, the deferential, the adroit, who never allowed his painting to interrupt his talk, told her of what he was pleased to call his dreams and ambitions, of the great and beautiful ladies who had sat before his easel, and of the only one of them who had given him inspiration. Especially of the only one who had given him inspiration. With her always to uplift him, he could become one of the world’s most famous artists, and she would go down into history as the beautiful woman who had helped him, as the wife of Rembrandt had inspired Rembrandt, as “Mona Lisa” had made Leonardo.

Gilbert wrote: “It is not the lover who comes to woo, but the lover’s way of wooing!” His successful lover was the one who threw the girl across his saddle and rode away with her. But one kind of woman does not like to have her lover approach shouting: “At the gallop! Charge!”

She prefers a man not because he is masterful, but because he is not. She likes to believe the man needs her more than she needs him, that she, and only she, can steady him, cheer him, keep him true to the work he is in the world to perform. It is called the “mothering” instinct.

Frances felt this mothering instinct toward the sensitive, imaginative, charming Stedman. She believed he had but two thoughts, his art and herself. She was content to place his art first. She could not guess that to one so unworldly, to one so wrapped up in his art, the fortune of a rich aunt might prove alluring.

When the transport finally picked up the landfalls of Cavite Harbor, Lee, with the instinct of a soldier, did not exclaim: “This is where Dewey ran the forts and sank the Spanish fleet!” On the contrary, he was saying: “When she comes to join me, it will be here I will first see her steamer. I will be waiting with a field-glass on the end of that wharf. No, I will be out here in a shore-boat waving my hat. And of all those along the rail, my heart will tell me which is she!”