towards the new assistant and his changes. As to Mrs. Martin, she seemed to accept the work of Mr. Twing after his own definition of it--as of a masculine quality ill-suited to a lady's tastes and inclinations; but it was noticeable that while she had at first repelled any criticism of him whatever, she had lately been given to explaining his position to her friends, and had spoken of him with somewhat labored and ostentatious patronage. Yet when they were alone together she frankly found him very amusing, and his presumption and vulgarity so clearly unintentional that it no longer offended her. They were good friends without having any confidences beyond the duties of the school; she had asked no further explanation of the fact that he had been selected by Mr. Barstow without reference to any special antecedent training. What his actual antecedents were she had never cared to know, nor he apparently to reveal; that he had been engaged in some other occupations of superior or inferior quality would not have been remarkable in a community where the principal lawyer had been a soldier, and the miller a doctor. The fact that he admired her was plain enough to HER; that it pleased her, but carried with it no ulterior thought or responsibility, might have been equally clear to others. Perhaps it was so to HIM. Howbeit, this easy mutual intercourse was one day interrupted by what seemed a trifling incident. The piano, which Mr. Barstow had promised, duly made its appearance in the schoolhouse, to the delight of the scholars and the gentle satisfaction of Mrs. Martin, who, in addition to the rudimentary musical instruction of the younger girls, occasionally played upon it herself in a prim, refined, and conscientious fashion. To this, when she was alone after school hours, she sometimes added a faint, colorless voice of limited range and gentlewomanly expression. It was on one of these occasions that Twing, becoming an accidental auditor of this chaste, sad piping, was not only permitted to remain to hear the end of a love song of strictly guarded passion in the subjunctive mood, but at the close was invited to try his hand--a quick, if not a cultivated one--at the instrument. He did so. Like her, he added his voice. Like hers, it was a love song. But there the similitude ended. Negro in dialect, illiterate in construction, idiotic in passion, and presumably addressed to the “Rose of Alabama,” in the very extravagance of its childish infatuation it might have been a mockery of the schoolmistress's song but for one tremendous fact! In unrestrained feeling, pathetic yearning, and exquisite tenderness of expression, it was unmistakably and appallingly personal and sincere. It was true the lips spoken of were “lubly,” the eyes alluded to were like “lightenin' bugs,” but from the voice and gestures of the singer Mrs. Martin confusedly felt that they were intended for HERS, and even the refrain