Later, when I was alone with my sister, I said: "Ideala did nothing but put her foot in it this evening. What was the matter with her? I never heard her speak so strongly before, except when she was alone with us. And I don't think she ought to discuss such subjects with such people; it is hardly delicate." Claudia sighed wearily. "Who knows what pain is at the bottom of it all?" she said. "But one thing always puzzles me. Ideala rails at evils that never hurt her, and yet she speaks of marriage, which has been her bane, as if it were a holy and perfect state, upon which it is a privilege to enter." "Plenty of people have condemned marriage simply because their own experience of it has been unfortunate," I answered; "but Ideala is above that. She will let no petty personal mishap prejudice her judgment on the subject. She sees and feels the possibility of infinite happiness in marriage when there is such love and such devotion on both sides as she herself could have brought to it; and she understands that her own unhappy experience need only be exceptional." "I wish it were!" sighed Claudia. Some years later, Ideala confessed to me that she had written "The Passion of Delysle" herself, but had had no idea of its significance until she heard it read aloud that night, and then, as she elegantly expressed it, she could have cut her throat with shame and mortification, which I consider a warning to young ladies not to trust to their poetical inspirations, for--if the shade of Shelley will pardon the conclusion--alas! _apparently_, they know not what they do when they write verses! "I can't think how you could have criticised it like that, Ideala," I said, "now that I know you wrote it." "Neither can I," she answered. "You ought to have confessed you had written it, or have said nothing about it," I told her, frankly. "Yes," she assented. "Not doing so was a kind of falsehood. But neither course occurred to me." And then she explained: "I never see the meaning of what I write till the light of public opinion is turned upon it, or some cold critic comes and damps my enthusiasm. When a subject possesses me, and shapes itself into verse, it boils in my brain, and my pen is the only way of escape for it, the one safety-valve I have to ease the pressure. And I can't judge of its merits myself for long enough after it _is_ written, because the boiling begins again, you see, whenever I read it, and then there is such a steam of feeling I cannot see to think. For the verses, however poor they appear to you, contain for me the whole poem as I have it in my inner consciousness. It is beautiful as it exists there, but the power of expression is lacking. If only I could make you feel it as I do, I should be the greatest poet alive."